Miramar Reviews

It is the late sixties, and for the group of friends who meet night after night on the houseboat on the Nile, times have changed. Nasser has ushered in an age of enormous social change, and these middle-aged sons and daughters of the old bourgeoisie are left high and dry, to gather beneath the moonlight, to smoke and chat and inhabit a cosy and enchanted world. But one night Art and Reality collide with unforeseen consequences. In Adrift on the Nile, Mahfouz has given us a tale, at once thrilling and deeply serious, which exposes the human and artistic dilemmas of modern times.

In Akhenaten, Dweller in Truth, Nobel laureate Naguib Mahfouz tells with remarkable insight the story of the ‘heretic’ pharaoh whose iconoclastic and controversial career has such resonance with modern sensibilities. Years after the king’s death, a young man with a passion for the truth questions the pharaoh’s contemporaries—including his closest friends, his bitterest enemies, and his enigmatic wife Nefertiti—in an effort to discover what really happened in those strange, dark days at Akhenaten’s court. As they each report their version of events, Mahfouz allows his readers to decide for themselves the truth about Akhenaten.

Drawing on the characters and the spirit of the classic A Thousand and One Nights, Arabian Nights and Days is a significant departure for Nobel laureate Naguib Mahfouz. Though he is best known for chronicling his own times, in this novel, first published in Arabic in 1982, Mahfouz injects new life into an Arabic masterpiece. Though it is set in an Islamic city in medieval times, the modern reader will find much in this novel that is surprisingly familiar. It depicts a city plagued by widespread corruption among its most powerful citizens, and a pervasive sense of social unrest and insecurity. The chief of police is kept particularly busy dealing with the underground activities of various religious sects that are intent on changing the unscrupulous regime. Amid all of this, as in the Thousand and One Nights, genies appear out of bottles accidentally opened by innocent individuals, affecting their lives in exciting, sometimes detrimental ways. Famed for his skill as a storyteller, Naguib Mahfouz has here produced a novel that is as colorful and entertaining as the book that inspired it.

This is the story of one man and the Egyptian Revolution of 1952. Isa al-Dabbagh is a senior civil servant in the Egyptian government who loses his job, and his fiancee, when the Purge Committees of the Revolution bring his venal past to light. His personal relationships reflect the resulting internal conflict he suffers between mind and heart, between intellectual acceptance of the Revolution and the basic emotional instincts that hold him back.

Jaafar Ibrahim Sayyed al-Rawi, the main character in this most recently translated Mahfouz novel, is guided by his motto, “let life be filled with holy madness to the last breath.” He narrates his life story to a friend during one long night in a café in old Cairo. Through a series of bad decisions, he has lost everything: his family, his position in society, and his fortune. A man driven by his passions, he married a beautiful Bedouin nomad for love, and as a consequence pays a punishingly high price. From a life of comfort with a promising future guaranteed by his wealthy grandfather, he descends to the spartan life of a pauper, after being disinherited. Jaafar faces his tribulations with surprising stoicism and hope, sustained by his strong convictions, his spirituality, his sense of mission, and his deep desire to bring social justice to his people.

The time is 1942, the Second World War is at its height, and the Africa Campaign is raging along the northern coast of Egypt as far as El Alamein. Against this backdrop of international upheaval, this novel tells the story of the Akifs, a middle-class family that has taken refuge in Cairo’s historic and bustling Khan al-Khalili neighborhood. Believing that the German forces will never bomb such a famously religious part of the city, they seek safety among the crowded alleyways, busy cafés, and ancient mosques of the Khan, adjacent to the area where Mahfouz himself spent much of his young life. Through the eyes of Ahmad, the eldest Akif son and the novel’s central character, Mahfouz presents a richly textured vision of the Khan, drawing on his own memories to assemble a lively cast of characters whose world is framed by the sights, smells, and flavors of his childhood home. As Ahmad, a minor civil servant who has sacrificed both education and personal ambition in order to support his family, interacts with the people and traditions of Khan al-Khalili, a debate emerges that pits old against new, history against modernity, and faith against secularism. Addressing one of the fundamental questions of the modern era, Mahfouz asks whether, like the German bombs that threaten Khan al-Khalili daily, progress must necessarily be accompanied by the destruction of the past.

