Interview with Syrian Poetess Rose Ali Sharaba

Interview with Syrian Poetess Rose Ali Sharaba
Interviewer: Mohammad Abdulkarem Yousef
First Axis: Upbringing and Roots
Question: Madam, let us begin from the beginning... Where were you born and raised? And how do you describe your childhood in that place?
Answer: I was born in the oldest capital in history—it is Damascus, and what will make you understand what Damascus is! A city where the shirts of immemorial time hang over the arches of its alleys, and from the fabric of these shirts emanates an ancient scent that goes back to the very beginning. You are the traveler through antiquity, standing between the two banks of awe, as if the narrow alleys are nothing but a foyer that takes you to the paradise of the Damascene house. Beneath every stone ---sleep---s a Damascene tale. Yes, here the alleys embrace the years-;- here the poem wears the garment of festivity.
Question: You carry a distinctive name, "Rose" (the flower). What is the story behind this name? And do you see in it a reflection of your poetic journey?
Answer: Yes, Rose is a name that means the delicate blossom, and it is the outcome of an exceptional love story between my mother—clad in a robe reaching unto holiness—and my expatriate father, where love budded between longing and return. My name indeed had a great reflection on my literary journey, for in shaping meaning lies a seed that takes its path like the flower of a poem that rebels in its fragrance against the air and travels through its roots toward authenticity to take its form in pristine nature.
Question: You grew up in Syria, a land of civilizations and diversity. How did this rich environment of heritage and history shape your poetic consciousness? And how did the features of old Damascus manifest in your poems?
Answer: Syria resembles a patch of horizon that hosts an evening in which the worlds of creativity from every corner of the earth have intertwined. A primordial sculptor forged the first masterpiece facing a spring from which history flows onto the chest of geography. It is a diversity that blends in a mixture of beauty before the mirrors of the world.
Question: What was your relationship with the word from childhood? Were stories and tales part of your childhood? And who was the first to encourage you to write?
Answer: My relationship with the word resembles belonging, for I throb with letters. Yes, stories and tales were part of my childhood, and how often I gave them a different narrative ending. The first to encourage me to write was my mother, for in her family circle many poets emerged—Muhammad Junaidi, for example, and Imad Junaidi, for example—to the point that some of them were likened to the vagabonds (al-ṣ-;-aʿ-;-ā-;-lī-;-k).
Question: To what extent were you influenced by Syrian oral heritage and folk tales? And do you find echoes of them in your poetry?
Answer: Yes, certainly, I was influenced by oral and folk heritage, and this gave me the hallmark of authenticity in the poem and led me to writing in the field of songwriting.
Question: What was the first poem you wrote? What was it about? And do you still remember that moment?
Answer: My first poem was the first declaration of rebellion. In a purely materialistic age, the soul was a prisoner of loneliness. Here I recall my poem:
Do you know
Thus the spirit passes
Over the daggers
Stabbed with silence
The fires of eternity do not make warmth
Only the blaze of tears
Weaves a delicate shroud
Fit for the wounds.
Question: How do you view the poetess s relationship with her geographical and historical roots? And do you believe that "spatial memory" is essential for creativity?
Answer: Creativity is characterized by authenticity, and authenticity is that collective consciousness of geography and history. Spatial memory is the foundation of creativity.
Question: In your poems, "Damascus" appears as an emotional entity and as another woman. How was this vision formed in your consciousness?
Answer: The Damascene female is the extension in which the past meets the present and the future.
Question: Do you see the "Damascene woman" in your poetry as merely a symbol,´-or-is it an extension of a deep personal experience?
Answer: She is a symbol of femininity in its historical fluctuations, and she is an extension of a deep personal experience.
Question: How did the major transformations in Syria, and life under the weight of absence and exile, affect your writing? And did you turn the poem into an alternative homeland?
Answer: The people most affected by transformations are those who possess this refined sensitivity to the finest details and have the ability to analyze reality and foresee tomorrow. Here, the homeland is not a rigid geography-;- the homeland is a feeling that resides within us, we live in it and it lives in us wherever we are. And I have carried this homeland in a poem that pulses with poetry.
Question: In the introduction to your collection, you were described as carrying "an exceptional weight of memory, body, and homeland." How were you able to transform this weight into poetic energy?
