Editorial Moho
EDITORIAL MOHO: this Mexican publishing house started in the 1995. Since then, it has focused on expressions in which parody, irony, realism and urban miscellaneous prevail.
View Rights PortalEDITORIAL MOHO: this Mexican publishing house started in the 1995. Since then, it has focused on expressions in which parody, irony, realism and urban miscellaneous prevail.
View Rights PortalEstablished in the 1930s and Zurich in the 1950s, Mohrbooks is the trusted German representative of international publishers agencies as well as German authors.
View Rights Portal“A wise malice radiated from his features, and one always had the impression that he knew more than he was willing to say, that a shrewd reflection lurked behind his smiles. His quick wit and good humor were the delight of La Mauresque and its surroundings; a reminder through his quiet charm that the world could still harbor delicacy.” Mohamed Abdallah Oran, autumn 1954. At La Mauresque, a space symbolizing a whole country in turmoil, in the heart of the indigenous city of Oran, the doubts of its occupants multiply and questions abound. Journalists, politicians, novelists, poets and artists grapple with a pivotal moment in their countries' history. The old world is dying, while the new one is slow to emerge for them. Hesitations and initiatives abound. They are trying to navigate by sight in an ocean so vast that it merges with the horizon; a horizon they sometimes seem to forget, but which the author has tried to give readers a constant view of through his novel: Le Vent a dit son Nom (The Wind Has Said Its Name). Multiplying references to emblematic figures in the awakening of consciences to freedom, Mohamed Abdallah attempts to offer a fresh look at the role that men of letters, intellectuals and, more generally, people of culture can play, at a time when a Nation is preparing to face new trials. These are themes that still resonate today.
“In the old days, passing on an inheritance was rarely an issue. Oh, there were always old men to complain about the folly of the new generations and cheeky brats ready to mock their elders, but, on the whole, the world of sons resembled that of fathers, and the lessons of the latter were passed on without much difficulty. Today, each era seems to create its own world, bringing its own new life into it. The challenge is not to lose sight of the aspects of continuity that reign from one era to the next.” Mohamed Abdallah Egypt, its neighbors. Cairo, a city that has created an arena for itself between the jaws of the desert. Its river emerges from elsewhere, the Nile, always there, meandering amiably between Cairo's buildings, sometimes disappearing behind a mosque or cinema, before reappearing for good, an ancient comrade in a procession backwards through the decades. Its nourishing trickles are laden with secrets, the destinies of men and women and the mysteries of millennia. One era? No, several. At the beginning, or rather at the end, two novelists, two cousins who don't know each other but remember the same universe. In their books, they recount its beauty, greatness and pettiness, successes and failings. The root of this painful poetics? A revived horizon, refracted from one era to the next. Revolutions wished for, sung about, mourned. A world, several continents believing themselves to be in the hollow of a valley where faces emerge, voices rise, psalms are declaimed, music dances, scents run through the streets... Oumm Koulthoum, Youcef Cha-hine, Tawfiq al-Hakim, Ahmad Shawqi, Cheikh Imam, Fouad Nagm, Soad Hosny and... take their place at Café Isfet in the El Gamaliyya district. Broken, twisted, surviving, magnificent friendships. Unspoken loves, over-thought, under-experienced. Good-natured, jovial, albeit frazzled, witnesses. And, in the midst of this field of superb ruins, life, its aspirations, the arts and their.
Despite its small size, it managed to take its place among the best modern literature books in recent years. From the title and cover, going through its amazing preface and eloquent language, and to the element of surprise and unexpected ending. Abdallah Al-Zioud was able to make the reading journey of this novel a meaningful journey despite its shortness; a journey introduces readers to new terms that manipulate their imaginations and puts them in the eye of the event through a visual language that conveys the reader from paper to the visual world of the novel. It teaches them some of writing tricks and simplifies what seems complicated at the beginning so that the reader believes in its ordinary before discovering that he has fallen victim to fraud.I can say that the most beautiful thing about this novel is that it was not written in a style and did not follow a context. it rebelled against the ordinary, uniquified in style, and combined simplicity and complexity in a way predicting an amazing ability and counted in its writer favor.
