Inspired by the Arabic expression meaning “God is near,” journalist and researcher Cristina Seixas presents in Rabena Karib the story of Vittorio Ficara, an Italian-Egyptian immigrant who endured wars, incarceration camps, and the reconstruction of his life in Brazil, driven by faith and resilience. Narrated in the first person and interwoven with the memories of Teresa, his companion, the work goes beyond biography, portraying the marks of immigration in the 20th century, the historical context that shaped generations, and the power of love as a guiding thread in the face of adversity.
The expression “Rabena Karib” carries a very strong spiritual power. At what point did you feel that this phrase ceased to be just a title and became the heart of the story?
The expression “Rabena Karib” became the title precisely because of the strength and message it represented for Vittorio. I had more than 50 encounters, including recordings of conversations and readings of the chapters, and only became aware of that expression in the 13th chapter, when Vittorio, in one of the many delicate passages of his life, explained that he resorted to it as a means of overcoming difficulties. Its strength, within the context, left no doubt that it should appear in the title and thus intensify the story and personality of Vittorio, whose greatest characteristic was resilience.
In writing Vittorio’s story in the first person, you needed to “lend” your voice to him. What was that process like, of emotionally connecting with someone who had lived through such intense experiences?
Writing in the first person was my decision, as I felt it was more fitting and impactful, since these were moments that belonged to him and which he generously shared. I identified characteristics in him that are also part of my personality, and I felt very comfortable being able to convey them in this way.
The story spans war, immigration, reconstruction, and love. Which part of Vittorio’s life touched you most personally during your research?
In fact, what impressed me most about Vittorio was his persistence, his ability to face and overcome situations, no matter how difficult they were, such as the time he spent in the internment camp in the desert.
Teresa also gains space and depth in the narrative. What struck you most about how she had to redefine her own life upon arriving in Brazil?
Teresa’s life changed drastically, resulting in emotional traumas that caused her to act differently than she was used to. One of the main traumas was being prevented from finishing her studies and piano lessons, and she began helping with household chores, which was not her desire. But over time, and throughout the story, Teresa revealed one of her main characteristics: her ability to face situations, demonstrating balance and a strong personality, alongside Vittorio.
The book blends emotional memory with historical rigor. How did you balance the emotional side of biography with the responsibility of checking and documenting every detail?
Writing this book was, for me, an immense pleasure and, above all, a great challenge. A pleasure, because I had the opportunity to meet and share delightful moments with fascinating people during all the meetings, interviews, and readings, seasoned with Vittorio’s incredible lucidity and his narrative full of details, which made me “travel” along with him, in Africa and Brazil. And the great challenge was to recount these facts as faithfully as possible, reinforced by meticulous research, proving and strengthening his narrative.
Vittorio arrived in Brazil without any connections and built a life of his own, eventually becoming part of Casa Canadá. What does this story reveal about the power of immigration in shaping the cultural landscape of Rio de Janeiro?
Italian immigration to Rio de Janeiro is reflected primarily in the urban landscape, with studies and constructions – such as those by the architect Antonio Jannuzzi – as well as in art (including fashion) and gastronomy. In Vittorio’s case, he made a significant contribution to the field of tailoring and creativity. A highly skilled men’s tailor, thanks to his technical training learned and applied in Egypt, he developed and worked in women’s tailoring for Casa Canadá, passing on these skills to his team and instructing new professionals. He started a family and transmitted habits and principles to his children, becoming one of the component cells of the city he adopted and an integral part of its structure, without abandoning principles inherent to the Italian personality: gradually, he brought his father and brothers, a typical attitude of family cohesion, especially in southern Italy. His perfectionism and focus on work certainly contributed to the aesthetic and professional development of tailoring. Today, the Italian presence in Rio de Janeiro is celebrated in places like Casa d’Italia and in new spaces, such as…Italian Cultural Center, thus contributing to keeping alive the connection between Italian culture and its descendants.
Throughout the writing process, was there ever a moment when you felt you were not just telling a story, but preserving a legacy?
Absolutely! Vittorio’s story showcases moments from the 20th century, with historical, social, and emotional passages that bear witness to its course and the possibility of transmitting them. I was fascinated not only by his ability to recount events and/or details, but mainly impressed by his lucidity, despite his advanced age, which, as a researcher, led me to delve into this universe of facts and details with meticulous research, and confirm his narrative.
After delving so deeply into the lives of this couple and their struggles, what message do you believe Rabena Karib leaves for those who today also face periods of uncertainty and need hope to move forward?
Don’t give up, don’t lose hope, believe in yourself and fight for what you want. As Vittorio said: “One of the secrets to survival is having the ability to keep going and not feeling like a castaway. There’s always a way out.”
Follow Cristina Seixas on Instagram
