Elias Canetti (Bulgarian: Елиас Канети; 25 July 1905 – 14 August 1994) was a Swiss modernist novelist, playwright, memoirist, and non-fiction writer. He wrote in German and won the Nobel Prize in Literature in 1981, "for writings marked by a broad outlook, a wealth of ideas and artistic power".

Life
Born to Jacques Canetti and Mathilde née Arditti in Ruse, a city on the Danube in Bulgaria, Elias Canetti was the eldest of three sons of a businessman. His ancestors were Sephardi Jews who had been expelled from Spain in 1492. His paternal ancestors had settled in Ruse from Ottoman Adrianople.The original family name was Cañete, named after a village in Spain.

In Ruse, Elias' father and grandfather were successful merchants who operated out of a commercial building, which they had built in 1898. Canetti's mother descended from one of the oldest Sephardi families in Bulgaria, Arditti, who were among the founders of the Ruse Jewish colony in the late 18th century. The Ardittis can be traced back to the 14th century, when they were court physicians and astronomers to the Aragonese royal court of Alfonso IV and Pedro IV. Before settling in Ruse, they had lived in Livorno in the 17th century.[3]

Canetti spent his childhood years, from 1905 to 1911, in Ruse until the family moved to Britain.

In 1912 his father died suddenly, and his mother moved with their children to first Lausanne, then Vienna in the same year. They lived in Vienna from the time Canetti was aged seven onwards. His mother insisted that he spoke German, and taught it to him. By this time Canetti already spoke Ladino (his native language), Bulgarian, English and some French (he studied the latter two in the one year in Britain). Subsequently the family moved first (from 1916 to 1921) to Zürich and then (until 1924) to Frankfurt, where Canetti graduated from high school.
Canetti went back to Vienna in 1924 in order to study chemistry. However, his primary interests during his years in Vienna became philosophy and literature. Introduced into the literary circles of first-republic-Vienna, he started writing. Politically leaning towards the left, he was present at the July Revolt of 1927 – he came near to the action accidentally, was most impressed by the burning of books (recalled frequently in his writings), and left the place quickly with his bicycle.[citation needed] He gained a degree in chemistry from the University of Vienna in 1929, but never worked as a chemist. In 1934 he married Veza (Venetiana) Taubner-Calderon (1897–1963) with whom he had a dynamic relationship. She acted as his muse and devoted literary assistant. Canetti however remained open to relationships with other women. (His brother Jacques settled in Paris, where he championed a revival of French chanson.[4])
In 1938, after the Anschluss of Austria to Germany, Canetti moved to London where he became closely involved with the painter Marie-Louise von Motesiczky, who was to remain a close companion for many years to come. His name has also been linked with that of the author Iris Murdoch (see John Bayley's Iris, A Memoir of Iris Murdoch, where there are several references to an author, referred to as "the Dichter", who was a Nobel Laureate and whose works included Die Blendung [English title Auto-da-Fé]). Canetti's wife died in 1963. His second marriage was to Hera Buschor (1933–1988), with whom he had a daughter, Johanna, in 1972.
Despite being a German language writer, Canetti settled and stayed in Britain until the 1970s, receiving British citizenship in 1952. For his last 20 years, Canetti mostly lived in Zürich.

In 1981, Canetti won the Nobel Prize in Literature "for writings marked by a broad outlook, a wealth of ideas and artistic power". He is known chiefly for his celebrated tetralogy of autobiographical memoirs of his childhood and of pre-Anschluss Vienna (Die Gerettete Zunge; Die Fackel im Ohr; Das Augenspiel; and Das Geheimherz der Uhr: Aufzeichnungen), for his modernist novel Auto-da-Fé (Die Blendung), and for Crowds and Power, a study of crowd behaviour as it manifests itself in human activities ranging from mob violence to religious congregations.
He died in Zürich

* يتبع الديانة اليهودية

يتيم الاب في سن الس 7

Gabriel José de la Concordia García Márquez : born March 6, 1927)[is a Colombian novelist, short-story writer, screenwriter and journalist, known affectionately as Gabo throughout Latin America. Considered one of the most significant authors of the 20th century, he was awarded the 1972 Neustadt International Prize for Literature and the 1982 Nobel Prize in Literature, and is the earliest remaining living recipient.1 He pursued a self-directed education that resulted in his leaving law school for a career in journalism. From early on, he showed no inhibitions in his criticism of Colombian and foreign politics. In 1958, he married Mercedes Barcha; they have two sons, Rodrigo and Gonzalo.
He started as a journalist, and has written many acclaimed non-fiction works and short stories, but is best known for his novels, such as One Hundred Years of Solitude (1967) and Love in the Time of Cholera (1985). His works have achieved significant critical acclaim and widespread commercial success, most notably for popularizing a literary style labeled as magic realism, which uses magical elements and events in otherwise ordinary and realistic situations. Some of his works are set in a fictional village called Macondo (the town mainly inspired by his birthplace Aracataca), and most of them express the theme of solitude.

Gabriel García Márquez was born on March 6, 1927 in the town of Aracataca, Colombia, to Gabriel Eligio García and Luisa Santiaga Márquez.

Soon after García Márquez was born, his father became a pharmacist. In January 1929, his parents moved to Sucre while García Marquez stayed in Aracataca.

He was raised by his maternal grandparents, Doña Tranquilina Iguarán and Colonel Nicolás Ricardo Márquez Mejía.

When he was nine, his grandfather died, and he moved to his parents' home in Sucre where his father owned a pharmacy.

When his parents fell in love, their relationship met with resistance from Luisa Santiaga Marquez's father, the Colonel. Gabriel Eligio García was not the man the Colonel had envisioned winning the heart of his daughter: he (Gabriel Eligio) was a Conservative, and had the reputation of being a womanizer.[9][10] Gabriel Eligio wooed Luisa with violin serenades, love poems, countless letters, and even telegraph messages after her father sent her away with the intention of separating the young couple. Her parents tried everything to get rid of the man, but he kept coming back, and it was obvious their daughter was committed to him.[9] Her family finally capitulated and gave her permission to marry him

The tragicomic story of their courtship would later be adapted and recast as Love in the Time of Cholera).

Since García Márquez's parents were more or less strangers to him for the first few years of his life, his grandparents influenced his early development very strongly.

