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Culture

Thirsty River by Rodaan Al Galidi

This is the second book in a row for the Round The World challenge which I can say, without any caveats, that I straightforwardly enjoyed. So that’s good. Thirsty River is my book for Iraq, though Rodaan Al Galidi fled Iraq for the Netherlands in 1998, so it’s actually translated from Dutch.*

It’s a multi-generational family story tracing the history of Iraq from before the Saddam years to after the American invasion. One of the blurbs says “García Márquez for Colombia and Al Galidi for Iraq”, and the book is in that kind of magical realist tradition; although as with a few books I’ve read recently, I find myself wanting to refer to ‘magical realism’ even though there isn’t actually much magic in them. A book like One Hundred Years of Solitude has genuinely impossible, supernatural events in it; Thirsty River has some unlikely, striking events, but they are not generally supernatural. But there’s a similar mood, a kind of theatricality, with odd things happening to slightly odd people.

Of course there’s nothing exclusive to magical realism about exaggerated characters and slightly implausible plots; you could say the same about Dickens. And I wonder if I would even think of referring to it as ‘magical realism’ if it was set in Surrey rather than southern Iraq. But there’s still something that seems to connect these books into a sort of genre; perhaps it’s a slightly detached attitude to the central characters?

Anyway, such taxonomical considerations aside: I did enjoy it. By the end of the novel the enjoyment was of a slightly mixed kind, because Iraq’s recent history has not been all unicorns and rainbows, and the book’s characters have a pretty brutal time of it.

Here’s a little excerpt.

Hadi the Rocket was a middle-aged man. He had a thick black moustache, from which he always plucked the grey hairs with tweezers. In his chest pocket was a comb and a miror, with which he kept his moustache in shape. Hadi the Rocket came from a poor family in Boran, whose members sold ice in the summer, and coal and oil in the winter. His father had owned a cart and an old horse. After primary school, Hadi began to work with his father. He had thought at was his lot to get old sitting int he street, until he became a member of the Ba’ath party.

“God in heaven, the party on earth,” he always said when the Ba’ath party was still underground.

“The party in heaven, Mr President on earth,” he said when the Ba’ath party seized power and was the only party remaining.

“Mr President is the heaven of the fatherland, the party his ground,” was the slogan when Saddam seized power.

Sometimes Hadi the Rocket forgot  his own house, which the party had given him, his wives, which he had also received from the party, and his children and he slept in his uniform in the party’s house. Every time people became more afraid of him, he felt safer and became friendlier. Little photos of Saddam Hussein were pinned to his clothes and he wore watches bearing his image. he gave the photos to everyone, and the watches to people who were higher up in the party then himself, as if it were an offering to the gods. No one was as attached to anything as Hadi the Rocket was to the Ba’ath party; not medieval suitors to their lovers, nor knights to their swords, nor believers to their gods.

* Incidentally, full marks to Luzette Strauss, the translator, for her sparing use of endnotes: just 12 for a 300 page novel. Since I’ve been reading a lot of translated fiction over the past couple of years, distracting and unnecessary endnotes have become a real pet hate of mine.

» saddam elvis, originally uploaded to Flickr by and © rakkasan69.

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Culture

The Butterfly’s Burden by Mahmoud Darwish

The Butterfly’s Burden is a translation of three books by the Palestinian poet Mahmoud Darwish who died earlier this year: The Stranger’s Bed (1998), A State of Siege (2002) and Don’t Apologise for What You’ve Done (2003). It’s a parallel text edition, which always makes me feel terribly learned, but in practice is just a waste of trees since I can’t even read Arabic script.

I am writing this post without having read the whole thing, which may be an admission of defeat. I’ve been having some difficulty connecting to it. I’m not inclined to blame Darwish for that: I imagine it’s partially the basic awkwardness of reading poetry in translation which is, as they say, like eating a Mars bar with the wrapper on; partially a lack of contextual knowledge on my part; and perhaps partially down to the translation by Fady Joudah, although I’m not in a position to judge it as a translation. And of course, very likely because of my own biases as a reader.

I initially picked it up and dipped in at random, which wasn’t a success, so I sat down and read A State of Siege straight through from beginning to end, and actually I did quite get into it and enjoy it. So, heartened by that, I tried the same thing with The Stranger’s Bed, but despite a few moments where I thought I was getting somewhere, I found it a bit of a chore. There were images or passages or moments that I thought were striking or effective, but I felt that on some basic level I just wasn’t getting it; the whole wasn’t cohering into more than the sum of the parts, and I found it all a bit frustrating.

I will make an attempt on Don’t Apologise for What You’ve Done as well, but whether or not I finish it I’m still going to claim Darwish as my writer from Palestine for the Read The World challenge, because I read two of the three books, and I think that’s good enough.

For an extract I’m going to pick something from A State of Siege, since that was the book I enjoyed most; in a sense, though, it’s a more difficult piece to pick extracts from because it isn’t divided into separate poems. Instead, it’s a thirty-page poem built up of short lyrical fragments, separated on the page by a little typographical squiggle. They work together cumulatively, and the poem has a kind of reflective tone; they could be the journal entries of a slightly gnomic diarist, or the contents of a notebook. The poem was written during the Second Intifada, and the conflict is the central subject, but the poem circles around it, sometimes explicitly talking about politics and violence, sometimes about poetry or love.

