The novel takes us on a journey of stormy nostalgia to the desert, to the origin, to the roots that civilization has been circumventing under the pretext of civility. As a result, we have lost serenity, freedom, frankness and spirituality, and we have circled ourselves in a spiral of worries, mental distractions and constant anxiety. We are not facing a traditional tale and the "fire of the markh" may constitute a maze for the traditional reader, as the writer refutes the theory of species and enters the reader into the horizons of narrative, poetry, philosophy, and the correspondence between the imaginary and the real. We are facing a game invented by the writer by inventing the character (Raad), who suddenly discovered that her origins are desert clan, and that she is not from the original people of Mecca. In an attempt to trace the traces and branches of his clan, Raad took the recording machine as a means of collecting its stories and monitoring the definitions of its past as part of his return to the clan, to the desert, to the roots, but he is at the mercy of the storyteller (Western) who used to record half of the story, with an invisible promise to complete it, and thus, we have a set of half-tales that do not link events to each other, but are linked by the accumulation and increase of the luster of the feelings and feelings reflected from them.