His grandfather, whom he called "Papalelo", was a Liberal veteran of the Thousand Days War.The Colonel was considered a hero by Colombian Liberals and was highly respected. He was well known for his refusal to remain silent about the banana massacres that took place the year García Márquez was born.[18] The Colonel, whom García Márquez has described as his "umbilical cord with history and reality,"[5] was also an excellent storyteller.[19] He taught García Márquez lessons from the dictionary, took him to the circus each year, and was the first to introduce his grandson to ice—a "miracle" found at the United Fruit Company store.[20] He would also occasionally tell his young grandson "You can't imagine how much a dead man weighs",[21][22] reminding him that there was no greater burden than to have killed a man, a lesson that García Márquez would later integrate into his novels.
García Márquez's political and ideological views were shaped by his grandfather's stories.[21] In an interview, García Márquez told his friend Plinio Apuleyo Mendoza, "my grandfather the Colonel was a Liberal. My political ideas probably came from him to begin with because, instead of telling me fairy tales when I was young, he would regale me with horrifying accounts of the last civil war that free-thinkers and anti-clerics waged against the Conservative government."[23][24] This influenced his political views and his literary technique so that "in the same way that his writing career initially took shape in conscious opposition to the Colombian literary status quo, García Márquez's socialist and anti-imperialist views are in principled opposition to the global status quo dominated by the United States."[25]
García Márquez's grandmother, Doña Tranquilina Iguarán Cotes, played an equally influential role in his upbringing. He was inspired by the way she "treated the extraordinary as something perfectly natural." The house was filled with stories of ghosts and premonitions, omens and portents,all of which were studiously ignored by her husband. According to García Márquez she was "the source of the magical, superstitious and supernatural view of reality".He enjoyed his grandmother's unique way of telling stories. No matter how fantastic or improbable her statements, she always delivered them as if they were the irrefutable truth. It was a deadpan style that, some thirty years later, heavily influenced her grandson's most popular novel, One Hundred Years of Solitude.[27]

عاش منفصلا عن واليده وترب من قبل عائلة بديلة ( جده وجدته) ومات جده وعمهر 9 سنوات عندا عاد الى العائلة. الرواية التي تحكي قصة العلاقة العاصفة بين والديه بعنوان حب في زمن الكوليرا وهو ما يشير الى انه ربما اختبر الموت مبكرا كنتيجة لمرض الكوليرا.

يتيم اجتماعي .

Sir William Gerald Golding, CBE (19 September 1911 – 19 June 1993) was a British novelist, poet, playwright and Nobel Prize for Literature laureate, best known for his novel Lord of the Flies. He was also awarded the Booker Prize for literature in 1980 for his novel Rites of Passage, the first book of the trilogy To the Ends of the Earth.
Having been appointed a CBE in 1966, Golding was knighted by Queen Elizabeth II at Buckingham Palace in 1988.[1][2] In 2008, The Times ranked Golding third on their list of "The 50 greatest British writers since 1945".[3]

Early life
William Golding was born in his grandmother's house, 47 Mountwise, Newquay, Cornwall[4] and he spent many childhood holidays there.

He grew up at his family home in Marlborough, Wiltshire, where his father (Alec Golding) was a science master at Marlborough Grammar School (1905 to retirement). Alec Golding was a socialist with a strong commitment to scientific rationalism, and the young Golding and his elder brother Joseph attended the school where his father taught.
His mother, Mildred (Curnroe), kept house at 29, The Green, Marlborough, and supported the moderate campaigners for female suffrage.

In 1930 Golding went to Oxford University as an undergraduate at Brasenose College, where he read Natural Sciences for two years before transferring to English Literature.[7]
Golding took his B.A. (Hons) Second Class in the summer of 1934, and later that year his first book, Poems, was published in London by Macmillan & Co, through the help of his Oxford friend, the anthroposophist Adam Bittleston.

Marriage and family
Golding married Ann Brookfield, an analytic chemist,[8](p161) on 30 September 1939 and they had two children, Judy and David.[4]

In 1985, Golding and his wife moved to Tullimaar House at Perranarworthal, near Truro, Cornwall, where he died of heart failure, eight years later, on 19 June 1993.[citation needed] He was buried in the village churchyard at Bowerchalke, South Wiltshire (near the Hampshire and Dorset county boundaries). He left the draft of a novel, The Double Tongue, set in ancient Delphi, which was published posthumously.[2][11] He is survived by his daughter, the author Judy Golding, and his son David, who still lives at Tullimaar House.

==
William Golding was born in the village of St. Columb Minor in Cornwall. His father, Alec, was a schoolmaster, who had radical convictions in politics and a strong faith in science. Golding's mother, Mildred, was a supporter of the British suffragate movement. Golding started writing at the age of seven, but following the wishes of his parents, he studied first natural sciences and then English at Brasenose College, Oxford. Golding's first book, a collection of poems, appeared in 1934, a year before he received his B.A. in English and a diploma in education.
==

مجهول الطفولة ولا يعرف متى مات والديه. اهم عنصر مؤثر على ما يبدو في حياته عمل في البحرية ومشاركتة في المعارك ضد الالمان في الحرب العالمية الثانية لمدة خمس سنوات,

مجهول الطفولة.

Jaroslav Seifert ; 23 September 1901 – 10 January 1986) was a Nobel Prize winning Czech writer, poet and journalist.
Born in Žižkov, a suburb of Prague in what was then part of Austria-Hungary, his first collection of poems was published in
1921. He was a member of the Communist Party, the editor of a
number of communist newspapers and magazines – Rovnost, Srsatec, and Reflektor – and the employee of a communist publishing house.

During the 1920s he was considered a leading representative of the Czechoslovakian artistic avant-garde. He was one of the founders of the journal Devětsil. In March 1929, he and six other important communist writers left the Communist Party for signing a manifesto protesting against Bolshevik tendencies in the new leadership of the Communist Party of Czechoslovakia. He subsequently worked as a journalist in the social-democratic and trade union press during the 1930s and 1940s.
In 1949 Seifert left journalism and began to devote himself exclusively to literature. His poetry was awarded important state prizes in 1936, 1955, and 1968, and in 1967 he was designated National Artist. He was the official Chairman of the Czechoslovak Writer's Union for several years (1968–70). In 1977 he was one of the signatories of Charter 77 in opposition to the repressive regime of the time.[citation needed]
Seifert was awarded the Nobel Prize in Literature in 1984. Due to bad health, he was not present at the award ceremony, and so his daughter received the Nobel Prize in his name. Even though it was a matter of great importance, there was only a brief remark of the award in the state-controlled media. He died in 1986, aged 84, and was buried at the municipal cemetery in Kralupy nad Vltavou
(where his maternal grandparents originated from).