Answer: Memory is me, and the body is like a narrow cage that cannot contain me and cannot be measured through it in rigid molds. The homeland is an extension that is not confined to immediacy, and I am a mixture of all this.
Question: To what extent do your poems reflect the Eastern woman s struggle between holding on to heritage and soaring toward new horizons?
Answer: To a great extent. My poem is a true reflection of the female who clings to authenticity and the ability to renew and break free—without-limit-s.

Second Axis: The Poetic Journey and Creative Experience
Question: Your poetry collections... Tell us about your journey with them. How did your style develop from one collection to another?
Answer: My poetry collections took on their natural meaning. In the beginnings, they appeared as a rebellion against the familiar, and with the maturation of experience, they turned to mastery—not socially, but through poetry itself.
Question: You began your poetic journey with the collection "Words" (Kalimat) in 2009. How do you describe this beginning? And has your view of poetry changed since then?
Answer: My beginning was not with the collection "Words"-;- my beginning was with a collection titled "A Woman from the East" in 2004, but "Words" is considered the pivotal station for the maturation of the poetic experience.
Question: If you were to introduce the collection "Words" in one word, what would you say?
Answer: Words with the word Rose—here is the pyramid of maturity.
Question: Which poem do you consider closest to your heart in this collection, and why?
Answer: "That Man" (Dhā-;-k ar-Rajul), because it is the longing presumed in my frenzy.
Question: How is a poem born for Rose Sharaba? Is it instant inspiration,´-or-the result of contemplation and suffering? And how does an idea turn into a poetic fabric?
Answer: Sir, when you throw a stone into water, it makes circles before settling at the bottom. This is exactly the state of the poem. In the details of our lives, we pass through emotions of varying intensity and depth, and they are diverse. In your unconscious´-or-your subconscious mind, they are processed in an extremely complex manner, only to return in a way that rebels against silence, in the form of a flash that announces confession, as if you are producing a living being into existence, including what accompanies it in bodily changes.
Question: In the poem "Mirror of the Evening," you summoned vocabulary from ancient Syrian memory such as Ugarit and Ras Shamra. Why this mythical presence in a contemporary text? And do you see it as an extension of identity?
Answer: Certainly, there is no present emerging from a void. It is an extension. The contemporary text keeps pace with renewal, but it connects to the past and anticipates the future.
Question: Do you consider yourself part of a specific poetic school,´-or-do you have your own approach that blends rebellion and heritage?
Answer: Yes, I might belong to the school of modernism, but I have my own methodology in writing.
Question: Your poetry employs contrasting binaries such as light and shadow, presence and absence. Do these binaries reflect your vision of existence,´-or-are they purely an artistic technique?
Answer: Yes, nature gives you similar binaries—night and day, hill and slope, calm and storm. Perhaps these binaries are meant to extract the opposite from its opposite, such as pain from the very heart of pain.
Question: How do you balance between classical Arabic (fuṣ-;-ḥ-;-ā-;-) and colloquial dialect in your texts? And what is the secret behind this blend that gives your poetry its uniqueness?
Answer: The Arabic language is very rich. Perhaps what gives a unique quality is the use of both forms together. In song lyrics, which are in the colloquial dialect, classical Arabic may also be used. This gives us a distinctiveness in the usual pattern and a different kind of beauty.
Question: In your opinion, what are the most important challenges facing the contemporary Arab poetess? And how have you faced these challenges?
Answer: The most prominent challenges lie in the collective consciousness of society s vision of the female. Many laws have been issued that do justice to women, but the problem remains societal, rooted in heritage. We do not want a social desirability that means adhering to rules-;- we want an internalized system for the vision of women.
Question: Do you believe that poetry can change reality,´-or-is it merely a mirror reflecting it?
Answer: Poetry is capable of changing reality because it is influential in reshaping societies in a way that suits the spirit of renewal.
Question: Your poetry is described as an "act of existential resistance." What exactly do you resist through your poems?
Answer: I resist everything that is decrepit and no longer valid. I resist all the pain that has befallen women. I resist everything that hinders progress in civilizations.
Question: How do you see the relationship between poetry and the female body in your experience? And how do you transform the body into a space for writing and interpretation?
Answer: I see the female body as a complete life formation. Just as the homeland is a geography, but it is not like the stone—the meaning is not in this, but in what it symbolizes. Likewise, the female body is in its dimensions, not in its physical placement.
