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Egypt

Meet Fouad II, The Forgotten King Of Egypt

PORTRAIT – Egypt’s last monarch, Ahmed Fouad II was forced out of his native country before his first birthday. Today, he lives a quiet life in Switzerland, bankrolled by the Saudis, and rejoicing over the democratization of his country.

The family tree of Egypt's Muhammed Ali dynasty (Dlisbona)
The family tree of Egypt's Muhammed Ali dynasty (Dlisbona)
Marie Maurisse

"You should address him as Your Majesty." It is more than half a century since Ahmed Fouad lost the throne of Egypt, but for his entourage, he is still the king. Discreet and smiling, he now lives surrounded by vineyards, a few miles away from Geneva in an elegantly decorated villa with wooden furniture, an Egyptian living room and many portraits of his ancestors. "My favorite is that of Mohammed Ali, founder of modern Egypt", comments our host. "I also have a portrait of his son Ibrahim Pasha, and of course, one of my father. He was so handsome."

His father, King Farouk, the tenth sovereign to hail from the Muhammad Ali dynasty, reigned over Egypt and Sudan from 1936 to 1952, when the army mounted a coup under the authority of General Mohammed Naguib. Farouk was forced to abdicate and put his six-month-old son on the throne, with powers assumed by a short-lived, three-person Regency. This move did not save the monarchy which was abolished within the year. The Republic was declared on June 18, 1953, and the following year Lieutenant Abdel Nasser rose to power.

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Ideas

García Márquez And Truth: How Journalism Fed The Novelist's Fantasy

In his early journalistic writings, the Colombian novelist Gabriel García Márquez showed he had an eye for factual details, in which he found the absurdity and 'magic' that would in time be the stuff and style of his fiction.

Colombian novelist Gabriel Garcia Marquez reads his book

J. D. Torres Duarte

BOGOTÁ — In short stories written in the 1940s and early 50s and later compiled in Eyes of a Blue Dog, the late Gabriel García Márquez, Colombia's Nobel Prize-winning novelist, shows he is as yet a young writer, with a style and subjects that can be atypical.

Stylistically, García Márquez came into his own in the celebrated One Hundred Years of Solitude. Until then both his style and substance took an erratic course: touching the brevity of film scripts in Nobody Writes to the Colonel, technical experimentation in Leaf Storm, the anecdotal short novel in In Evil Hour or exploring politics in Big Mama's Funeral. Throughout, the skills he displayed were rather of a precocious juggler.

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