His burial was marked by a high presence of secret police, who tried to suppress any hint of dissent on the part of mourners.[citation needed]

==

عاش طفولة صعبة لكن تفاصيلها غير معروفة
مجهول الطفولة.

Claude Simon (10 October 1913 – 6 July 2005) was a French novelist and the 1985 Nobel Laureate in Literature. He was born in Antananarivo, Madagascar, and died in Paris, France.

His parents were French, his father being a career officer who was killed in the First World War.

He grew up with his mother and her family in Perpignan in the middle of the wine district of Roussillon.

Among his ancestors was a general from the time of the French Revolution.
After secondary school at Collège Stanislas in Paris and brief sojourns at Oxford and Cambridge he took courses in painting at the André Lhote Academy. He then travelled extensively through Spain, Germany, the Soviet Union, Italy and Greece. This experience as well as those from the Second World War show up in his literary work. At the beginning of the war Claude Simon took part in the battle of the Meuse (1940) and was taken prisoner. He managed to escape and joined the resistance movement. At the same time he completed his first novel, Le Tricheur ("The Cheat", published in 1946), which he had started to write before the war.
He lived in Paris and used to spend part of the year at Salses in the Pyrenees.
In 1961 Claude Simon received the prize of L'Express for La Route des Flandres and in 1967 the Médicis prize for Histoire. The University of East Anglia made him honorary doctor in 1973.

Simon is often identified with the nouveau roman movement exemplified in the works of Alain Robbe-Grillet and Michel Butor, and while his fragmented narratives certainly contain some of the formal disruption characteristic of that movement (in particular Histoire , 1967, Triptyque, 1973), he nevertheless retains a strong sense of narrative and character.[1]
In fact, Simon arguably has much more in common with his Modernist predecessors than with his contemporaries; in particular, the works of Marcel Proust and William Faulkner are a clear influence. Simon's use of self-consciously long sentences (often stretching across many pages and with parentheses sometimes interrupting a clause which is only completed pages later) can be seen to reference Proust's own style, and Simon moreover makes use of certain Proustian settings (in La Route des Flandres, for example, the narrator's captain de Reixach is shot by a sniper concealed behind a hawthorn hedge or haie d'aubépines, a reference to the meeting between Gilberte and the narrator across a hawthorn hedge in Proust's A la recherche du temps perdu).
The Faulknerian influence is evident in the novels' extensive use of a fractured timelime with frequent and potentially disorienting analepsis (moments of chronological discontinuity), and of an extreme form of free indirect speech in which narrative voices (often unidentified) and streams of consciousness bleed into the words of the narrator. The ghost of Faulkner looms particularly large in 1989's L'Acacia, which uses a number of non-sequential calendar dates covering a wide chronological period in lieu of chapter headings, a device borrowed from Faulkner's The Sound and the Fury.

Despite these influences, Simon's work is thematically and stylistically highly original. War is a constant and central theme (indeed it is present in one form or another in almost all of Simon's published works), and Simon often contrasts various individuals' experiences of different historical conflicts in a single novel; World War I and the Second World War in L'Acacia (which also takes into account the impact of war on the widows of soldiers), the French Revolutionary Wars and the Second World War in Les Géorgiques.
In addition, many of the novels deal with the notion of family history, those myths and legends which are passed down through generations and which conspire in Simon's work to affect the protagonists' lives. In this regard, the novels make use of a number of leitmotifs which recur in different combinations between novels (a technique also employed by Marguerite Duras), in particular the suicide of an eighteenth-century ancestor and the death of a contemporary relative by sniper-fire. Finally, almost all of Simon's novels feature horses; Simon was himself an accomplished equestrian, and fought in a mounted regiment during WWII (the ridiculousness of mounted soldiers fighting in a mechanised war is a major theme of La Route des Flandres and Les Géorgiques).
Simon's principal obsession, however, is with the ways in which humans experience time (another Modernist fascination). The novels often dwell on images of old-age, such as the decaying 'LSM' or the old woman (that 'flaccid and ectoplasmic Cassandra') in Les Géorgiques, which are frequently seen through the uncomprehending eyes of childhood. Simon's use of family history equally attempts to show how individuals exist in history—that is, how they might feel implicated in the lives and stories of their ancestors who died long ago

=

His childhood Simon spent in the city of Perpignan, near the Spanish border, where he was raised by his mother, Suzanne Denamiel in the strongly Catholic atmosphere of her family home.
==
Simon was born in Madagascar but brought up in south-west France. Soon after his birth his father was killed in World War I, and his mother died when he was II. He originally wanted to be a painter, but decided he was not good enough; fascination with the visual arts, however, still pervades his writing (Femmes, 1966, for instance, was written to accompany a set of paintings by Joan Miró). In 1936 he fought briefly for the Republicans in the Spanish Civil War. In 1939 he was called up to serve in a cavalry regiment which, the following year, was annihilated by the Germans; he spent several months in a prisoner-of-war camp, then escaped and returned home. Here he finished his first novel, Le Tricheur, published 1945. This was followed by an autobiographical text, La Corde raide (1947), and two more novels, Gulliver (1952) and Le Sacre du printemps (1954). But it is Le Vent (1956) that is usually regarded as his first major novel; it marks his move to the more prestigious Minuit publishing house, where he met Robbe-Grillet, Butor, and Pinget. The influence of William Faulkner is strong here, as in all Simon's early writing, but Le Vent also inaugurates several typically Simonian themes and techniques: the absent, unknown, or rejected father; nature (here in the form of the wind) dominating and mocking human activity; and a narrative that is a hypothetical reconstruction of events on the basis of incomplete, disparate, and mainly second-hand accounts. The notion of man's subjection to the natural world is developed further in L'Herbe (1958): death is part of the natural cycle, and reality is always changing, as relentlessly but as imperceptibly as the grass grows. Simon's powers of visual description are much in evidence here.

المصدر
Read more: http://www.answers.com/topic/claude-simon#ixzz2AhHkrIpS

يتيم الاب في سن الاولى ...1 .، ويتيم الام في السنة الـ 2 .