Question: Which poet´-or-writer has influenced you the most? And how have these influences manifested in your texts?
Answer: Mahmoud Darwish and Gibran Khalil Gibran. They manifested in philosophy and in mastering the style.
Question: How do you deal with criticism? And do you believe that serious literary criticism enriches the poetic experience´-or-hinders it?
Answer: Literary criticism enriches the creative experience when it is able to grasp the truth with the third eye.
Question: At what moment do you feel that a poem is complete? And how do you know it is ready to come out into the light?
Answer: When I feel that there is no longer a revolution inside me to erupt, but that it is momentary. If everything that afflicts you were to come out, creativity would stop. It is just momentary, like this.

Third Axis: Women s Issues and Feminine Writing
Question: You are considered one of the prominent Syrian female voices. How do you view the landscape of Arab feminine writing today?
Answer: I am very optimistic when I sense the literary scene filled with female voices, and there are pens that deserve all appreciation.
Question: In your opinion, what is the specificity of "feminine writing"? And do you believe that classifying poetry as "feminine"-limit-s its universality,´-or-does it give it additional depth?
Answer: Yes, it gives it additional depth. The female is the most capable of describing her own feminine voice, even though there are many who have assumed the feeling, like Nizar in his poems about women s suffering,´-or-Mustaghanmi in assuming the masculine feeling. But the im-print- of the human gender remains stronger.
Question: How does Rose Sharaba redefine femininity in her poetry, away from ready-made classifications?
Answer: The female is an independent entity capable of engaging in all fields, with unique characteristics.
Question: In the poem "Damascene Woman," you made woman a vessel for civilization and beauty. Does this reflect your vision of women s role in society?
Answer: The poem "Damascene Woman" is my vision of woman in the history of civilizations, with the specificity of Eastern society.
Question: Do you believe that Arab women still need "liberation" from certain constraints,´-or-does true liberation begin from within, from the self?
Answer: Both together—a personal decision and a societal awareness that grants them their full rights.
Question: How do you view the issue of the "female body" in poetry? Is it merely an expressive tool,´-or-is it a homeland and a bearer of memory, as your poems describe it?
Answer: The female body has been used in all creative tools as a symbol of beauty, love, life, and so on. The truth is that it is all of the above—a homeland, a memory, a life. This is how it is in my poem.
Question: In the poem "Do Not Grieve," you address the beloved saying: "Spread your wheat over my body." How do you interpret this metaphor? Is it an invitation to love,´-or-to reclaim the land and homeland?
Answer: Both together. A building does not stand on a single pillar, but on multiple pillars.
Question: In your opinion, what is the difference between a "poetess" and a "poet" in expressing emotion and pain? And is there a fundamental difference?
Answer: Both have their own suffering. The East still burdens men with loads they cannot bear. Let me give you an example: men are not supposed to cry, for instance. But who said they do not cry? Are they not human before being male? It is not permissible to break—who said it is not permissible? We are a human nature capable of anything. Men have suffering that society has imposed on them, weighing heavily on their shoulders.
Question: How do you view the image of women in traditional Arabic poetry, and how have you tried to transcend´-or-reshape it?
Answer: Traditional poetry portrayed women in bright images—sometimes as a female, sometimes as a mother, sometimes as a knight. To be fair, according to those eras, it saw them this way. But it was unable to portray them as a mind´-or-an intellect, and here lies the origin of the suffering.
Question: Do you believe that a poetess faces a different view than a male poet in cultural circles? And how have you dealt with this view?
Answer: Yes, and this is one of the disappointments, even among the elite. Unfortunately, I have dealt with it with another flash of a poem that declares defiance.
Question: What message would you like to send to young women who are beginning their poetic journey?
Answer: The path to the peak is not rosy-;- it requires a great deal of determination. Be as you are, not as they want you to be.
Question: How does your vision of femininity align with your Syrian and Arab identity? Is there contradiction´-or-complementarity?
Answer: Complementarity. My Syrian, Arab, feminine identity—each complements the other.
Question: In the poem "The Art of Deception," you criticize masks in love relationships. Does this criticism extend to include women s relationship with society as well?
Answer: Yes, it includes the relationship of women with both society and men.
Question: How do you view the concept of "combative femininity"´-or-"resistance" in women s poetry? And do you find a place for it in your experience?