Pharaoh Khufu is battling the Fates. At stake is the inheritance of Egypt’s throne, the proud but tender heart of Khufu’s beautiful daughter Princess Meresankh, and Khufu’s legacy as a sage, not savage, ruler. As the tale begins, Khufu is bored in his great palace at Memphis. To entertain him, his architect Mirabu expounds on the mighty masterwork he has so far spent ten years building, with little yet showing above ground—what will become the Great Pyramid of Giza. Mirabu and the clever vizier Hemiunu tempt him with other amusements as well—but to no avail. Then one of the king’s sons fetches a magician with the power to predict the future. The sorcerer says that Khufu’s own offspring will not inherit Egypt’s throne after him, but that it will fall instead to a son born that very morning to the High Priest of Ra. Furious, Khufu and his crown prince, the ruthless Khafra, set out to change the decree of the Fates—which fight back in the form of Djedefra, the boy at the center of the prophecy, and his heart’s desire, Princess Meresankh. Yet will the unsuspecting Khufu survive the intrigue around him—not only to finish his long-awaited book of wisdom, but to become truly wise?

With a writing career spanning some seventy years, Naguib Mahfouz is one of the most recognized writers in the world. His study of philosophy at what is now Cairo University greatly influenced his works, as did his wide readings and his work in the government and in the Cinema Organization. Life’s Wisdom is a unique collection of quotations selected from the great author’s works, offering philosophical insights on themes such as childhood, youth, love, marriage, war, freedom, death, the supernatural, the afterlife, the soul, immortality, and many other subjects that take us through life’s journey. Naguib Mahfouz’s works abound with words of wisdom. As Nadine Gordimer states in her foreword to his Echoes of an Autobiography: “The essence of a writer’s being is in the work, not the personality, though the world values things otherwise, and would rather see what the writer looks like on television than read where he or she really is to be found: in the writings.” In keeping with Gordimer’s comment, Mahfouz’s true nature can be found in his writing. The quotations included here offer a broad, yet profound, insight into the writer’s philosophy gained through a life’s journey of experience and writing.

Set in Cairo in the aftermath of the Six-Day War of 1967, Love in the Rain introduces us to an assortment of characters who, each in his or her own way, experience the effects of this calamitous event. The war and its casualties, as well as people’s foibles and the tragedies they create for themselves, raise existential questions that cannot easily be answered. In a frank, sensitive treatment of everything from patriotism to prostitution, homosexuality and lesbianism, Love in the Rain presents a struggle between “old” and “new” in the realm of moral values that leaves the future in doubt. Through the dilemmas and heartbreaks faced by his protagonists, Mahfouz exposes the hypocrisy of those who condemn any breach of sexual morality while turning a blind eye to violence, corruption, and oppression.

This much-loved Mahfouz masterpiece is a rich account of life in a back street in a poor quarter of medieval Cairo. While the novel focuses on a willful young woman whose ambition to escape the confines of the alley leads her into prostitution, a pageant of other vivid characters, from the café owner who likes boys to the man who creates maimed beggars and from the young man with the faithful heart to the rake and the pimp, fleshes out the picture of a society in crisis and transition. Though the novel is set during the Second World War, the characters’ alienation from the prevailing political system and the desire of many of them to escape the economic and social stagnation of the alley give the work an unexpectedly up-to-date flavor. Mahfouz presents his characters with wry humor and a relish for the contradictions and fallibilities innate in people everywhere (even the alley’s beloved spiritual mentor beats his wife). This new translation of one of the writer’s best known works has been undertaken to celebrate the centenary of his birth in 2011.

In this second volume of The Cairo Trilogy, the master storyteller spins a sensual, provocative tale, following the al-Jawad family into the awakening world of the 1920s, where increased freedoms prove as troubling as domination and repression once did. Like Palace Walk, Palace of Desire affords a fascinating look at a period of modern Egyptian history by lovingly and painstakingly examining the day-to-day lives of a single family.

Respected Sir is a story of vaulting ambition. Othman Bayyumi joins the civil service at the lowest point of the professional scale as an archives clerk. From the first minute in his career he is seized by a mad desire to become one day director-general of the department, and his eagerness to fulfill this ambition becomes an exalted and arduous religious quest, for the sake of which no sacrifice is too great.

In this final volume of Naguib Mahfouz’s masterpiece trilogy, al-Sayyid Ahmad is aging, ill, and confined behind the mashrabeya that once confined his wife. But in his grandsons we see a modern Egypt emerging: one becomes a communist activist, another a Muslim fundamentalist, both working for what they believe will be a better world. And a third launches a promising political career abetted by a homosexual relationship with a prominent politician.

Set in Cairo in the early 1950s, this novel portrays the psychological torment of Omar, an ardent revolutionary in his youth who in middle age has been left behind by Nasser’s 1952 Revolution. His conscience has died. As he struggles for psychological renewal, he sacrifices his work and his family to a series of illicit love affairs, which simply increase his alienation from himself and from the rest of the world.

