Status Reviews

A Tuareg youth ventures into trackless desert on a life-threatening quest to find the father he remembers only as a shadow from his childhood, but the spirit world frustrates and tests his resolve. For a time, he is rewarded with the Eden of a lost oasis, but eventually, as new settlers crowd in, its destiny mimics the rise of human civilization. Over the sands and the years, the hero is pursued by a lover who matures into a sibyl-like priestess. The Libyan Tuareg author Ibrahim al-Koni, who has earned a reputation as a major figure in Arabic literature with his many novels and collections of short stories, has used Tuareg folklore about Anubis, the ancient Egyptian god of the underworld, to craft a novel that is both a lyrical evocation of the desert’s beauty and a chilling narrative in which thirst, incest, patricide, animal metamorphosis, and human sacrifice are more than plot devices. The novel concludes with Tuareg sayings collected by the author in his search for the historical Anubis from matriarchs and sages during trips to Tuareg encampments, and from inscriptions in the ancient Tifinagh script in caves and on tattered manuscripts. In this novel, fantastic mythology becomes universal, specific, and modern.

In a world with no meaning, meaning is an act . . . This is a story about building things up and knocking them down. Here are the campfire tales of Egypt’s dispossessed and disillusioned, the anti-Arabian Nights. Our narrator, a rural immigrant from the Bedouin villages of the Fayoum, an aspiring novelist and construction laborer of the lowest order, leads us down a fractured path of reminiscence in his quest for purpose and identity in a world where the old orders and traditions are powerless to help. Bawdy and wistful, tragicomic and bitter, his stories loop and repeat, crackling with the frictive energy of colliding worlds and linguistic registers. These are the tales of Cairo’s new Bedouin, men not settled by the state but permanently uprooted by it. Like their lives, their stories are dislocated and unplotted, mapping out their quest for meaning in the very act of placing brick on brick and word on word.