Answer: Honestly, I find myself right in the middle of it, as if I am in a contest with man.
Question: What are the values you defend through your feminine writings?
Answer: Freedom, equality, appreciation of the female mind as it deserves.
Question: Do you believe that contemporary Arab feminine writing has succeeded in creating its own "school"´-or-"movement,"´-or-is it still in the process of formation?
Answer: Yes, it is still in the process of formation until now.

Fourth Axis: Intellectual and Philosophical Dimensions
Question: In the poem "When We Meet," you say: "The unexpected, my sir, is what defines the poem." How do you understand this phrase? And do you believe that poetry lies in surprise and breaking the familiar?
Answer: Yes, it lies in surprises. When you set pre-established frameworks for dealing with a certain entity, and it astonishes you by breaking that pattern—this is the very essence of creativity.
Question: Your poetry has an existential and philosophical tone. How do you see the relationship between poetry and philosophy? And can poetry be philosophy, and philosophy poetry?
Answer: Philosophy is the mother of sciences,´-or-the gateway to all sciences. When you do not possess this philosophy, you are merely passing through a superficial poem.
Question: Your poems address issues of time and waiting as existential acts. How do you view time in your poetic experience? Is it an enemy´-or-an ally?
Answer: Time is eternity, and it is the crystallization of existence.
Question: What is the concept of "salvation" in your poetry? And do you believe that writing is the only path to it?
Answer: Salvation is arrival. Writing is a tool for change, not for arrival. Arrival has pillars, one of which is writing.
Question: How do you see the relationship between love and pain in your poems? And can love be complete without pain,´-or-is pain part of its essence?
Answer: Pain is a state like all other states, and love is a state in which all states meet. Just as the cycle of life is incomplete, so is the cycle of love—if it were complete, feeling would be extinguished.
Question: In the poem "Your Shadow Dropped Me," you make "the shadow" an active agent. What is the significance of this mirror-like play in your vision of existence?
Answer: In the East, the shadow is still hidden under the weight of shyness, fear, and so on. But poetry captures it not as the other wants it to be, but as it truly is.
Question: Do you believe that "absence" is sometimes more present than "presence" itself in human relationships? And how have you embodied this in your poetry?
Answer: Certainly. In any event you go through in life, what remains is the impact. Absence is a realistic state that may have a greater impact than presence, depending on that impact.
Question: What is the question you constantly ask yourself through your poems? And have you found an answer to it?
Answer: Yes, in our reality we have forgotten human nature. I have found an answer, but it carries a great deal of complexity to explain.
Question: How do you view the concept of "homeland" in an era of globalization and openness? Does the homeland still have its traditional meaning,´-or-has it turned into an idea and a dream?
Answer: No matter how much globalization develops, the homeland remains a feeling that resides within you, and your formation returns to it.
Question: In the poem "You and September," time (September) appears as a witness to the truth. What is the significance of months and seasons in your poetry? Do they carry specific symbolic connotations?
Answer: Yes, they carry symbolic connotations, such as the truth of birth and death, and they are connected to the moment of my existence in life.
Question: In your opinion, what is the relationship between "silence" and "the poem" in your experience? And is silence sometimes more eloquent than speech?
Answer: The most beautiful poem in a creator s life is the one that never came out and remained in the folds of silence until the declaration of confession.
Question: You say in the conclusion of your collection: "What happened, in short: that light announced its passage through the air." What reading do you see for this passage? And is it a summary of your entire poetic experience?
Answer: Yes, it is a summary of my experience. The passage of light through the air does not require restrictions, appointments,´-or-order. This is how the aesthetics of life are.
Question: How do you view "breakage" in your human experience? Is it a defeat,´-or-is it an aesthetic that allows seeing things from a different angle?
Answer: I see it as light that breaks to illuminate another place.
Question: What are the ideas´-or-values you seek to establish through your poetry?
Answer: [Not answered]
Question: How do your personal experiences of joy and sorrow affect your texts? And do you find it difficult to separate the poetic self from the human self?
Answer: In the details of life, many emotions storm through you, but what leaves the deepest impact is the deepest among them. The poetic self is closely linked to the human self through the projections of reality.
Question: In your opinion, what is the future of Arabic poetry in light of rapid digital and cultural transformations?
