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(The tumultuous alley of this rich and intricate novel (fi...)
The tumultuous alley of this rich and intricate novel (first published in Arabic in 1959) is inhabited by a delightful Egyptian family, but is also the setting for a second, hidden, and more daring narrative: the spiritual history of humankind. The men and women of a modern Cairo neighborood unwittingly reenact the lives of their holy ancestors: from the feudal lord who disowns one son for diabolical pride and puts another to the test, to the savior of a succeeding generation who frees his people from bondage. This powerful novel confirms again the richness and variety of Mahfouz's storytelling and his status as "the single most important writer in modern Arabic literature" (Newsweek).
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(In this provocative and dreamy parable, a young man disil...)
In this provocative and dreamy parable, a young man disillusioned by the corruption of his homeland sets out on a quest to find Gebel, the land of perfection, from which no one has ever returned. On his way, Ibn Fattouma passes through a series of very different lands--realms where the moon is worshipped, where marriage does not exist, where kings are treated like gods, and where freedom, toleration, and justice are alternately held as the highest goods. All of these places, however, are inevitably marred by the specter of war, and Ibn Fattouma finds himself continually driven onward, ever seeking. Like the protagonists of A Pilgrim's Progress and Gulliver's Travels, Naguib Mahfouz's hero travels not through any recognizable historical landscape, but through timeless aspects of human possibility.
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(The Nobel Prize-winning Egyptian writer Naguib Mahfouz re...)
The Nobel Prize-winning Egyptian writer Naguib Mahfouz refashions the classic tales of Scheherazade into a novel written in his own imaginative, spellbinding style. Here are genies and flying carpets, Aladdin and Sinbad, Ali Baba, and many other familiar stories from the tradition of The One Thousand and One Nights, made new by the magical pen of the acknowledged dean of Arabic letters, who plumbs their depths for timeless truths.
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Najib Mahfuz was born in the popular quarter Hayy Al-Jamaliyya in Cairo, Egypt, on December 12, 1912, to a middle-class merchant family. He was the seventh and the youngest child, with four brothers and two sisters, all of them much older than him.
During his high school years he began to read the Arabic classics as well as the Western ones that he could find in translation. He proceeded to major in philosophy at Cairo University, and after graduating in 1934 he worked his way up the bureaucracy as a civil servant.
He continued to work until he retired as director of the Cinema Organization, after which he worked as a consultant to several governmental cultural organizations. He was a frequent contributor to the daily newspaper Al-Ahram, where most of his writings appeared in serial form before being published in book form.
An avowed disciple of the pioneers of the literary Rennaisance of the early 20th century such as Al-Aqqad, Salama Musa, and Taha Husayn, Mahfuz—unlike his mentors and many of his peers—never studied abroad, and indeed infrequently traveled outside of Egypt. Therefore, his knowledge of the West and Western literary forms came primarily from his profuse readings. Mahfuz, who is sometimes referred to as the "Balzac of the Arabs, " was an ardent admirer of the Russian classics. Tolstoy, Turgenev, and Dostoevsky were often quoted by him in interviews as the examples he would like to emulate.
Mahfuz's early writings have been categorized traditionally as historical in that he dealt with subjects inspired by ancient Egyptian history. In an interview to the literary magazine Al-Hawadess, Mahfuz corrected this misconception by saying that only one of the early three works—Kifah Tiba (The Struggle for Thebes, 1944)—was strictly a historical novel. The other two—Abath Al-Aqdar (The Meanderings of Fate, 1938) and Radobis (1943)—were fictional stories inspired by folk epics.
A new phase of realistic writings began with a series of novels that delved into more contemporary subject matter and characters. Al-Qahira Al-Jadida (New Cairo, 1945) ushered in the genre of novels that more specifically come to be associated with the author. Most of the novels after these bear names of the old-time quarters of Cairo, names that resonate with a continuous history of over a thousand years. Khan Al-Khalil (1946), Zuqaq al-Midaq (1947), and his trilogy, Al-Thulathia (comprising Bayn al-Qasrayn, Qasr al-Shauq, Al-Sukkariyya), recall throbbing arteries of a great city.
This epoch-making trilogy, considered his masterpiece and written between 1946 and 1952, traces the radical changes undergone by a Cairene bourgeois family dominated by the declining figure of its tyrannical patriarch, Ahmad Abd a-Jawad. In this trilogy, Mahfuz painstakingly follows the changes taking place in Egyptian society and identity through the lives of the members of this extended family. The cultural and ideological turmoil that Egypt experienced after the turn of the century came to a head by the end of World War II. It was masterfully handled by Mahfuz through his characters, who range in their ideologies from the extreme right fundamentalists of the Muslim Brothers to the extreme Leftists fighting British colonialism and seeking independence for a free Egypt. The trilogy was considered a distinctive contribution to world literature in that it was not an imitation of a Western model but a unique contribution of Egyptian genius. The trilogy was awarded Egypt's highest literary honor in 1957.
Al-Sarab (The Mirage, 1948) is generally looked upon as a turning point in Mahfuz's development. Here he probes into psychological considerations for the understanding of his characters' behavior. Bidaya wa Nihaya (The Beginning and the End, 1949) also belongs to this phase.