لطيم.

Akinwande Oluwole "Wole" Soyinka (born 13 July 1934) is a Nigerian writer, notable especially as a playwright and poet; he was awarded the 1986 Nobel Prize in Literature, the first person in Africa and the diaspora to be so honoured.
Soyinka was born into a Yoruba family in Abeokuta. After study in Nigeria and the UK, he worked with the Royal Court Theatre in London. He went on to write plays that were produced in both countries, in theatres and on radio. He took an active role in Nigeria's political history and its struggle for independence from Great Britain. In 1965, he seized the Western Nigeria Broadcasting Service studio and broadcast a demand for the cancellation of the Western Nigeria Regional Elections. In 1967 during the Nigerian Civil War, he was arrested by the federal government of General Yakubu Gowon and put in solitary confinement for two years.[1]
Soyinka has strongly criticised many Nigerian military dictators, especially late General Sanni Abacha, as well as other political tyrannies, including the Mugabe regime in Zimbabwe. Much of his writing has been concerned with "the oppressive boot and the irrelevance of the colour of the foot that wears it".[citation needed] During the regime of General Sani Abacha (1993–1998), Soyinka escaped from Nigeria via the "Nadeco Route" on motorcycle. Living abroad, mainly in the United States, he was a professor first at Cornell University and then at Emory University in Atlanta, where in 1996 he was appointed Robert W. Woodruff Professor of the Arts. Abacha proclaimed a death sentence against him "in absentia". With civilian rule restored to Nigeria in 1999, Soyinka returned to his nation. He has also taught at Oxford, Harvard and Yale.
From 1975 to 1999, he was a Professor of Comparative Literature at the Obafemi Awolowo University, then called the University of Ife. With civilian rule restored in 1999, he was made professor emeritus.[1] Soyinka has been a Professor of Creative Writing at the University of Nevada, Las Vegas. In the fall of 2007 he was appointed Professor in Residence at Loyola Marymount University in Los Angeles, California, US.[1]

From a Remo family of Isara-Remo, Soyinka was born the second of six children, in the city of Abẹokuta, Ogun State in Nigeria, at that time a British dominion.

His father, Samuel Ayodele Soyinka (whom he called S.A. or "Essay"), was an Anglican minister and the headmaster of St. Peters School in Abẹokuta.

Soyinka's mother, Grace Eniola Soyinka (whom he dubbed the "Wild Christian"), owned a shop in the nearby market. She was a political activist within the women's movement in the local community. She was also Anglican.

As much of the community followed indigenous Yorùbá religious tradition, Soyinka grew up in an atmosphere of religious syncretism, with influences from both cultures.

His father's position enabled him to get electricity and radio at home.
His mother was one of the most prominent members of the influential Ransome-Kuti family: she was the daughter of Rev. Canon JJ Ransome-Kuti, and sister to Olusegun Azariah Ransome-Kuti and Oludotun Ransome-Kuti. Among Soyinka's cousins were the musician Fela Kuti, the human rights activist Beko Ransome-Kuti, politician Olikoye Ransome-Kuti and activist Yemisi Ransome-Kuti.[2]
In 1940, after attending St. Peters Primary School in Abeokuta, Soyinka went to Abẹokuta Grammar School, where he won several prizes for literary composition. In 1946 he was accepted by Government College in Ibadan, at that time one of Nigeria’s elite secondary schools.
After finishing his course at Government College in 1952, he began studies at University College in Ibadan (1952–1954), affiliated with the University of London. He studied English literature, Greek, and Western history. In the year 1953–1954, his second and last at University College, Ibadan, Soyinka began work on "Keffi's Birthday Threat," a short radio play for Nigerian Broadcasting Service. It was broadcast in July 1954. Whilst at university, Soyinka and six others founded the Pyrates Confraternity, an anti-corruption and justice-seeking student organisation, the first confraternity in Nigeria. Soyinka gives a detailed account of his early life in his memoir Aké: The Years of Childhood.
Later in 1954, Soyinka relocated to England, where he continued his studies in English literature, under the supervision of his mentor Wilson Knight at the University of Leeds (1954–1957). He met numerous young, gifted British writers. Before defending his B.A., Soyinka began publishing and worked as an editor for the satirical magazine The Eagle. He wrote a column on academic life, often criticising his university peers.

After graduating, he remained in Leeds with the intention of earning an M.A.. Soyinka intended to write new work to combine European theatrical traditions with those of his Yorùbá cultural heritage. His first major play, The Swamp Dwellers (1958) was followed a year later, by The Lion and the Jewel, a comedy that attracted interest from several members of London's Royal Court Theatre. Encouraged, Soyinka moved to London, where he worked as a play reader for the Royal Court Theatre. During the same period, both of his plays were performed in Ibadan. They dealt with the uneasy relationship between progress and tradition in Nigeria.[3]
In 1957 his play The Invention was the first of his works to be produced at the Royal Court Theatre. At that time his only published works were poems such as "The Immigrant" and "My Next Door Neighbour", which were published in the Nigerian magazine Black Orpheus.[4] This was founded in 1957 by the German scholar Ulli Beier, who had been teaching at the University of Ibadan since 1950.[5]
Soyinka received a Rockefeller Research Fellowship from University College in Ibadan, his alma mater, for research on African theatre, and he returned to Nigeria. He produced his new satire The Trials of Brother Jero. His work, A Dance of The Forest (1960), a biting criticism of Nigeria's political elites, won a contest that year as the official play for Nigerian Independence Day. On 1 October 1960, it premiered in Lagos as Nigeria celebrated its sovereignty. Also in 1960, Soyinka established the "Nineteen-Sixty Masks", an amateur acting ensemble to which he devoted considerable time over the next few years.
Soyinka published works satirising the 'Emergency' in the Western Region of Nigeria, as his Yorùbá homeland was increasingly occupied and controlled by the federal government. The political tensions arising from recent post-colonial independence eventually led to a military coup and civil war (1967–1970).
With the Rockefeller grant, Soyinka bought a Land Rover. He began travelling throughout the country as a researcher with the Department of English Language of the University College in Ibadan. In an essay of the time, he criticised Leopold Senghor's Négritude movement as a nostalgic and indiscriminate glorification of the black African past that ignores the potential benefits of modernisation. "A tiger does not shout its tigritude," he declared, "it acts."[citation needed]
In December 1962, his essay "Towards a True Theater" was published. He began teaching with the Department of English Language at Obafemi Awolowo University in Ifẹ. Soyinka discussed current affairs with "négrophiles," and on several occasions openly condemned government censorship. At the end of 1963, his first feature-length movie, Culture in Transition, was released. In April 1964 The Interpreters, "a complex but also vividly documentary novel",[6] was published in London.
That December, together with scientists and men of theatre, Soyinka founded the Drama Association of Nigeria. In 1964 he also resigned his university post, as a protest against imposed pro-government behaviour by authorities. A few months later, he was arrested for the first time, accused of underlying tapes during reproduction of recorded speech of the winner of Nigerian elections.[clarification needed] He was released after a few months of confinement, as a result of protests by the international community of writers. This same year he wrote two more dramatic pieces, Before the Blackout and the comedy Kongi’s Harvest. He also wrote The Detainee, a radio play for the BBC in London. At the end of the year, he was promoted to headmaster and senior lecturer in the Department of English Language at Lagos University.
Soyinka's political speeches at that time criticised the cult of personality and government corruption in African dictatorships. In April 1965 his play Kongi’s Harvest was produced in revival at the International Festival of Negro Art in Dakar, Senegal. His play The Road was awarded the Grand Prix. In June 1965, Soyinka produced his play The Lion and The Jewel for Hampstead Theatre Club in London.

