(28) Salih ibn Yahya, Tarikh Bayrut, 242-47; Ibn Taghribirdi (d.
(34) Salih ibn Yahya, Tarikh Bayrut, 250; Makhairas, Sweet Land of Cyprus, vol.
3, 368; Salih ibn Yahya, Tarikh Bayrut, 250-51; Ibn Taghribirdi, al-Nujum al-Zahira, vol.
3, 369; Salih ibn Yahya, Tarikh Bayrut, 251; Ibn Taghribirdi, al-Nujum al-Zahira, vol.
It is persistently present in many of his novels (Hayek 185-87), especially in the trilogy Bayrut: Madinat al-'alam, a history of the city over two centuries, a "new cognitive map that connects its past to its present" (Hayek 187).
Hayek utilizes this reflection to analyze Jaber's novel Bayrut: Madinat al-'alam, which includes a "mediating figure," a young writer who is charged with the task of writing the history of Count de Butrus's household between the nineteenth and twentieth centuries, and who stands between the events narrated and the narrator himself (Hayek 188).
In Bayrut: Madinat al-'alam, the first-person narrator is presented as a journalist working for al-Hayat newspaper in Beirut.
The same holds true for Jaber's fictional texts, where the Lebanese civil war stands in the subject line that gives cohesion to much of his work, from Yusuf, Druz and Amrika--all set in the mid-nineteenth century with its wars in Mount Lebanon--up to al-I'tirafat, Tuyur, Taqrir, Shay aswad, and al-Bayt--which draw on the Lebanese conflict between the 1970s and 1990s; via Bayrut and Biritus where the narrative leaps from the origins of the conflict to our present time.
Thus, both pacts combine in the mechanism of mise en abyme employed by Jaber in, for example, al-I'tirafat, Ralf, Bayrut, and BTrTtus, and in Garcia Marquez's fictional narrator-journalist who tries to reconstruct a tragic event in Cronica, and through the journalistic reconstruction full of fictional nuances that we read and enjoy in Noticia de un secuestro.