In his novel "The Only House," Mohammed Daghles shines by awakening numerous scenes presented through dialogues woven meticulously and balanced throughout the pages. Genuine emotional effects are scattered with painful details burdened with human wounds, expressed in a beautiful and fluent language that skillfully approaches exposing many phenomena. This is done objectively and with a bold and direct narrative style that stirs awe and curiosity in the reader. Various elements collectively form the small world of the novel, filled with transformations and contradictions of those people who do not succumb to the allure of false lights. Values, slogans, principles, feelings, and emotions intertwine, everything blends with everything else, and all is subject to critique. Memories flow in the depths of mirage, psychological confusion escalates, and emotions clash with each other in many places and diverse geographic areas. It is a courageous novel in its themes, introducing a novel concept of dialogue and coexistence with others, advocating for continuous self-reflection and criticism. The author adeptly elevates his expressive capability in both narrative and dialogue across all levels, delving into the depths of many pains with fluid narrative scenes, avoiding clichés and complex, unfamiliar structures as found in the works of many authors. Additionally, he successfully adopts a critical approach with a well-executed structural accomplishment that completes the textual thresholds, including the novel's title, which is at the forefront of these thresholds. The author aptly chose the title "The Only House," consisting of two words, as an expressive indicator of the novel's critical approach where the title encapsulates the intertwining of many events that unfold across the novel's space. The main character moves between two different worlds, France, where (Nasser) resides, confused and lost, directing his eyes and awareness to this reality, narrates at times in the first person and at others in the second person when addressing his lover (Yola), sharing the narrative in a stream of memory fragments, indicating the fragmentation of this narrating self.

• Language: Arabic
• Edition: 1
• Size: 24×17
• Pages: 300
• Volumes: 1