After becoming chief of the Cathedral of Drama at the University of Ibadan, Soyinka became more politically active. Following the military coup of January 1966, he secretly and unofficially met with the military governor Chukwuemeka Odumegwu Ojukwu in the Southeastern town of Enugu (August 1967), to try to avert civil war. As a result, he had to go into hiding.
He was imprisoned for 22 months[7] as civil war ensued between the federal government and the Biafrans. Though refused materials such as books, pens, and paper, he still wrote a significant body of poems and notes criticising the Nigerian government.[8]
Despite his imprisonment, in September 1967, his play The Lion and The Jewel was produced in Accra. In November The Trials of Brother Jero and The Strong Breed were produced in the Greenwich Mews Theatre in New York. He also published a collection of his poetry, Idanre and Other Poems. It was inspired by Soyinka’s visit to the sanctuary of the Yorùbá deity Ogun, whom he regards as his "companion" deity, kindred spirit, and protector.[8]
In 1968, the Negro Ensemble Company in New York produced Kongi’s Harvest. While still imprisoned, Soyinka translated from Yoruba a fantastical novel by his compatriot D. O. Fagunwa, called The Forest of a Thousand Demons: A Hunter's Saga.

Iosif Aleksandrovich Brodsky 24 May 1940 – 28 January 1996) was a Russian poet and essayist.
Born in Leningrad in 1940, Brodsky ran afoul of Soviet authorities and was expelled from the Soviet Union in 1972, settling in America with the help of W. H. Auden and other supporters. He taught thereafter at universities including those at Yale, Cambridge and Michigan.
Brodsky was awarded the 1987 Nobel Prize in Literature "for an all-embracing authorship, imbued with clarity of thought and poetic intensity".[2] He was appointed United States Poet Laureate in 1991.[3]

Brodsky was born into a Jewish family in Leningrad.

His father, Aleksandr Brodsky, was a professional photographer in the Soviet Navy and his mother, Maria Volpert Brodsky, was a professional interpreter whose work often helped to support the family.

They lived in communal apartments, in poverty, marginalized by their Jewish status.[4]

In early childhood Brodsky survived the Siege of Leningrad where he and his parents nearly died of starvation; an aunt of his did die of hunger.[

He later suffered from various health problems caused by the siege.
Brodsky commented that many of his teachers were anti-Semitic and that he felt like a dissident from an early age. He noted "I began to despise Lenin, even when I was in the first grade, not so much because of his political philosophy or practice ... but because of his omnipresent images."[6]
As a young student Brodsky was "an unruly child" known for his misbehavior during classes. [7]At fifteen, Brodsky left school and tried to enter the School of Submariners without success. He went on to work as a milling machine operator.[4] Later, having decided to become a physician, he worked at the morgue at the Kresty prison, cutting and sewing bodies.[4] He subsequently held a variety of jobs in hospitals, in a ship's boiler room, and on geological expeditions. At the same time, Brodsky engaged in a program of self-education. He learned Polish so he could translate the works of Polish poets like Czesław Miłosz, and English so he could translate John Donne. On the way, he acquired a deep interest in classical philosophy, religion, mythology, and English and American poetry.[6]

In 1963, Brodsky's poetry was denounced by a Leningrad newspaper as "pornographic and anti-Soviet." His papers were confiscated, he was interrogated, twice put in a mental institution[10] and then arrested. He was charged with social parasitism[11] by the Soviet authorities in a trial in 1964, finding that his series of odd jobs and role as a poet were not a sufficient contribution to society.[4] [12] They called him "a pseudo-poet in velveteen trousers" who failed to fulfill his "constitutional duty to work honestly for the good of the motherland."[10] The trial judge asked "Who has recognized you as a poet? Who has enrolled you in the ranks of poets?" — "No one," Brodsky replied, "Who enrolled me in the ranks of the human race?"[6] Brodsky was not yet 24.
For his "parasitism" Brodsky was sentenced to five years hard labor and served 18 months on a farm in the village of Norenskaya, in the Arctic Archangelsk region, three hundred and fifty miles from Leningrad. He rented his own small cottage, and though it was without plumbing or central heating, having one's own, private space was taken to be a great luxury at the time. [5]Basmanova, Bobyshev and Brodsky's mother, among others, visited. He wrote on his typewriter, chopped wood, hauled manure and at night read his anthologies of English and American poetry, including a lot of Auden and Robert Frost. Brodsky's close friend and biographer Lev Loseff writes that while confinement in the mental hospital and the trial were miserable experiences, the 18 months in the Arctic were among the best times of Brodsky's life. Brodsky’s mentor, Anna Akhmatova, laughed at the K.G.B.’s shortsightedness. “What a biography they’re fashioning for our red-haired friend!” she said. “It’s as if he’d hired them to do it on purpose.”[13]
Brodsky's sentence was commuted in 1965 after protests by prominent Soviet and foreign cultural figures, including Evgeny Evtushenko, Dmitri Shostakovich, and Jean-Paul Sartre as well as Akhmatova [4] [9] Brodsky became a cause celebre in the West also when a secret transcription of trial minutes was smuggled out of the country, making him a symbol of artistic resistance in a totalitarian society, much like his mentor Akhmatova.