In an area of the world where literacy is still not widespread, radio, cinema, and television play a crucial role in the education and entertainment of the people. Many of the writings of Mahfuz have been successfully adapted to the screen and stage. This enabled him to become widely known and admired throughout the Arab world. Mahfuz also wrote many scripts for works of other writers, which may perhaps explain the mastery of cinematic techniques that is manifest in his own writings.
Awlad Haritna (Sons of our Alley, 1967) augurs an era of neo-realism in which he questioned and probed ideas, concepts, and philosophies of the God-man relationship, good and evil, and life and death. These existential questionings are even more apparent in his short stories, which have been collected in several anthologies. His preoccupation with Sufi (Islamic mysticism) considerations and apparent discrepancies of 'ilm (knowledge) and iman (faith) are poignantly handled throughout his later writings, and specifically in his voluminous epic tale Al-Harafish. Mahfuz's later writings, such as Alf Layla wa Layla (A Thousand and One Nights, 1982), are modeled on its prototype. Al'Ai'sh fi al-Hakika (He Who Lives in Truth, 1985) was considered by him more as an historical novel than fictional writing.
His novels have often gotten him into trouble with authorities, both in his native land and elsewhere in the Arab world. The Children of Gabalawi (1959) was banned in Egypt because it was seen as offensive to Islam and considered blasphemous by many Muslims. In the 1960's Mahfuz found himself in trouble with the government because several of his novels were considered allegorical attacks on the administration of President Gamal Nasser. Because of his support for Egyptian President Anwar Sadat's peace treaty with Israel in 1979, Mafuz's writings were banned in many Arab countries during the 1980's, although the prohibitions were eventually lifted. Women often play a significant role in his novels, going beyond their traditional passive role in Egyptian society.
In October of 1988 Mahfuz was awarded the Nobel Prize in literature, the first Arab writer—and second from the African continent—to be so rewarded. A modest man with a dry sense of humor, Mahfuz, according to the report in the October 14th edition of the New York Times, took his Nobel in stride. The citation from the Swedish Academy of Letters said his work was "now clearsightedly realistic, now evocatively ambiguous, " to which Mahfuz commented, "Clarity is valuable, but ambiguity has its value too. " Asked about his plans for spending the $300, 000 prize money, New York Times reported that he looked at his spouse and replied, "That is my wife's job. " Perhaps more than any other Arab writer, Najib Mahfuz has been the subject of scholarly study in the West. Since the 1970s master's and doctoral dissertations have been partially or wholly dedicated to the study of the short stories and novels, characters, and techniques of this writer.
In view of his own prior conflicts with Muslim leaders, it surprised many when, in a 1992 interview with the Paris Review Mahfuz criticized fellow author Salmon Rushdie for the latter's novel, The Satanic Verses. The novel had been condemned as blasphemous by many Muslims, and Iran's religious leader, the Ayatollah Khomeini, had offered a million-dollar reward for Rushdie's death. Mahfuz had previously defended Rushie, but in an interview with Charlotte El Shabrawy, he told her he had been unaware of the contests of Rushdie's novel. After Mahfuz, who had failing eyesight, had the book read to him, he said he was "appalled" by what he felt were the insults to Muslims and the Prophet Mohammed. While standing by his prior statements that Khomeini had no right to threaten Rushdie with death, Mahfuz said Rushdie "does not have the right to insult anything, especially a prophet or anything considered holy. "
He won the 1988 Nobel Prize for Literature. He is regarded as one of the first contemporary writers of Arabic literature, along with Tawfiq el-Hakim, to explore themes of existentialism. He published 34 novels, over 350 short stories, dozens of movie scripts, and five plays over a 70-year career. Many of his works have been made into Egyptian and foreign films.
(The tumultuous alley of this rich and intricate novel (fi...)
(In this provocative and dreamy parable, a young man disil...)
(The Nobel Prize-winning Egyptian writer Naguib Mahfouz re...)
The Mahfouz family were devout Muslims and Mahfouz had a strict Islamic upbringing. In an interview, he elaborated on the stern religious climate at home during his childhood. He stated that "You would never have thought that an artist would emerge from that family. "
Most of Mahfouz's writings deal mainly with politics, a fact he acknowledged: "In all my writings, you will find politics. You may find a story which ignores love or any other subject, but not politics; it is the very axis of our thinking".
He espoused Egyptian nationalism in many of his works, and expressed sympathies for the post-World-War era Wafd Party. He was also attracted to socialist and democratic ideals early on in his youth. The influence of socialist ideals is strongly reflected in his first two novels, Al-Khalili and New Cairo, and also in many of his latter works. Parallel to his sympathy for socialism and democracy was his antipathy towards Islamic extremism.
Mahfouz remained a bachelor until age 43 because he believed that with its numerous restrictions and limitations, marriage would hamper his literary future. However, in 1954, he quietly married a Coptic Orthodox woman from Alexandria, Atiyyatallah Ibrahim, with whom he had two daughters, Fatima and Umm Kalthum.