Answer: Human conditions have their characteristics, and poetry lies in the middle of these characteristics. Whether you are in a digital world´-or-otherwise, as a human being you must dream,´-or-grieve,´-or-rejoice. Poetry is likewise a human condition that is not affected by these transformations in terms of existence, of course.

Fifth Axis: Cultural and Professional Activity
Question: Away from poetry, how do you describe your professional career? And what fields have you worked in?
Answer: I have worked in the educational field. This human value enriched my experience through my interaction with this instinctual, living world—the world of childhood.
Question: Does poetry have an impact on your professional work,´-or-is it a separate world?
Answer: Of course it has an impact.
Question: You have participated in many poetic forums and festivals. How do you describe these experiences? Have they affected you?
Answer: Yes, I have participated in many festivals. Through them, you become acquainted with different experiences that lead you to other ideas.
Question: What is your relationship with the -union- of Arab Writers´-or-other cultural institutions? And do you believe they adequately support young talents?
Answer: It is good. It may not be at the level we aspire to, but it does support these talents to some extent.
Question: Do you have other cultural´-or-media activities besides poetry (writing articles, programs, etc.)?
Answer: Yes, I have many. Currently, I live in the UAE and I have many cultural activities. I also write the lyrics for many songs in the Syrian and Gulf dialects, in addition to other activities.
Question: How do you view the role of media in publishing contemporary Arabic poetry? And does it present it in a fitting manner?
Answer: The truth is, there is a disparity between one country and another. You might see the peak in one country in terms of promoting poetry and modesty in another. This is not a general issue-;- it varies from one country to another.
Question: What are the most influential cultural milestones in your journey, both inside and outside Syria?
Answer: Honestly, the "Bayt al-Qasid" (House of Poetry) forum. There is an effective integration when creativity feeds creativity, as if it embraces the art of sculpture, a poetry festival, and an event—this was in Syria.
Question: Do you see sufficient attention given to women s poetry in festivals and literary conferences?
Answer: Likewise, this varies from one country to another.
Question: How do you deal with publishers and publishing houses? Have you faced difficulties in publishing your works?
Answer: Quite the opposite. If the supervisor of the publishing house possesses the reins of creativity, they will certainly enrich you and your work in every way.
Question: What are the books´-or-critical studies that have addressed your poetic experience? And how do you view them?
Answer: A book by the poet Al-Rifai, which addressed the literary movement in Syria from the early 1990s.
Question: Have you thought about translating your poems into other languages? And what is the impact of that on reaching a global audience?
Answer: Certainly, I have thought about it. This makes your voice global and reaches its intended goal.
Question: How do you view the reality of the cultural movement in Syria today? Is it still capable of creativity despite the circumstances?
Answer: To be honest, the cultural movement in Syria, in response to the transformations, is more than good for a simple reason: the characteristics of Syrian society are amazing. This does not apply only to culture but even to innovation. The stronger the storm, the greater the challenge to reach the goal.
Question: What is your advice to young poets seeking to publish their first collections?
Answer: Patience in publishing. It is not important that you publish-;- what matters is how and what you publish.
Question: Have you participated in cultural programs´-or-projects concerned with teaching poetry´-or-creative writing?
Answer: I have participated in supervising competitions for children and overseeing the development of their creative abilities.
Question: What is your assessment of the Arab cultural scene in general? Do you see it flourishing´-or-declining?
Answer: It also varies according to the nature and circumstances of each country. Some countries have flourished and traveled a long path, while others are still in shy stages.
Question: If you were given the opportunity to organize a poetry festival, what would its main themes be?
Answer: Certainly, if I held this festival, I would take care of the young talents, the feminine aspect, and modernity.

Sixth Axis: Influences and Literary Relationships
Question: Which poets do you have friendships´-or-mutual influence with? And how do these relationships affect your creativity?
Answer: There are many of them, and there is no room to mention them all.
Question: Are there texts´-or-poems by other poets that you consider a turning point in your literary life?
Answer: [Not answered]
Question: How do you see the relationship between your poetic generation and previous generations? Is there a rupture´-or-continuity?
Answer: It is an interconnected, accumulative process from generation to generation. You certainly do not build from a void.
Question: You have been influenced by ancient Syrian mythological heritage (such as Ugarit and Ras Shamra). How did you become acquainted with this heritage? And who were the pioneers who opened this door for you?