From his earliest writings, Algerian writer Mohammed Dib (1920-2003) never gave in to the use of didactic, transparent language, nor to the expectations of so-called “commissioned” literature. It's the work of the language in its syntactic cutting, the weighing of the letter, that's important. In fact, the Dibian witness is masked: he conceals within himself what I'd like to call a literary witness, i.e. a textual device, plural in its declensions, which, going against the expected, allows for other times, (re)plays the texts in their unspoken, questions the memory of the texts, renews the very conception of the witness and asks the following question: what witness when fiction gets involved? This essay, covering fifty years of uninterrupted creation, sets out to delineate the various passages of witness that Dib's work encourages, but cannot avoid questioning the very nature of exegesis and the position of the exegete: do I become, at the end of this relay, the ultimate witness who wishes, from the depths of his heart, to pass the baton to a new guarantor? Translated with www.DeepL.com/Translator (free version)
Sechs Jahre verbrachte André Kaminski in Nord- und Äquatorialafrika; zunächst als Reporter und Filmemacher, dann als Gründer der staatlichen Film- und Fernsehschule in Algier. Aus dieser Zeit stammen seine Geschichten. In Algier wurde mittels Inserat im »Mudschahid« eine Eignungsprüfung angekündigt. Es meldeten sich Viertausend; jeder zweite Algerier schien Regisseur werden zu wollen. Übrig blieben drei Mädchen und zwanzig Männer. Unter ihnen der übellaunige, zerlumpte, aber geniale Genfud, dessen Leben ein einziger Sieg über die Schwerkraft ist und von dem die erste Geschichte berichtet. Kaminski erzählt, wie er als Berater mit einem Team nach El Ued fährt, um auf dem Wochenmarkt Schauspieler für einen Film zu finden. Unterwegs, in einem Wüstenbordell niedrigster Klasse, erkennt er in einem Krüppel Hafid. Kaum fünf Jahre zuvor war er ihm begegnet, als er noch schön war wie ein Engel und berühmt war als der Messerschlitzer von Bufarik. Ein Fidaj war er gewesen, ein Rächer der Befreiungsfront, mit dem Auftrag, Verrätern ein Ohr abzuschneiden; er hatte es auf 111 gebracht. Der Autor berichtet von einem Prozeß in Boké, an den Ufern des Rio Nuniez in Äquatorialafrika gelegen, wo eine gewisse Frau Diop unter Anklage stand, den sechs Monate alten Säugling Ihrer Rivalin gefressen zu haben. Die Angeklagte gestand und demonstrierte den Vorgang. Das Buch enthält neun Erlebnisberichte eines »rasenden Reporters «, der zu schreiben und beschreiben weiß und es versteht, hinter Afrikas Maske zu schauen. Nach 36 Theater- und Fernsehstücken ist dies André Kaminskis erster Band mit Erzählungen.
Als Muhammad klein war, wurde ihm sein Fahrrad gestohlen. Er wollte mit dem Dieb kämpfen, aber ein Polizist sagte ihm, er solle zuerst boxen lernen. Er trainierte unermüdlich und wurde ein eleganter und trickreicher Boxer. Sein großer Traum ging schließlich in Erfüllung: Er wurde Schwergewichtsweltmeister. Aber er konnte nicht nur gut mit seinen Fäusten umgehen, sondern zeigte auch außerhalb des Boxrings Zivilcourage. Little People, Big Dreams erzählt von den beeindruckenden Lebensgeschichten großer Menschen: Jede dieser Persönlichkeiten, ob Malerin, Tänzer oder Bürgerrechtsaktivistin, hat Unvorstellbares erreicht. Dabei begann alles, als sie noch klein waren: mit großen Träumen. Für welches Alter sind diese Bücher gedacht? Für Babys das perfekte Geschenk zur Begrüßung in eine Welt voller Träume! Und Eltern werden in schlaflosen Nächten von diesen Büchern dazu ermutigt, das Vorlesen zu einem selbstverständlichen Teil des Lebens zu machen. Kleinkinder werden von den Illustrationen verzaubert sein – sie werden zahlreiche Dinge entdecken. Auch sind die Bücher großartige „Vokabeltrainer“! 3- bis 5-Jährige werden alles, Illustrationen und Texte, geradezu in sich aufsaugen! 6-, 8- und 10-Jährige haben ein ausgeprägteres Verständnis für die Illustrationen und die Bedeutung der Geschichte – es geht nicht nur darum, sich selbst zu akzeptieren und die eigenen Zukunftsträume zu verwirklichen, sondern auch darum, andere so zu akzeptieren, wie sie sind. Später: Die Bücher sind gute Geschenke zu jedem Anlass, denn die Träume der Kindheit können das ganze Leben lang Wirklichkeit werden.
