On the desk, pens, paper, a few scattered objects and, taking pride of place, a 10-point plan for the future, "his" simple pen, the eye-glasses and a "painting" given as a gift by daughter Aisha, which never left his side.
Adjacent is a beige-toned sitting room that looks comfortable and receiving. Sparse objects (few art volumes, ash trays, lamps and a low marble coffee table) manage to convey the pervading feeling: office yet home, warmth, geniality. More photos adorn the walls, showing the pride of the man in his family and revealing his hobby for sports, sailing, fishing. The whole setting radiates boundless love for the family.

The businessman gives way to the family man, inviting one to open up to him - even if the visit may be official. And then, there is the room of symbols: life and its eternity. Art work by wife Suha covers the walls. Done in sand grain of earthly colours, mostly reddish brown, but also basic yellow, blue, black, in green and ochre, the works seem monumental in the relatively small room equipped with a round wood and metal table, four metal chairs, niched-in book shelves and a big-size TV screen.

As if entering a cathedral, a passageway takes you into the next room, with more art work by Suha (photographs this time) showing an acute artistic eye. The photos are mainly of sunsets. A farewell or the foretelling of the sunset of the life of Khalid Shoman? His semi-profile silhouetted against a full wall-size photo of the sea (at sunset) somehow completes the cycle of life: water - beginning and end - sand, a grain of which we all are, life that never really ends but is transformed, metamorphosed, exists in our



The high ceilings and the little stained glass there
is on the ogeed windows reinforce the feeling of
monumentality. They impose spirituality,
contemplation, meditation. And make one leave
thinking that, perhaps, death is not the end.
Certainly not for Khalid Shoman.

by Ica Wahbeh
Jordan Times