Abstract
It is not fair to say that only the feminist pen is capable of revealing the female self, and the paradoxical feelings that characterize this self, such as sadness, joy, pain, revolt against opacity and absolute submission to it and other such complex psychological mosaic, as the creative reality has proven to us that the male pen has a role in taking care of drawing this paradoxical psychological mosaic in words that captivated the recipient, as in the case of many well-known Arab creative names such as Mohammed HassaninHeikal in his novel “Zainab”, which captured with infinite accuracy the revelation of the female self of the honest romantic feelings that were shackled by complex social barriers, as well as the pen of Ihsan Abdel Quddus in in “I am Free”, “In Our House is a Man”, “Empire of Meem” and other novels that classified him as the first defender of women, to the accurate psychological and social description of this female self by Naguib Mahfouz in his famous trilogy, “Beginning and End” and many others created by this man.
The Algerian novelist and storyteller Ahmed RedaHoho, who revolted in his diverse creative achievements at the height of the spread of colonialism in Algeria and Arab countries against the repression of the female self, refusing to allow its revelations to emerge under a rigid male centralism, embodied his revolution in a series of creative achievements, such as his famous novel "The Beginning and the End The Algerian men's pens multiplied after the country's independence to give a voice to the female self in their textual spaces, including “Abdelhamid Ben Hedouga” in his various novels, most notably “The Wind of the South,” which moved from the paper space to the cinematic space.
