History, in the interests of the historical writer Ali Al-Mamari, as we view it in ‘The Whispering of Bridges’, is one of the ideological and artistic choices that construct the throne of his text. His presence in the narrative discourse is characterized by transparency, albeit, with some self-censorship. Perhaps Ali Al-Mamari has set his sights on the boundaries between history and fiction, and that ultimately, he is an artist and novelist, not a historian. This awareness allowed him to define the distance between historical and fictional knowledge so that he may write historical fiction, no more, no less.

In ‘The Whispering of Bridges’, there are some of the aesthetics of poetry that flow within the narrative.

There is a sort of chemistry between the narrative and aesthetic languages of the text, as different linguistic signs interact to gain open connotations within the semantic structure. These devices are what make the language of ‘The Whispering of Bridges’ rife with lyricism.