This timely, elegant novel’s hero is an Iraqi secret police inspector who routinely uses enhanced interrogation techniques, which even he considers torture. Convinced that he is protecting society from anarchy, he is at peace with the world until ordered to interrogate a childhood friend, a journalist with possible links to violent subversives. Then he falls in love with his friend’s wife. The plot of this novel, which was written in Iraq in 1976 and published in Arabic in Germany in 1989, is further complicated by street protests in Baghdad following the Six-Day Arab–Israeli War of June 1967. Despite the grim subject matter of this novel, it is at heart a love story, lyrically narrated.
The Traveler and the Innkeeper
Fadhil al-Azzawi
Translated byWilliam M. Hutchins
132 pp.
12.5X20cm
ISBN 9789774164620
For sale worldwide
9.99
Also available by this author
Cell Block Five
An Iraqi Novel
Fadhil al-AzzawiTranslated byWilliam M. Hutchins
Being plucked from a Baghdad café and deposited in a cell block for political prisoners is a wakeup call for Aziz, the novel’s hero and narrator, a young man who has been living on automatic pilot—as if he were a guest visiting his own life—and he is finally forced to come to terms with the flawed world we inhabit and shape. Although never charged with any offense, he must adjust to a lengthy stay in prison, where he is befriended by Salam the yard boss, Mun‘im an idealistic university student with a beautiful sister named Salwa, Yusuf an idealist dispatched to the ‘Swamp,’ Salman an anarchist schoolteacher, and Mustafa an aged farmer who dreams of an alternative society. While these imprisoned revolutionaries teach Aziz to dream that an ideal city with his name on it may lie just over the horizon, the police supervisor encourages him to think of a simple crime to which he can confess so he can be charged and eventually released. Based on the author’s own incarceration in Iraq, Cell Block Five is a clear-headed, good-humored tribute to the prison’s men—both the inmates and the guards—and an indictment of man’s gratuitous inhumanity to man, pointing out that the transition from abused to abuser, tortured to torturer, can be an easy one. Written in 1971 and published outside Iraq in 1972, Cell Block Five—the first Iraqi prison novel—was later made into a feature film in Syria. Drawing the reader subtly into the political section of an Iraqi prison, this compelling story easily transcends cultural boundaries.
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Paperback
116 pp.12.5X20cm
9.99
The Last of the Angels
An Iraqi Novel
Fadhil al-AzzawiTranslated byWilliam M. Hutchins
Set in the northern Iraqi city of Kirkuk during the 1950s, The Last of the Angels tells the slyly humorous tale of three strikingly different people in one small neighborhood. During a labor strike against the British-run Iraq Petroleum Company, Hameed Nylon becomes a labor organizer and later a revolutionary, like his hero, Mao Tse-Tung. His brother-in-law, the sheep butcher Khidir Musa, travels to the Soviet Union to find his long-lost brothers, and returns home to great acclaim (and personal fortune) in an airship. Meanwhile, a young boy named Burhan Abdullah discovers an old chest in the attic of his family’s house that lets him talk to angels. By turns satiric, picaresque, and apocalyptic, The Last of the Angels paints a loving, panoramic, and elegiac portrait of Kirkuk in the final years of Iraq’s monarchy. But as the grim reality of modern Iraqi history catches up with the novel’s events, we come to learn the depth and complexity of Hameed Nylon, Khidir Musa, and Burhan Abdullah, and al-Azzawi’s comic novel becomes a moving tale of growing up in a dangerous world.
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Paperback
288 pp.15X23cm
12.99
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Anubis
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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.
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During the 1956 Suez War—or the Tripartite Aggression, as it is known in Egypt—life in Alexandria goes on. The railroad workers and their families live in the low-income housing of el-Masakin, along the Mahmudiya Canal, but some of them take us on forays into the other, cosmopolitan Alexandria, whose European denizens, mainly Greeks, Italians, and Jews are departing in droves. This spellbinding novel teems with memorable characters, not a few of whom are themselves storytellers: a budding novelist writing about el-Masakin and its eccentric denizens and about his own improbable love affair with a 12-year-old girl; a spice merchant dreaming of the bygone glory of his ancestors and their trade along the spice road, beginning on the Malabar Coast; a train guard who is a teller of very tall tales; and a would-be filmmaker trying to make a film showing what happened in Port Said during the war. Then there is the cinema aficionado who plays Tarzan in real life along the Mahmudiya Canal; the young boy who leads a group of assorted crazies every afternoon to see ‘God’ at sunset; the singing nurse whose only dream is to perform on the radio; and Arabi, the young man who is in love with all things European, but especially with his employer, Katina the widowed Greek dressmaker. As in his earlier novel, No One Sleeps in Alexandria, Ibrahim Abdel Meguid here combines historical fact with fiction, and the mundane with the fantastical, to weave an engrossing, multilayered story of stories.
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