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A gl ance leads to a smi le, a smile to a rendezvous: every lov e story begins the same w ay. Th ese na rratives are stored in songs and poe ms and live on beyond their inevi table endi ngs, as S hakespeare’s titular s onnet 18 also suggests. In Moha mmad Shawky Hassan’s metafictional essa y, a female narrat or who wishes to te ll the story of a lo ve between two men encounters a polyamorous chorus of lovers, and th is oft-told tale is multiplied. I n Club Scheherazade, the re is no p rotago nist, and every song has various versions . Heteronormativ e dramaturgy i s challen ged polyphonically and across a range of media: lovers ask each ot her about threeso mes, Grindr contac ts a nd past dates. Pop clich és are twisted, heartache permeates the men’s singi ng, and poems by Wadih Sa adeh are rea d out while a lover’s d irty laundry is aired. The n arrator mischievously tries for a happy ending as her cha racters exit th e story. “If pai n could be forgotten through words,” we hear at on e point, “no lo ver would ever have to walk away wounded.” 她朝两边的贵宾席和下 面的看台,团团一揖, “佐蒙人是肯定要杀我的, 他们善用渗透之法, 所以,林蹊在此恳请诸位前辈 ,诸位道友,看在我也算 为仙界立过一点功劳的份上 ,一起监督一下,在我 未晋天仙之前,不要让任何人,以任何理由,打断我在刑堂的工作。
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