This article analyzes Darwish's creative dissidence and proposes a literary anthropological mapping that exposes his own relative historicity--his truth about Israel's occupation on the one hand, and his love for life and for his native land as a quintessentially locative human condition on the other. The existential echo that reverberates through Darwish's language is a calling, a desire for home--home in the poetic corpus and home for the nation. Socio-critical analysis of Mahmoud Darwish's poetics about his homeland requires that the corpus of his works be treated almost as a literary anthropological philosophy by relativizing it within the homo-historical and social literary contexts in which it was produced. My assessment of assigned categories onto Darwish's poetic corpus is an interpretive ontological signifying in order to map his literary evolution as it pertains to the identified categories (1-Formative, 2-Sublime, 3-Global). This assessment is not presumptuous or exhaustive; it is a theoretical study that tries to situate Darwish's poetic discourse within a socio-historical field and beyond the mere literary framework--a necessity given the broad scope of his works and philosophy.



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