Ola Abd El Moniem1 — Ola Abdel Monem

Armenia & Karabakh Armenian Genocide Arts & Culture International Authors Books

Ola Abdel Monem: ‘For me, Armenians are not victims, but survivors!’

March 19, 2026

by

Artsvi Bakhchinyan

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YEREVAN/ASYUT, Egypt — Ola Abdel Monem is an Egyptian writer from Asyut, Egypt. She began writing in early childhood and later maintained a personal blog starting in 2008. In 2013 she awarded Saqiet El Sawy Short Story Competition. She is an author of novels (The Legacy of Al-Ansari and The Market of Al-Aayeqa, both 2022) and a short story collection (Hiring a Doctor, 2023–2024). At the beginning of 2026 she published a novel The Alienation of the Duduk (Cairo by Al-Rawaq), which is a human story about an Armenian family that, fleeing the Genocide, settles in Egypt. The new country becomes the starting point of a bitter journey of alienation, during which separation from the homeland turns into an experience of survival and reconstruction on new soil.

Dear Ola, please accept my warm congratulations on the publication of your novel. It would be interesting to hear your thoughts on the current state of Egyptian women’s literature today.

Today, Egyptian women’s literature feels vibrant and full of life. I am constantly inspired by how women writers bravely explore contemporary social and psychological issues with creativity and honesty.

What I love most is the focus on empowerment, the courage to challenge stereotypes, and the way identity is explored in all its complexity.

These stories don’t just reflect society – they also celebrate women’s evolving roles and voices in Egypt today.

As a writer, I feel a deep connection to this literature, because it shows how personal experiences can resonate widely and contribute meaningfully to cultural conversations.

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Overall, it is a rich and dynamic landscape that makes me proud to be part of Egyptian women’s literary scene.

What were your first encounters with Armenians and Armenian history, and what inspired you to write this novel?

Since my childhood, I have been captivated by brilliant Egyptian female artists such as Fairuz, Nelly and Lebleba. I was always amazed not only by their talent but also by how skillfully they sang and performed in ballet and dance. My mother would often point out, when noticing my admiration, that they were of Armenian descent — that their origins were not Egyptian. I found it fascinating that they mastered our language so perfectly while expressing themselves with such artistry.

As the centenary of the Armenian massacres approached, discussions in Egypt and around the world grew about that region, once devastated, what the Turks had done to its people, and the countries that have officially recognized the Armenian genocide.

The Alienation of the Duduk portrays the transmission of grief, longing, and memory across four generations, while also revealing the human ability to transform death into life by putting down new roots and growing anew. How did you approach conveying this process in the narrative?

For me, Armenians are not victims — they are survivors. This is at the heart of my novel. From the very beginning, I wanted to acknowledge the massacres they endured, but also to explore identity and roots — how a person interacts with their surroundings to create a life that is worth living, a space where growth and creativity can flourish.

The Armenian Mirror-Spectator

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People: Ola Abdel Monem

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My characters start as pure Armenians, carrying sorrow and longing for the past, deeply affected by the forced departure from their homeland. Then comes a new generation, still holding the past in their hearts, yet grateful for their survival and hopeful for what lies ahead.

The third generation becomes fully Egyptian, but remains connected to its history and ancestry, appreciating all those who extended a helping hand.

Finally, the fourth generation is hybrid — those compelled to leave against their will, who eventually return in search of their roots. For me, it feels as if the cycle of exile, alienation, and longing is engraved on my characters, and they journey through it until the very end, carrying both memory and hope.

In the novel, the duduk serves as a symbol of Armenian sorrow and pain. In your opinion, what could serve as a symbol of Armenian joy?

I believe that the success of Armenians in preserving their identity, both in Egypt and wherever they live, as we see today, as well as their excellence in every field they immerse themselves in, can serve as a symbol of joy.

Beyond their personal and professional achievements, they have succeeded in bringing their history and cause to the world’s attention for over a hundred years, inspiring many countries to acknowledge what happened and to show solidarity and compassion.

For me, this combination of resilience, accomplishment, and the ability to make their story heard is a true source of happiness and pride

In January, your book was presented at the annual Cairo International Book Fair. What kind of reception did it receive there?

I was truly overjoyed by the warm reception of my novel in the cultural community. It was incredibly moving to see longtime friends and readers who have followed me from the very beginning, as well as new readers interested in history and the Armenian cause, embrace the work with such enthusiasm.

What made me even happier was the positive response from the Armenian community in Egypt and their heartfelt celebration of the novel. I was especially honored by the presence of Armen Mazloumian, president of the Armenian National Authority in Egypt, at the fair. We also agreed to organize a cultural event in the near future, bringing me together with the Armenian community to share and discuss the novel, which fills me with excitement and gratitude.

Thank you for your answers, dear Ola. I wish for your novel to be translated into various languages and hope that one day you will visit Armenia!

I want to thank you for your kindness, your attention, and your dedication in researching me, as well as for your eagerness to connect. I hope my work will achieve the success it deserves, as it is still at the threshold of reaching readers. I also hope it will be translated into several languages, foremost among them Armenian, so that the story reaches everyone and they can understand how their ancestors survived against all odds — and how they were able to turn death into life.

Who knows, perhaps we will meet soon in Yerevan, and I can learn to play the duduk from you, and taste gata, khorovats and lavash bread myself!

Not all of us play the duduk, but it is hard to find an Armenian man who cannot make khorovats, so you’re welcome!

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