Samarqand | Amin Maalouf

When I was born on the first of March, 1873 AD... and if my parents did not want to confuse me with this name coming from afar... "Omar", they moved it to the second place so that, if I wished, I could replace it with (p) [5 in the Latin letter].. The inheritance that came down to me on this mourning was only to awaken my curiosity about that old man, and at fifteen I began to read everything related to him... and I learned not to see in the letter (p)... nothing but an indelible residual of my childish parental indiscretion. Until a meeting brought me back to my passion and directed my life with determination in the footsteps of tents.
The details of this novel begin from these beginnings, which, with its author's insistence on investigating the biography of Omar Khayyam, was a motive that allowed him to obtain this manuscript, in which Amin Maalouf wove a wonderful narrative from a fantasy that hovered in the atmosphere of the historical manuscript to cast on the events in those days. The time period that Omar Khayyam chronicled, and which was transmitted by the curators of the library in Alamut, father from grandfather, through which we were able to know the impact of Khayyam after his death, while the Assassins were transformed... And it was possible to identify the “Khiyam’s Quarters” after it became impossible in Absence of the manuscript, where hundreds of pseudo-ruba'i and 'rubat al-Khayyam' were mixed.
This is Samarkand, who traveled with Benjamin A. Losage in a manuscript he snatched from his hometown of Asia, and sailed in his luggage on board the Titanic... on his eternal voyage... to sink in the bosom of time... and to be present after a while with her lines in the hands of an imagination. I wear them in suits, so Samarkand tents are present in our minds... And after... The quatrains of tents on the "Titanic", the flower of the East, carried by the flower of the West... I wish you could see, O tents, the sweet moment that we are destined to live.