The worst thing that man has gone through throughout the centuries will remain the persecution and racial discrimination that people commit against one another, especially when combined with deliberate exploitation, embedded in colonialism or colonialism. It seems that man today has not learned his lesson, but is still looking forward to wars and ruthless killings and fear of historical responsibility. Perhaps the literature has been found to fill in the gaps not mentioned by history, or to fill them in by describing the past of this or that country. Walter Benjamin said, “To write history you have to mention it, and to write the past you have to face history.” Based on this dictum of Benjamin, we can formulate the following question: what is the difference between quoting history and dealing with it? How can we write the past and history together, or will one of them contradict the other in the narrative, i.e., should not happen?

Algerian writer Mustafa Bogazy wrote his novel Tiano or The Solitude of a Far Country (Dar-Ghorab/Egypt and Dar-Khayal/Algeria) to deal with history. The novel tells stories and tales about Algerian exiles due to the Mokrani revolution in 1871 and the exiles from the Paris Commune, especially the period where everyone met on a trip to New Caledonia that took more than three months of sailing…
The reader reads a novel about the living conditions there, about how deportees and exiles contributed to the suppression of the Kanak uprising and the assassination of the leader Atai in 1878, as well as the end of Bumerzak al-Makrani, Aziz and Muhammad. Al-Haddad, and the extermination of the Tasmanians in Australia, as described by a witness present as a sailor aboard the Navarine. Also note that Bogazi follows the pattern of social life, including religious rituals, marriage, type of dress and food. Of course, wildlife is present in his work, as he traces its traces and depictions of geography, as if scenes from reality, to bring the image closer to the recipient’s consciousness, and also follows the features of that period from environment and urbanization through research based on areas, which are the scene of novel facts.
Apparently the writer turned to the French and English naval archives to tell about navigation, as he also used historical figures such as the captain of the ship, the governor of New Caledonia and the leader of the Kanaks, as well as the names of some were deported after events in the Paris Commune, such as writer, activist and educator Louise Michel. The novel says: “They are also among the elite of society, including thinkers, media workers, writers and artists, and those who dream that the workers’ and workers ’revolution will win, united under the red flag, which defeated the ideas of Karl Marx. Louise Michel is a writer, actress and one of the prominent faces of women. He took the ideas of the Commune and became close to its leaders, so he sympathized with the Arabs who rebelled against France and wrote about them, and met their fate on Pine Island.
As with all literary works, the author creates characters from the imagination to complete the literary work and even within its true limits, which is a novel that does not raise the voice to its own voice, whatever its history and social story. removed in depth. truth and womb of the sufferings of men. The power of this work lies in the fusion of the imagination with reality, as it cannot triumph against reality or fiction in the same way that it triumphs against literary fact, reformulating our historical information and inviting us to seek and discover a new reading of history. .
Despite the small volume of Tiano’s novel, it contains information altered by the writer in a novel way, in accordance with the literary nature of the text. In my opinion, it belongs to the so -called historical fiction novel.
This novel comes out with a tone of questioning history from literature, reminiscing about the past or resurrecting him as a novelist that the current generation should remember, and as Marquez says: “Life is not what life is in ours, but what it remembers. ” , and how he remembers it to tell about it.