His son, Andrei was born on the 8 October 1967, and Basmanova broke off the relationship. Andrei was registered under Basmanova's surname because Brodsky did not want his son to suffer from political attacks that he endured. [14] Marina Basmanova was threatened by the Soviet authorities which prevented her from marrying Brodsky or joining him when he was exiled from the country.[5][15] After the birth of their son, Brodsky continued to dedicate love poetry to Basmanova.[5] In 1989, Brodsky wrote his last poem to "M.B.," describing himself remembering their life in Leningrad:
Your voice, your body, your name
mean nothing to me now. No one destroyed them.
It's just that, in order to forget one life, a person needs to live
at least one other life. And I have served that portion.[5]
Brodsky returned to Leningrad in December 1965 and continued to write over the next seven years, many of his works being translated into German, French and English and published abroad. Verses and Poems was published by Inter-Language Literary Associates in Washington in 1965, Elegy to John Donne and Other Poems was published in London in 1967 by Longmans Green, and A Stop in the Desert was issued in 1970 by Chekhov Publishing in New York. Only four of his poems were published in Leningrad anthologies in 1966 and 1967, most of his work appearing outside the Soviet Union or circulated in secret (samizdat) until 1987. Persecuted for his poetry and his Jewish heritage, he was denied permission to travel. In 1972, while Brodsky was being considered for exile, the authorities consulted mental health expert Andrei Snezhnevsky, a key proponent of the notorious pseudo-medical diagnosis of "paranoid reformist delusion".[16] This political tool allowed the state to lock up dissenters in psychiatric institutions indefinitely. Without examining him personally, Snezhnevsky diagnosed Brodsky as having "sluggishly progressing schizophrenia", concluding that he was "not valuable person at all and may be let go."[16] In 1971, Brodsky was twice invited to emigrate to Israel. When called to the Ministry of the Interior in 1972 and asked why he had not accepted, he stated that he wished to stay in the country. Within 10 days officials broke into his apartment, took his papers, and on 4 June 1972 put him on a plane for Vienna.[6] He never returned to Russia and never saw Basmanova again.[5]. Brodsky later wrote "The Last Judgement is the Last Judgement, but a human being who spent his life in Russia, has to be, without any hesitation, placed into Paradise."[17] [18]
In Austria, he met Carl Proffer and Auden, who would both help in Brodsky's transit to America and prove influential to Brodsky's career. Proffer, of the University of Michigan and one of the co-founders of Ardis Publishers, became Brodsky's Russian publisher from this point on. Recalling his landing in Vienna, Brodsky commented "I knew I was leaving my country for good, but for where, I had no idea whatsoever. One thing which was quite clear was that I didn't want to go to Israel... I never even believed that they'd allow me to go. I never believed they would put me on a plane, and when they did I didn't know whether the plane would go east or west... I didn't want to be hounded by what was left of the Soviet Security Service in England. So I came to the States." [19] Although the poet was invited back after the fall of the Soviet Union, Brodsky never returned to his country.[6] [20]

After a short stay in Vienna, Brodsky settled in Ann Arbor, with the help of poet Auden and Proffer and became poet in residence at the University of Michigan for a year. Brodsky went on to become a Visiting Professor at Queens College (1973–74), Smith College, Columbia University, and Cambridge University, later returning to the University of Michigan (1974–80). He was the Andrew Mellon Professor of Literature and Five College Professor of Literature at Mount Holyoke College, brought there by poet and historian Peter Viereck.[21] In 1978, Brodsky was awarded an honorary degree of Doctor of Letters at Yale University, and on 23 May 1979, he was inducted as a member of the American Academy and Institute of Arts and Letters. He moved to New York's Greenwich Village in 1980 and In 1981, Brodsky received the John D. and Catherine T. MacArthur Foundation's "genius" award.[4] He was also a recipient of The International Center in New York's Award of Excellence. In 1986, his collection of essays Less Than One won the National Book Critics Award for Criticism and he was given an honorary doctorate of literature from Oxford University.[10]
In 1987, he won the Nobel Prize for Literature, the fifth Russian-born writer to do so. In an interview he was asked: "You are an American citizen who is receiving the Prize for Russian-language poetry. Who are you, an American or a Russian?" He responded: "I am Jewish – a Russian poet and an English essayist".[22] The Academy stated that they had awarded the prize for his "all-embracing authorship, imbued with clarity of thought and poetic intensity." It also called his writing "rich and intensely vital," characterized by "great breadth in time and space." It was "a big step for me, a small step for mankind," he joked.[6] The prize coincided with the first legal publication in Russia of Brodsky's poetry as an exile.[23]
In 1991, Brodsky became Poet Laureate of the United States. The Librarian of Congress said that Brodsky had "the open-ended interest of American life that immigrants have. This is a reminder that so much of American creativity is from people not born in America".[6] His inauguration address was printed in Poetry Review. Brodsky held an honorary degree from the University of Silesia in Poland and was an honorary member of the International Academy of Science. In 1995, Gleb Uspensky, a senior editor at the Russian publishing house Vagrius, asked Brodsky to return to Russia for a tour but he could not agree.[10] For the last ten years of his life, Brodsky was under considerable pressure from those that regarded him as a "fortune maker". He was a greatly honored professor, was on first name terms with the heads of many large publishing houses, and connected to the significant figures of American literary life. His friend Ludmila Shtern wrote that many Russian intellectuals in both Russia and America assumed his influence was unlimited, that a nod from him could secure them a book contract, a teaching post or a grant, that it was in his gift to assure a glittering career. A helping hand or a rejection of a petition for help could create a storm in Russian literary circles, which Shtern suggests became very personal at times. His position as a lauded émigré and Nobel Prize winner won him enemies and stoked resentment, the politics of which, she writes, made him feel "deathly tired" of it all towards the end.[24]