On a school playground in the stylish Cairo suburb of Abbasiya, five young boys become friends for life, making a nearby café, Qushtumur, their favorite gathering spot forever. One is the narrator, who, looking back in his old age on their seven decades together, makes the other four the heroes of his tale, a Proustian (and classically Mahfouzian) quest in search of lost time and the memory of a much-changed place. In a seamless stream of personal triumphs and tragedies, their lives play out against the backdrop of two world wars, the 1952 Free Officers coup, the defeat of 1967 and the redemption of 1973, the assassination of a president, and the simmering uncertainties of the transitional 1980s. But as their nation grows and their neighborhood turns from the green, villa-studded paradise of their youth to a dense urban desert of looming towers, they still find refuge in the one enduring landmark in their ever-fading world: the humble coffeehouse called Qushtumur.

In this breathtakingly compact novel, written in the mid-1980s, the focus is once again on the generational paradigm featured in the Cairo Trilogy. This time, Mahfouz traces the life of a middle-class Cairene family living in the early 1980s under President Sadat. It was an era of transition in Egypt, a time of acute crisis, as everywhere ordinary people were being pushed into the ‘’abyss of Infitah.’’ In the mad rush, there was a sense of an ending, a feeling of panic as the innocent helplessly watched their world rapidly disintegrating. A whole way of life with its age-old traditions and values was simply falling apart, making way for a merciless new materialism in ‘’the kingdom of the corrupt,’’ where survival had indeed to be for the fittest. The novel reaches its climax with the assassination of Sadat on October 6, 1981, an event around which the fictional plot is skillfully woven.

First published in Arabic in 1983, this brief but powerful parable is set in a mythical, timeless Middle East. It is presented as the journal of a wanderer known as Ibn Fattouma, whose boyhood tutor had extolled the virtues of travel as a way of finding the true meaning of life. He joins a caravan and sets out to explore the world, his ultimate destination the enigmatic land of Gebel. Raised in an Islamic society, Ibn Fattouma finds to his surprise that many of the countries he visits, though heathen, are in some ways superior to his own. His first stop results in marriage to a non-believer, and children. However, war with another country and a clash with a city official cause him to lose his family, and he is forced to leave. In another country he is imprisoned for twenty years, accused of crimes against the state. Civil war frees him, and he moves on again, always seeking an intangible he is never able to find, always vulnerable to the winds of social and political change. Finally, he joins a caravan bound for Gebel—a country so distant and mysterious that no one has ever been known to reach it and return to tell the tale.

In The Search a young man, hoping to escape a sordid background and an impoverished future, sets out to find the father he has never known. But in the course of his quest he becomes entangled with two women and is enticed into murder. The significance of the novel lies mainly in its symbolic nature and in its possible readings: is the young man searching for his roots, for religious belief, for national traditions, or for political identity?

With a writing career spanning some seventy years, Naguib Mahfouz is one of the most recognized writers in the world. His study of philosophy at what is now Cairo University greatly influenced his works, as did his wide readings and his work in the government and in the Cinema Organization. The Wisdom of Naguib Mahfouz, like the earlier Life’s Wisdom, is a unique collection of quotations selected from the great author’s works, offering philosophical insights on themes such as childhood, youth, love, marriage, war, freedom, death, the supernatural, the afterlife, the soul, immortality, and many other subjects that take us through life’s journey.

The forces of law and order disturb a district’s too-perfect peace at the dawn of Egyptian civilization. A wise and popular pharaoh is betrayed by his own son, and by his dearest friends—then makes a most peculiar decision. A mummy returns to life after three thousand years, to confront the arrogant new race that now rules the land. A favored prince flees to a faraway country when the king dies suddenly, leaving his true love behind—only to come back to question her about their forty lost years. A famous young writer, composer of a legendary epic of Pharaoh’s greatest battle with the Hittites, is carried off without warning by a mysterious disease—then speaks to us in this life from beyond the veil of death. Such are the tales that make up this volume of five masterly stories by the young Naguib Mahfouz, all inspired by the Egypt of the pharaohs. Like three novels set in ancient times that he published early in his career, and two more with pharaonic themes that he produced four decades later, these stories reveal his wide reading of Egypt’s (and the world’s) oldest history and literature. All of these gems, however, are very much his own creations. Their voices speak with the familiar genius of Egypt’s greatest modern writer—though they call from a very different world than the one for which he is best known.

This is the story of a theatrical family of Cairo, whose playwright son exposes its most intimate and sordid secrets on the stage in his first play. The story is told four times from four different viewpoints: that of the family acquaintance, the father, the mother, and Abbas, the son, who is the central character.