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This essay focuses on a forty-one-year-old Moroccan man called Ilyas, who, during episodes of mental illness, covers the walls of his apartment with elaborate murals. Produced in a psychopathological state in which the biographical and the mythical meet, these images simultaneously evoke and transform motifs drawn from Islamic tradition, including those relating to the torments of the soul after death. As such, they allow Ilyas to achieve an otherwise impossible proximity to his own madness and thus, at least temporarily, to reorder his existence and resume his life in the world.

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