What never crossed the minds of literary figures and their devotees occurred to Mohammed Tarzi. Yes. This time, the pen of the son of Tyre settled on the inhabitants of the graves, but for those who are alive, who live on the edge of the graves, the marginalized, the weary, whose only profession is mourning the dead, digging graves, and running after their daily sustenance. And if they dream of salvation from this barren land, their dream will be nothing but a mirage scattered by the winds. As Ghada al-Samman once said, "Our homeland is a cemetery with microphones, fit for nothing but death, eulogies, the beatification of the immortals, the glorification of the deified, and the hatred of the rest." In this novel, Mohammed Tarzi tells the story of a homeland afflicted with microphones that resemble the colors of its political parties and sects. Microphones that besiege the people with anthems, speeches, and illusory victories. They are microphones of a special kind; their loud voices silence mouths, and they chant loyalty to the leader, while the rest of the people have to choose between loyalty or revolt. Through a burning black comedy and a realistic observation of the state of the Lebanese today, Mohammed Tarzi writes in "Muffler Microphone" through an omniscient narrator, the reality of the comprehensive collapse that his country is experiencing on the present and future of his hero "Sultan"; and through him on the social class he represents, who oppose, criticize and are victims of the authorities. They contrast with the class of the powerful, worshippers of power and satiated by stealing public funds; monopolizing medicine, electricity and food. In the midst of this wretched world, "Sultan", the hero of this story, lived with his family on the edge of the cemetery, helping the gravedigger and guiding the living to the graves of their dead, waiting for an opportunity that would never come. He studied accounting but was unable to get a job, and when love knocked on his door, it became an illusion and a memory. When he and his comrades revolted against injustice, they were accused of traitors and conspiring against the country. Like any young man who had dreams outside the cemetery, he dreamed of being a writer, of traveling, and of a different future. But in a country ruled by fait accompli, fate would have a different opinion... With this discourse, Mohammed Tarzi touches on an area that the Arabic novel has not touched since the movement of socialist realism, and pays attention to margins that deserve consideration and treatment. From here, we understand the intellectual trends that are effective in shaping the novelist Mohammed Tarzi and that lie behind the creation of a novelistic text in which the story is based on a fundamental meaning: a person does not feel that he exists in the place where he was born, if the conditions for realizing his humanity are absent.