The girl who appears in the center of photography, which can hardly be considered historical, is writing a list of adjectives: I, you, he, we, you, they. Looking down, I couldn't see what his gaze looked like.

Insensitive to the work of the photographer, you, slowly and directly, are conceiving the work with caution and caution, because it has not been easy to conceive all those headlines with a language that is not yours: me, you, he, we, you, they. But you are the protagonist.

The desert light creates real, metaphorical natures in the library, in the nest of a bird named Bubisher, in one of the desert libraries. The light illuminates the page of the table: I, you, he, we, you, they, and the white orialde, black, with the black owners of the white pages, I do not repeat the lista.El rest, the walls, the doors, the windows, the books, the harasses, the slabs, the shelves, the chairs and other furniture

are left out of the focus of the photographer, as you write the most important

On the right, a sentinel dressed in an old military jacket goes back as if I wanted to imply that it's not who to show up in the photo. On the left, a librarian who prepared melfa, looking at the girl's work with a point of pride. The Librarian driver, the cleaner, other librarians -- they're there, but they stay out of the picture.

For the child in the photo to be writing and to be able to make that photo, all pseudonyms are needed: me, you, he, us, you and them. We all have to keep working, because the Bubisher project that is built among us all is so proud of us.

Although it is a picture that may not be considered historic, it is part of the history of the Saharawi People.

Josu Jimenez Maia, writer