In 1990, while teaching literature in France, Brodsky married a young student, Maria Sozzani, who has a Russian-Italian background; they had one daughter, Anna.
Marina Basmanova lived in fear of the Soviet authorities, until the collapse of the Soviet Union in 1991; only after this was their son Andrei Basmanov allowed to join his father in New York. In the 1990s, Brodsky invited Andrei to visit him in New York for three months, and they maintained a father-son relationship until Brodsky's death.[citation needed] Andrei married in the 1990s and had three children, all of whom were recognized and supported by Brodsky as his grandchildren; Marina Basmanova, Andrei, and Brodsky's grandchildren all live in Saint Petersburg. Andrei gave readings of his father's poetry in a documentary about Brodsky. The film contains Brodsky's poems dedicated to Marina Basmanova and written between 1961 and 1982. [25]
Brodsky died of a heart attack aged 55, in his New York City apartment on January 28, 1996. He had had open-heart surgery in 1979 and later two bypass operations, remaining in frail health since that time. He was buried in the Episcopalian section at Isola di San Michele cemetery in Venice, Italy.[10] In 1997, a plaque was placed on his house in St Petersburg (Leningrad) with his portrait in relief, and the words "In this house from 1940 to 1972 lived the great Russian poet Iosif Aleksandrovich Brodsky".[26] Brodsky's close friend, the Nobel laureate Derek Walcott, memorialized him in his collection The Prodigal (2004).

==
Naguib Mahfouz (Arabic: نجيب محفوظ‎ Nagīb Maḥfūẓ, IPA: [næˈɡiːb mɑħˈfuːzˤ]; 11 December 1911 – 30 August 2006) was an Egyptian writer who won the 1988 Nobel Prize for Literature. He is regarded as one of the first contemporary writers of Arabic literature, along with Tawfiq el-Hakim, to explore themes of existentialism.[1] He published 34 novels, over 350 short stories, dozens of movie scripts, and five plays over a 70-year career. Many of his works have been made into Egyptian and foreign films.

Born into a lower middle-class Muslim family in the Gamaleyya quarter of Cairo, Mahfouz was named after Professor Naguib Pasha Mahfouz (1882–1974), the renowned Coptic physician who delivered him.

Mahfouz was the seventh and the youngest child in a family that had five boys and two girls.

The family lived in two popular districts of the town, in el-Gamaleyya, from where they moved in 1924 to el-Abbaseyya, then a new Cairo suburb; both provided the backdrop for many of Mahfouz's writings.

His father, whom Mahfouz described as having been "old-fashioned", was a civil servant, and Mahfouz eventually followed in his footsteps.

In his early years, Mahfouz read extensively and was influenced by Hafiz Najib, Taha Hussein and Salama Moussa.[2] His mother often took him to museums and Egyptian history later became a major theme in many of his books.[3]

The Mahfouz family were devout Muslims and Mahfouz had a strict Islamic upbringing. In an interview, he elaborated on the stern religious climate at home during his childhood. He stated that "You would never have thought that an artist would emerge from that family."
The Egyptian Revolution of 1919 had a strong effect on Mahfouz, although he was at the time only seven years old.

From the window he often saw British soldiers firing at the demonstrators, men and women. "You could say ... that the one thing which most shook the security of my childhood was the 1919 revolution", he later said.

After completing his secondary education, Mahfouz was admitted to King Fouad I University (now the University of Cairo), where he studied philosophy, graduating in 1934. By 1936, having spent a year working on an M.A., he decided to become a professional writer. Mahfouz then worked as a journalist at er-Risala, and contributed to el-Hilal and Al-Ahram. The major Egyptian influence on Mahfouz's thoughts on science and socialism in the 1930s was Salama Moussa, the Fabian intellectual.

Mahfouz left academia and joined the Egyptian civil service, in which he continued till 1972. He served in the Ministry of Mortmain Endowments, then as Director of Censorship in the Bureau of Art, as Director of the Foundation for the Support of the Cinema, and finally as a consultant to the Ministry of Culture.[4]

Mahfouz remained a bachelor until the age of 43. The reason for his late marriage was that he laboured under the conviction that with its numerous restrictions and limitations, marriage would hamper his literary future.[2] In 1954, he married an Egyptian woman, Atiya, with whom he had two daughters, Faten and Umm Kalthum.[5]

He published 34 novels, over 350 short stories, dozens of movie scripts and five plays over a 70-year career. Many of his works have been made into Egyptian films. He was a board member of the publisher Dar el-Ma'aref. Many of his novels were serialized in Al-Ahram, and his writings also appeared in his weekly column, "Point of View". Before the Nobel Prize only a few of his novels had appeared in the West.[citation needed]

Mahfouz did not shrink from controversy outside of his work. As a consequence of his outspoken support for Sadat's Camp David peace treaty with Israel in 1978, his books were banned in many Arab countries until after he won the Nobel Prize. Like many Egyptian writers and intellectuals, Mahfouz was on an Islamic fundamentalist "death list". He defended Salman Rushdie after Ayatollah Ruhollah Khomeini condemned Rushdie to death in 1989, but also criticized his Satanic Verses as "insulting" to Islam. Mahfouz believed in freedom of expression and although he did not personally agree with Rushdie's work, he did not believe that there should be a fatwa condemning him to death for it. In 1989, after Ayatollah Ruhollah Khomeini's fatwa calling for Salman Rushdie and his publishers to be killed, Mahfouz called Khomeini a terrorist.[6] Shortly after Mahfouz joined 80 other intellectuals in declaring that "no blasphemy harms Islam and Muslims so much as the call for murdering a writer."[7]

The appearance of The Satanic Verses brought back up the controversy surrounding Mahfouz's novel Children of Gebelawi. Death threats against Mahfouz followed, including one from the "blind sheikh," Egyptian theologian Omar Abdul-Rahman. Mahfouz was given police protection, but in 1994 Islamic extremists almost succeeded in assassinating the 82-year-old novelist by stabbing him in the neck outside his Cairo home.[8]
He survived, permanently affected by damage to nerves in his right hand. After the incident Mahfouz was unable to write for more than a few minutes a day and consequently produced fewer and fewer works. Subsequently, he lived under constant bodyguard protection. Finally, in the beginning of 2006, the novel was published in Egypt with a preface written by Ahmad Kamal Aboul-Magd. After the threats, Mahfouz stayed in Cairo with his lawyer Nabil Mounir Habib. Mahfouz and Mounir would spend most of their time in Mounir's office; Mahfouz used Mounir's library as a reference for most of his books. Mahfouz stayed with Mounir until his death.[citation needed]

Prior to his death, Mahfouz was the oldest living Nobel Literature laureate and the third oldest of all time, trailing only Bertrand Russell and Halldor Laxness. At the time of his death, he was the only Arabic-language writer to have won the Nobel Prize. In July 2006, Mahfouz sustained an injury to his head as a result of a fall. He remained ill until his death on 30 August 2006 in a Cairo hospital.[9] In his old age, he became nearly blind, and though he continued to write, he had difficulties in holding a pen or a pencil. Prior to his death, he suffered from a bleeding ulcer, kidney problems, and cardiac failure. He was accorded a state funeral with full military honors on 31 August 2006. His funeral took place in the Al-Rashdan Mosque in Nasr City in Cairo.