Answer: Yes, I was greatly influenced by the mythical heritage and the heritage of Ugarit and Ras Shamra. I learned about it through research, investigation, and books—not through any specific pioneers.
Question: Were you influenced by the poets of the Mahjar (Arab diaspora)´-or-the modern poetry movement in Syria and the Arab world? And how?
Answer: Yes, the literature of the Mahjar is a mixture of longing, hope, pain, and visions between the hoped-for and reality—Gibran Khalil Gibran, Mikhail Naimy.
Question: What is your opinion on modern poetic movements such as prose poetry and free verse (taf ila)? And to what extent do you belong to them?
Answer: A close relationship. I belong to modernity, even though I write vertical (classical) poetry, but I am in the midst of prose.
Question: How do you view the relationship between poetry and music? Do you believe that a poem can be a melody?
Answer: Yes, it can be a melody, even if it is not traditional. There are many prose texts that carry their own music.
Question: In your opinion, what is the most important Arabic poem you have ever read in your life, and why?
Answer: "I Long for My Mother s Bread and My Mother s Coffee" (by Mahmoud Darwish).
Question: Are there writers´-or-thinkers from outside the world of poetry who have influenced your thought?
Answer: Yes, Greek philosophy and philosophers in general.
Question: How do you view the experiences of feminine poetry in other Arab countries (such as Egypt, Morocco, and Lebanon)? Do you see intersections between them and your experience?
Answer: I find in them stations worthy of pause and appreciation. I liken them to multiple vocal chords of the same beautiful feminine voice.
Question: If you were invited to give a lecture on Syrian feminine poetry, what points would you focus on?
Answer: Women s suffering, societal awareness, the brilliant mind that is not-limit-ed by human gender, women s freedom, women s creativity, and many more.
Question: What is the literary moment´-or-meeting that has most impacted your journey?
Answer: A radio program called "Qawafi" (Rhymes), whose questions were creative and well-selected.

Seventh Axis: Future Visions and Upcoming Projects
Question: After the collection "Words," what are your upcoming poetic projects? Are there new collections on the way?
Answer: There is a collection in progress. I will leave it as a surprise to keep the passion alive.
Question: How do you see the development of your style in the future? Do you aspire to experiment with new forms´-or-subjects?
Answer: The development of style is linked to the maturity and diversity of the experience. I aspire to new subjects, such as science fiction.
Question: Are you thinking of trying other creative forms, such as novels, short stories,´-or-playwriting?
Answer: Yes, this has already happened, but the poem remains at the top of the pyramid.
Question: What are the ambitions you still hold and have not yet achieved in your literary journey?
Answer: More creativity.
Question: How do you see the role of the poetess Rose Sharaba twenty years from now? And where do you aspire to be?
Answer: I cannot predict, but I have many and great goals.
Question: What message would you like to send to the reader who reads your poems many years from now?
Answer: My message to the reader: delve deeply. From the vapors of fusion, a cloud is formed that poured down as letters.

Eighth Axis: Personal and Human Questions
Question: Doctor Rose, away from titles and awards... Who is Rose Sharaba in her private moments, when she takes off the mask of the poetess?
Answer: A feminine being with her natural disposition, carrying the spirit of childhood, with rituals that bathe her in contentment.
Question: What are your hobbies outside the world of poetry and writing? And how do you spend your free time?
Answer: Cooking and making sweets.
Question: If Rose Sharaba were not a poetess, what would she have done? And what other dream do you hold?
Answer: I would have been nothing but a poetess, for poetry is my profession. And I wish with all my heart for peace to fill this world.
Question: What moment made you feel most proud in your life? And what moment made you feel most sad´-or-disappointed?
Answer: Proud when I wrote my first poem, and sad when I saw the books of the giants being sold on the sidewalks.
Question: How do you view life after all these years of experience and poetry? Has your perspective on things changed?
Answer: I view it as a grand theater for all its roles, and I see a dimension that moves all these people, so I tend towards contemplation.
Question: Before we conclude the interview, what is the story of "Ten Minutes"?
Answer: The story of ten minutes is a true reflection of fate—what we search for across many times comes in this manner, and perhaps in less than ten minutes.
Question: Finally... If you were asked to write a single poem summarizing your entire journey, what title would you choose?
Answer: Its title would be: Do You Know the Oak trees?

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