As the world ushered in the new year, the Arab cultural scene witnessed a pair of remarkable literary events that underscored both the enduring legacy of Iraqi criticism and the rising prominence of luxury-driven artistic gatherings in the region. On January 1, 2026, Baghdad and Dubai became focal points for two distinct, yet equally significant, celebrations of literature and creativity—each reflecting the changing contours of Arab arts and culture in the modern era.
In Baghdad, the heart of Iraq’s literary tradition, a new critical work by the acclaimed poet, critic, and researcher Ahmed Al-Shatri was released. Titled Manifestations of Death and Beyond Death in Iraqi Poetry: Comparisons in Creation and Form to a Selected Sample, the book represents a bold attempt to chart the artistic and intellectual transformations that have shaped Iraqi poetry since the early 21st century. According to coverage by Dar Al-Warsha Al-Thaqafiya, Al-Shatri’s latest book delves into the evolution of poetic expression following the country’s liberation from the constraints of traditional forms, with a particular focus on the period after 2003.
Al-Shatri himself emphasized the unique context that shaped his work, noting, "The book addresses the artistic and intellectual transformations in Iraqi poetry after the liberation from the constraints of traditional poetic forms." He explained that these transformations were not merely aesthetic, but intertwined with sweeping social and political changes that followed the fall of Saddam Hussein’s regime. The book, he said, seeks to fill a longstanding gap in Iraqi poetic criticism by offering a comprehensive analytical approach to recent developments in the field.
The volume includes critical readings of poetry collections by several prominent Iraqi poets, meticulously examining how their works responded to, and were shaped by, the artistic, social, and political upheavals that have defined Iraq’s recent history. Al-Shatri’s approach is both broad and deep: he analyzes the shifting themes and forms within Iraqi poetry, while also situating these changes within the larger narrative of the country’s cultural renaissance and ongoing challenges.
What makes Al-Shatri’s contribution particularly noteworthy is his commitment to chronicling the diversity of voices that have emerged in Iraqi poetry since 2003. He includes poets from across generations—some with longstanding reputations, others who began as short story writers before transitioning to poetry, and a number of fresh voices that have risen to prominence in the post-war period. As Al-Shatri put it, "The book includes critical readings of poetry collections by several Iraqi poets, examining artistic, social, and political transformations after 2003."
Despite the surge in poetic output in recent years—much of which, Al-Shatri concedes, is of uneven quality—he is quick to point out that this abundance has also produced "a number of mature experiences that deserve praise and critical illumination." His book, he explains, is an attempt to "provide a picture, even if incomplete, of the technical, artistic, and substantive development in Iraqi poetry, through selected models that we believe possess many artistic and creative values."
Al-Shatri’s credentials are as impressive as his ambitions. With five poetry collections, a novel, and five previous critical books to his name, he has long been a towering figure in Iraqi literary circles. According to Dar Al-Warsha Al-Thaqafiya, his latest work is already being hailed as an essential addition to the field of Iraqi literary criticism, offering both seasoned scholars and new readers a roadmap to understanding the complexities of Iraq’s poetic landscape.
While Baghdad was celebrating the intellectual rigor of its literary heritage, Dubai was hosting a very different kind of cultural affair—one that blended luxury, exclusivity, and artistic innovation in a way that has become increasingly characteristic of the city’s approach to the arts. On the same day, January 1, 2026, Dubai’s Armani Hotel (or possibly Address Downtown, as reported by Luxury Destinations Magazine) was the setting for the much-anticipated launch of The Secret Journey of the New Age, a new book by the emerging poet Ragheb.
The event was nothing short of lavish. According to Luxury Destinations Magazine, it drew a distinguished gathering of Arab and international intellectuals, writers, and critics, all eager to celebrate Ragheb’s latest literary achievement. The book launch was not just a routine signing or reading; it unfolded as a formal ceremony, complete with a private exhibition of rare artworks and cultural artifacts that underscored the event’s exclusivity and sophistication.
Guests were treated to a curated experience that blended the best of Dubai’s luxury hospitality with the intellectual stimulation of a high-level literary gathering. The Armani Hotel—renowned for its panoramic views of the Dubai Fountain and its reputation for impeccable service—provided the perfect backdrop for an evening that was as much about networking and cultural exchange as it was about the book itself.
As reported by Luxury Destinations Magazine, the event exemplified a broader trend in the region: the rise of luxury-driven, experience-focused cultural gatherings that cater to a cosmopolitan audience of artists, thinkers, and tastemakers. The inclusion of a private exhibition of rare artworks and cultural artifacts added a further layer of exclusivity, transforming the book launch into a celebration of not just literature, but of art, heritage, and refined living.
Ragheb’s The Secret Journey of the New Age is already being touted as a significant contribution to contemporary Arab literature, though details about the book’s content remain closely guarded. What is clear, however, is that its launch marks a new chapter in the way literary events are conceived and executed in the Gulf. The emphasis on luxury and exclusivity reflects a growing appetite for experiences that blend artistic merit with high-end hospitality—a trend that is likely to shape the future of cultural life in cities like Dubai.
Taken together, these two events—one in Baghdad, the other in Dubai—offer a snapshot of the diverse and evolving landscape of Arab arts and culture. On the one hand, there is the deep-rooted tradition of critical scholarship and poetic innovation that continues to flourish in Iraq, driven by figures like Ahmed Al-Shatri. On the other, there is the emergence of a new, luxury-oriented approach to cultural celebration in the Gulf, exemplified by Ragheb’s opulent book launch in Dubai.
Both approaches have their champions and critics. Some traditionalists may lament the commercialization of literary events, while others see in Dubai’s model a necessary adaptation to the demands of a globalized, image-conscious age. Meanwhile, the rigorous, academic approach represented by Al-Shatri continues to provide a vital counterbalance, ensuring that substance and critical inquiry remain at the heart of Arab literary discourse.
As the region moves forward, it is clear that both Baghdad’s intellectual legacy and Dubai’s flair for luxury will continue to shape the Arab world’s cultural future—each in its own distinctive way, but both contributing to a richer, more dynamic artistic landscape.