Taking a disease-based approach, Fish Viruses and Bacteria: Pathobiology and Protection focuses on the pathobiology of and protective strategies against the most common, major microbial pathogens of economically important marine and freshwater fish. The book covers well-studied, notifiable piscine viruses and bacteria, including new and emerging diseases which can become huge threats to local fish populations in new geographical regions if transported there via infected fish or eggs. A concise but thorough reference work, this book: - Covers key viral and bacterial diseases of notable fish species; - Reviews major well-established piscine pathogens as well as new, emerging and notifiable diseases; and - Contains the most up-to-date research contributed by a team of over fifty world experts. An invaluable bench book for fish health consultants, veterinarians and all those wanting instant access to information, this book is also a useful textbook for students specializing in fish health and research scientists initiating fish disease research programmes. ; Taking a disease-based approach, this book focuses on the pathobiology of and protective strategies against the most common, major microbial pathogens of economically important marine and freshwater fish. It covers well-studied, notifiable piscine viruses and bacteria, including new and emerging diseases. ; 1: Infectious Pancreatic Necrosis Virus, Arun K. Dhar, Scott LaPatra, Andrew Orry and F.C. Thomas Allnutt 2: Infectious Haematopoietic Necrosis Virus, Jo-Ann C. Leong and Gael Kurath 3: Viral Haemorrhagic Septicaemia Virus, John S. Lumsden 4: Epizootic Haematopoietic Necrosis and European Catfish Virus, Paul Hick, Ellen Ariel and Richard Whittington 5: Oncogenic Viruses: Oncorhynchus masou Virus and Cyprinid Herpesvirus, Mamoru Yoshimizu, Hisae Kasai, Yoshihiro Sakoda, Nanako Sano and Motohiko Sano 6: Infectious Salmon Anaemia, Knut Falk and Maria Aamelfot 7: Spring Viraemia of Carp, Peter Dixon and David Stone 8: Channel Catfish Viral Disease, Larry A. Hanson and Lester H. Khoo 9: Largemouth Bass Viral Disease, Rodman G. Getchell and Geoffrey H. Groocock 10: Koi Herpesvirus Disease, Keith Way and Peter Dixon 11: Viral Encephalopathy and Retinopathy, Anna Toffan 12: Iridoviral Diseases: Red Sea Bream Iridovirus and White Sturgeon Iridovirus, Yasuhiko Kawato, Kuttichantran Subramaniam, Kazuhiro Nakajima,Thomas Waltzek and Richard Whittington 13: Alphaviruses in Salmonids, Marius Karlsen and Renate Johansen 14: Aeromonas salmonicida and A. hydrophila, Bjarnheidur K. Gudmundsdottir and Bryndis Bjornsdottir 15: Edwardsiella spp., Matt J. Griffin, Terrence E. Greenway and David J. Wise 16: Flavobacterium spp.: F. psychrophilum, F. columnare and F. branchiophilum, Thomas P. Loch and Mohamed Faisal 17: Francisella noatunensis, Esteban M. Soto and John P. Hawke 18: Mycobacterium spp., David T. Gauthier and Martha W. Rhodes 19: Photobacterium damselae, John P. Hawke 20: Piscirickettsia salmonis, Jerri Bartholomew, Kristen D. Arkush and Esteban M. Soto 21: Renibacterium salmoninarum, Diane G. Elliott 22: Streptococcus iniae and S. agalactiae, Craig A. Shoemaker, De-Hai Xu and Esteban M. Soto 23: Vibriosis: Vibrio anguillarum, V. ordalii and Aliivibrio salmonicida, Alicia E. Toranzo, Beatriz Magariños and Ruben Avendaño-Herrera 24: Weissella ceti, Timothy J. Welch, David P. Marancik and Christopher M. Good 25: Yersinia ruckeri, Michael Ormsby and Robert Davies
The novel poses the problem of identity, as it is the essence of the psychological and intellectual conflict of the main character (Hassoun), who is disputed by two contradictory identities; He was born in the land of Yemen from a Muslim father and a Jewish mother and carried the inheritance of the two religions and their old and new conflict.Hassoun's internal journey continues with his own human crises and transformations that he witnesses along with his external journey through various societies that he went through in transitional stages of their history. Over two thousand seven hundred years, Hassoun seeks to discover himself and reach his identity by retiring at times, and by experimenting at other times, thus he goes through multiple experiences to get closer to himself.
Haiwan telah sekian lama hidup berdampingan dengan manusia di Alam Maya, sama ada dalam bentuk fizikal, simbolik dan metafora. Malahan, ikatan antara haiwan dan orang Melayu juga menjadi sebahagian daripada weltanschauung orang Melayu itu secara keseluruhannya. Penelitian diberikan khususnya kepada gajah, harimau, buaya dan kuda yang sememangnya mempunyai kaitan dengan ekonomi dan sosiobudaya orang Melayu.
Kuwaiti children’s book author Lateefa Buti’s well-crafted and beautifully illustrated children’s book, Hatless, encourages children (ages 6-9) to think independently and challenge rigid traditions and fixed rituals with innovation and creativity. The main character is a young girl named Hatless who lives in the City of Hats. Here, all of the people are born with hats that cover their heads and faces. The world inside of their hats is dark, silent, and odorless. Hatless feels trapped underneath her own hat. She wants to take off her hat, but she is afraid, until she realizes that whatever frightening things exist in the world around her are there whether or not she takes off her hat to see them. So Hatless removes her hat. As Hatless takes in the beauty of her surroundings, she cannot help but talk about what she sees, hears, and smells. The other inhabitants of the city ostracize her because she has become different from them. It is not long before they ask her to leave the City of Hats. Rather than giving up or getting angry, Hatless feels sad for her friends and neighbors who are afraid to experience the world outside of their hats. She comes up with an ingenious solution: if given another chance, she will wear a hat as long it is one she makes herself. The people of the City of Hats agree, so Hatless weaves a hat that covers her head and face but does not prevent her from seeing the outside world. She offers to loan the hat to the other inhabitants of the city. One by one, they try it on and are enchanted by the beautiful world around them. Since then, no child has been born wearing a hat. The people celebrate by tossing their old hats in the air. By bravely embracing these values, Hatless improves her own life and the lives of her fellow citizens. Buti’s language is eloquent and clear. She strikes a skilled narrative balance between revealing Hatless’s inner thoughts and letting the story unfold through her interactions with other characters. Careful descriptions are accompanied by beautiful illustrations that reward multiple readings of the book.