Mohamed Abdel-Rassoul

Working On Gallery Vol. 8 - No.2

Mason: Mohamed Abdel-Rassoul
Curator: Naoko Fujimoto

Let's Go & Do It is a theme for the Working On Gallery Vol.8.

The theme was inspired by the word, "Yalla" (يلا), which means "Let's Go / Come On / Hurry Up" in Egyptian Arabic. I will be committing more hands-on experience for Vol.8. I will still introduce writers, poets, translators, professors, and artists in the gallery, but I want to be more proactive on interacting with them. I will visit their countries, share face-to-face exchanges, and celebrate living on this timeline together.

Since the pandemic in 2020, I was a bit slow - perhaps negative. Even though I was very active on publishing pieces and being a part of my literary community, my emotions had not fully lifted until now. Throughout my Egyptian Arabic journey and visiting Egypt, my mindset is more active and present. My translation book "of Women" is forthcoming in 2026, so I am indeed starting my engine.

For this article, I would like to show my recent creative process, and I have a fantastic experience about this Egyptian red cat created by Mohamed Abdel-Rassoul.

Statue by Mohamed Abdel-Rassoul

I had a conversation with Danielle Pieratti at Asymptote in October 2025. We talked about our hybrid poetry projects named Trans.Sensory and Trans-Vocal. I also mention in the article the beautiful things I must have for my creativity.

One of my newest projects is a bilingual essay series. The theme is essentially, “What must I have if poetry is to be an inner practice like religion?—I must have beautiful things,” and I write about things in both English and Japanese. Living with beautiful things is necessary. They are almost like a religious tool, like prayer beads, to make the mind stable. - Naoko Fujimoto, Asymptote.

I wrote about a couple of my poetic religious tools such as pens, roses, and antique necklaces before the conversation with Pieratti. It may be a niche demand to publish these essays in both English and Japanese. In addition, I was not sure broader audiences wanted to read about my personal belongings. Therefore, I decided to share three essays in both Japanese and English on my website.

Here are some examples:

What must I have if Poetry is an inner practice? もし詩が祈りだとしたら、祈るとき何がいる。

We use spiritual tools—rosary beads, salt, anything in our practices—some may have an amethyst ring to protect their souls, or a small silver knife in a pocket. 信仰のために、数珠、塩、他には、お守りのアメジスト指輪をはめている人もいれば、ポケットに小さな銀のナイフを忍ばせている人もいる。

Pens and paper are the tools. Murasaki Shikibu and Sei Shōnagon could write their essays because their ink brushes and paper were within reach of their hands. ペンと紙が必要。紫式部や清少納言は、筆と紙が手の届くところにあったから書くことができた。- Naoko Fujimoto, from Pens

pends

When I draw roses, my optic disc does not convey how appealing they are. The beauty gets lost between the atmosphere, my eyesight, nervous system, and fingers holding a pen. I wish the beauty never leaves and blooms in the vase on the bedroom chest. I want it to have a forever graceful life. バラを描いてみる。その美しさは、眼球、神経系を通ったあと、ペンを持つ指の間で消える。この美しさが失われることなく、寝室で咲き誇ってほしい。いつまでも優雅な姿で。- Naoko Fujimoto, from Roses

roses

Glass dominated the creation of accessories when metals were confiscated for equipment. What I heard about the 1940s from my grandmother was so different from these bright beads. Japan experienced two atomic bombs, and some reeled at the sight of glass milk jars melted in the heat wave that I saw at the Hiroshima Peace Memorial Museum. 戦争物資のため金属が没収されると、アクセサリーはガラス製品が主流になった。祖母から聞いた1940年代の話は、鮮やかなガラスのビーズとは全く異なっていた。その当時日本は二度の原爆投下を経験し、広島平和記念資料館で見た熱波で溶けた牛乳瓶に動揺した。-Naoko Fujimoto, from Glasses

glasses

I would love to go back on the Nile. I want to write like Agatha Christie did in Egypt.

The universe started spinning when I wrote those three essays on my website.

I received a conversation opportunity from Pieratti.
I decided to write more essays.
I explored the possibilities of a Zuihitsu writing format.
I ended up writing a super long Zuihitsu, which was published in the Journal of Literary Multilingualism by Brill Publishing.
I have two pieces accepted and started a full-length manuscript.

On my writing desk

Perhaps, the universe started shifting when I gathered my favorite objects on an obon-tray while I was writing essays.

There were a Santa Claus from Jouvencelle Cafe in Kyoto, ink & pen from Rome (I wrote about it in the essay), rose scented ink from Paris (a gift from Angela Narcisco Torres), stone mushroom from New Orleans, and things from my father and mother.

How I live an affluent writing life- those objects inspired me every morning when I sat at my desk. My collections were expanding, so did my knowledge of objects.

And recently, I got the Egyptian red cat from Luxor.

The statue was made by Mohamed Abdel-Rassoul.

Hussein Abdel-Rassoul (Photo by Harry Burton, Public Domain)

Mohamed was a descendent of Hussein Abdel-Rassoul, who was the famous 12 years old water boy for Howard Carter. But interestingly, Carter did not write down the water boy's name in his documentation, even though this boy contributed greatly to finding the burial chamber of Tutankhamun. His family has a mason business. An Egyptian writer, Zeinobia, has an article about the boy's background.

Simon Ingram also wrote a fantastic article. This is not only for professionals but also Egyptology beginners in The National Geographic. This article is like a backbone covering the story of Carter, the excavation process, and social issues during the time. There are many website links to learn more about Egyptology.

National Geographic

Abraham's Note

Hussein Abdel-Rassoul (the water boy) was Mohamed Abdel-Rassoul's grandfather. Mohamed was the third generation of their mason business. I purchased my red cat from Abraham who was a young worker at the shop. He wrote a note for me. I also found a short article about their family business and there were family portraits that I saw in the shop. (I saw the photos at the shop, but I hesitated to take a picture of them.)

The mason store was close to the Mortuary Temple of Hatshepsut. It was an alabaster studio supported by the Egyptian government, as well as a souvenir stop for sightseeing visitors. I read some negative criticism about it, mainly over pricing. I negotiated the price for the red cat, and I also wanted to support their local creative business. The price was within my budget - one that sees me buy some high-end poetry books.

Last of all, I bought lilies.

I hated the flowers for a long time for several reasons, which I will write about. It was so strange how my infatuation with Egypt overpowered my longtime distaste for lilies.

February 2026