The mother said:
I did not see him walking in his blood
I did not see the purple flower on his foot
he was leaning against the wall
and in his hand
a cup of hot chamomile
he was thinking of his tomorrow …

The mother said: In the beginning of the matter I didn’t
comprehend the matter. they said: He just got married
a little while ago. So I let out my zaghareed, then danced and sang
until the last fraction of the night, when
the sleepless were gone and only baskets of purple flowers
remained around me. Then I asked: Where are the newlyweds?
Someone said: There, above the sky, two angels
are consummating their marriage … So I let out my zaghareed,
then danced and sang until I was struck
with a stroke.
When then, my beloved, will this honeymoon end?

This siege will extend until
the besieger feels, like the besieged,
that boredom
is a human trait

O you sleepless! have you not tired
from watching the light in our salt?
And from the incandescence of roses in our wounds
have you not tired, O sleepless?

We stand here. Sit here. Remain here. Immortal here.
And we have only one goal:
to be. Then we’ll disagree over everything:
over the design of the national flag
(you would do well my living people
if you choose the symbol of the simpleton donkey)
and we’ll disagree over the new anthem
(you would do well if you choose a song about the marriage of doves)
and we’ll disagree over women’s duties
(you would do well if you choose a woman to preside over security)
we’ll disagree over the percentage, the private and the public,
we’ll disagree over everything. And we’ll have one goal:
to be …
After that one finds room to choose other goals

» The photograph is of Mahmoud Darwish’s funeral in Ramallah and is © activestills.org.

Categories
Culture

The Hostage by Zayd Mutee‘ Dammaj

This Yemeni novel, in what I assume is a coincidental parallel to Orwell, was written in 1984 but set in 1948; it’s about a boy who has been taken hostage by the Imam to ensure his father’s political obedience and is sent to work as a duwaydar in the Governor’s palace. A duwaydar was a personal servant, a pre-pubescent boy who filled the role that would once have been given to a eunuch: being able to work in the women’s areas of the palace without any risk to their chastity.

However, the women of the palace do in fact seek out the boys in search of sexual gratification; this is a novel about loss of innocence, about people who are trapped (the women as well as the hostage), about a somewhat toxic intersection of emotional, sexual and power relationships. It is also, I think, a political novel in its portrayal of the Imams’ rule as decadent and arbitrary. And in the background political events are rumbling, although they only appear as echoes within the tightly circumscribed world of the novel.

I find it quite difficult to pick passages to quote for these posts — something which more or less stands alone and gives some idea of what the book is like. But anyway. Here, our hero has just smoked his first cigarette.

It left me floating in a daze, and all I could remember next morning was that my friend hadn’t stayed therewith me, because two women, neither of them Zahra, had taken him and sat on the palace steps, kissing him and squeezing further pleasures out of him. When he came back, I remember, he slammed the door violently behind him, then sank down to sleep more deeply than I’d ever seen him sleep before.

How difficult it was to wake up in this city, so different from the fortress in the mountains, with its fresh, invigorating air! In the city, you always seemed to wake with the feeling that you’d been beaten black and blue, with your body swollen like a drum or the stump of a palm tree and your eyes drooping. From the very beginning there was a lingering feeling of nausea and depression, and you didn’t usually feel the least desire for breakfast or coffee. All you wanted was cool water, and that was only to be found, if at all, in the soldiers’ jugs.

The Hostage is my book from Yemen for the Read The World challenge.

» Note on the author’s name: there doesn’t seem to be a consensus on how to transcribe Arabic words, and I’ve seen it written in various different ways [Zayd or Zaid, Muttee, Mutee or Muti]. Zayd Mutee‘ Dammaj is the spelling used in this edition; the author’s page in the Library of Congress catalogue is under Zayd Muṭīʻ Dammāj.

The picture is ‘the view of the village from a vindow of the Imam’s palace in Wadi Dhar’ and is © Franco Pecchio but used under a CC attribution licence.

Categories
Culture

My Father’s Notebook by Kader Abdolah

Kader Abdolah left Iran as a political refugee, having been part of a leftist political party that opposed first the Shah and then the ayatollahs. He has lived in the Netherlands since 1988 and My Father’s Notebook is actually a translation (by Susan Massotty) from Dutch. Despite that, I’m counting it for Iran for the Read The World challenge.

The story is narrated by a Iranian political refugee living in the Netherlands, who tells the story of his father, a deaf-mute carpet mender, over the period that includes the coming of the Shahs and the Islamic revolution. I guess we have to assume that there is an element of autobiography here, but I have no idea how much. The book combines a nostalgia for an apparently simpler time, before the politics of Iran got so messy, with a portrayal of a family, and particularly a father-son relationship, caught up in dangerous politics.

I found it weirdly insubstantial. I whipped through it in a couple of days, and found it likeable enough, but not much more than that. Easy to read, easy to forget. It has a kind of sub-magical realism thing going on: not much actual magic, but a certain dwelling on the colourful and peculiar. Perhaps that’s why it didn’t particularly grab me. Or perhaps I just wasn’t in the mood.

» The image, ‘Some Iranian patterns…’, is © François Bouchet and used under a CC by-nc-nd licence.