الطفل السابع في العائلة وعومل وكأنه طفل وحيد حيث الفرق بينه وبين اكبر اخوته عشر سنوات. تأثر كثيرا بما رأه من قتل للمتظاهرين في الشوارع ابان الثورةة وعمره 7 سنوات لكن يبدو ان اهم عنصر مؤثر فيه مرض الصرع الذي تقول بعض المصادر انه كان يعاني منه.

مأزوم.

Camilo José Cela y Trulock, 1st Marquis of Iria Flavia (Spanish pronunciation: [kaˈmilo xoˈse ˈθela]; 11 May 1916 – 17 January 2002) was a Spanish novelist and short story writer associated with the Generation of '36 movement.
He offered his services as an informer for Franco's regime and moved voluntarily from Madrid to Galicia during the Civil War in order to join the Francoist forces there. [1]
He was awarded the 1989 Nobel Prize in Literature "for a rich and intensive prose, which with restrained compassion forms a challenging vision of man's vulnerability".[2]

Cela published his first novel, La Familia de Pascual Duarte (The Family of Pascual Duarte), when he was 26, in 1942. Pascual Duarte has trouble finding validity in conventional morality and commits a number of crimes, including murders, for which he feels nothing. In this sense he is similar to Meursault in Albert Camus's novel The Stranger. This novel is also of particular importance as it played a large part in shaping the direction of the post-war Spanish novel.
He published two travel books Viaje a la Alcarria (Journey to La Alcarria, 1948), and Del Miño al Bidasoa (From Minho to Bidasoa, 1952).
Cela's best known work, La Colmena (The Hive) was published in 1951, featuring more than 300 characters and a style showing the influence of both Spanish realism (best exemplified by Miguel de Cervantes and Benito Pérez Galdós) and contemporary English and French-language authors, such as Joyce, Dos Passos, and Sartre. Cela's typical style—a sarcastic, often grotesque, form of realism—is exemplified in La Colmena. It should be also noted that, as with some of his other works in this period, La Colmena was first published in Argentina, as Franco's Roman Catholic Church-affiliated government banned it because of the perceived immorality of its content.
Official censors expelled him from the Press Association, meaning his name could no longer appear in the printed media.[3] Nevertheless, Cela remained loyal to the Franco regime, even working as a spy for the Spanish secret police and reporting on the activities of dissident groups.[4]
From the late 1960s, with the publication of San Camilo 1936, Cela's work became increasingly experimental. In 1988, for example, he wrote Cristo versus Arizona (Christ versus Arizona), which tells the story of the duel in the OK Corral in a single sentence that is more than a hundred pages long.
In 1957 he was appointed a member of the Real Academia Española. Cela was also created Marquis of Iria Flavia by King Juan Carlos I. He was appointed Royal Senator in the Constituent Cortes, where he exerted some influence in the wording of the Spanish Constitution of 1978. In 1989, he was awarded the Nobel Prize in Literature for a rich and intensive prose, which with restrained compassion forms a challenging vision of man's vulnerability.[5]
In his later years he was infamous for his scandalous outbursts: he boasted in an TVE interview with Mercedes Milá about his capability to absorb a litre of water via his anus, offering to demonstrate.[6] He had already scandalized Spanish society with his Diccionario secreto ("Secret Dictionary", 1969–1971), a dictionary of slang and taboo words.

He described the Spanish Cervantes Prize as "covered with shit". Subsequently, he was awarded the prize in 1995.

In 1994, he was awarded the Premio Planeta. Some question the objectivity of the awards, and winners on occasion have refused to accept it.[citation needed]

In recognition of his contributions in literature, Cela was ennobled on 17 May 1996 by King Juan Carlos I, who gave Cela the hereditary title of Marqués de Iria Flavia (English: Marquis of Iria Flavia) in the nobility of Spain. On his death the marquisate passed to his son Camilo José Cela Conde.

Death

Cela died from heart disease on 17 January 2002 at the Hospital Cemtro in Madrid, aged 85. He was buried in the parish cemetery of Santa María de Adina]

His will was contested because he favoured his widow and second younger wife, Marina Castaño, over his son Camilo José Cela Conde from a previous marriage

==
Camilo José Cela was born in Iria-Flavia into a large middle-class family. Cela's mother, Camila Emmanuela Trulock y Bertorini, was of British origin. Camilo Cela y Fernandez, his father, worked as a customs official and was a part-time author. In 1925 the family moved to Madrid, where Cela studied medicine, philosophy and law at the University of Madrid. His first poem, 'Amor immenso', was published in Fábula de la Plata.
At the age of twenty, Cela's studies were interrupted by the outbreak of the Spanish Civil War (1936-39). He served as a corporal with Franco's army in the Twenty-fourth Regiment of the Infantry of Bailén, a noteworthy choice of a side in the war because literary history knows more writers who were against Franco, starting from Hemingway, Orwell, and García Lorca. (Another Spanish Nobel winner, Jacinto Benavente, sympathized Franco.) Cela witnessed cruelties against civilians. His active duty was curtailed in 1939 by an injury: in a battle, he was hit in the chest by a sharpnel of a grenade. Later Cela used his experiences in many of his stories.
After resuming his studies, Cela finally graduating at age 27. In 1944 he married María del Rosario Conde Picavea; they had one son, who became an anthropologist. The marriage ended in 1989. Just before the Nobel Prize Cela had met Marina Castaño, a radio journalist, who was 40 years his junior. Cela considered her as his muse. They married in 1991 and at the same time Cela lost touch with several old friends.

لا يعرف متى مات والديه ويبدو ان اهم عناصر التأثير في حياته هو مشاركته في الحرب الاهلية واصابته في تلك الحرب.

مجهول الطفولة.