In his invaluable book Faḍā’āt wa aškāl wa afkār muḥtadima fī (Walīmat al-asmāk) li-Hātif Janābī, Adnan Abbas wrote that Janabi:

It can be asserted that Abbas’s remark is correct, as it indicates that the Iraqi poet was more concerned with the religious symbol and linked it to his poems of mythical dimension, providing a clear image of God, the symbol of love, hope and safety. At the same time, Janabi draws clear boundaries between the sacred values of religion, which bound humanity with the feelings of brotherhood, and between religious extremism, crime, and terrorism that operates in the name of religion.

In some of his works, the poet opposes religious terrorism, extremism, and the use of religion in conflicting political issues. He managed to present the issues of faith and metaphysical ideas as symbols interacting in spaces closely related to myths, so that human sacredness seems to be intertwined with mythologies from many cultures. It is not strange, then, that Janabi’s poems are full of quotes and interactions with sacred texts, the foremost of which is the Holy Qur’an, some of whose verses are used in various suggestive and semantic contexts. For example, the poet presents in his psalms, characterized by a mythical character that the reader feels since the title “Mazmūr an-nisā’” (The Psalm of Women), a wondrous world lost between winged aspirations and fiery dreams. Psalm is a word that suggests the Bible and Psalms of David and other prophets, while the symbolism of women indicates the continuation of life and the integrity of human society. Perhaps this symbolism also includes a reference to Surah an-Nisā’ (The Women) – one of the surahs of the Holy Qur’an, from which the poet quotes part of the verse “Gardens of Eden underneath which rivers flow.”