Reminder that part one of my history of board games series is up on mentalfloss.com, with part two going up this afternoon. UPDATE: Part two is up, covering go, mancala, and pachisi.
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‘Abd al-Rahman Munif’s novel Cities of Salt
Munif uses an unconventional structure in Cities by forgoing a clear protagonist or even set of them; the central characters in the book’s first dozen chapters are gone by the final third of the book. Instead, the central characters are settings: The wadi that is destroyed in the first movement, and later the town of Harran, which goes from a backwater to a booming oil town, with a walled-off American district and an Arab shantytown, and in which all of the book’s action takes place after the pipeline is laid from the wadi to the Harran coastline.
That lack of a main character combined with Munif’s habit of using multiple honorifics to refer to the same character (often “Ibn,” meaning “son of,” and “Abu,” meaning “father of,” although the latter may also be used symbolically) left me frequently confused about exactly who was involved in any particular scene. Instead, I eventually settled on reading the book as a series of connected stories about the people affected by the arrival of Big Oil – Munif delivered his satire or presented sympathetic locals through winding anecdotes, such as the folk doctor who becomes a target of the foreign medical doctor, who brings science to his practice but also uses his connections to attempt to eliminate the folk doctor’s competition.
No one comes off well in the book, but Munif’s primary targets seem not to be the Americans, whom he largely depicts as aloof, money-minded bumblers, but the Arab powers-that-be who throw away their own heritage, ignore the needs of their people, and become addicted to the needle of American money. Later in the book, the emir who rules over Harran becomes childlike when presented with American toys like a radio or a telescope, making it that much easier for the Americans to do as they wish in creating a segregated Harran and flouting local Islamic laws and mores.
The strength of Cities of Salt was his sharp satirical edge, as nothing Munif depicted in the Americans or the installed Arab kleptocracy seemed remotely unrealistic. This isn’t parody – satire through ridicule or exaggeration – but satire through exposure: Here’s the sort of thing that happened, and viewed from above the situation, it looks awful. I found those portions more compelling than the often sad depictions of the Arab peasants whose lives were uprooted because, whether we like it or not, economic and scientific progress nearly always leaves some victims – the buggy makers who were run over, figuratively, by the automobile, for example. The issue is not how progress treats those victims, but how those in power use progress to enrich or protect their own interests and create more victims or worsen their plight along the way. I thought Munif’s greater contribution, at least in terms of the human element of his story, was shining some light on the migrant workers who move to work in the oil industry but who are treated in this novel as disposable resources by the oil company. Without cultural, linguistic, or social grounding in their community, treating them as such is a recipe for disaster, and in fact leads to the only real open conflict in the entire book.
Munif was born on the day in 1933 when Saudi Arabia signed the first concession agreement of any Gulf state with an American oil exploration company, a neat coincidence given (or perhaps driver of) his eventual choice of subject matter. He was stripped of his Saudi citizenship for his political views; after receiving a law degree from the Sorbonne and a Ph.D. in oil economics from the University of Belgrade, he worked in Iraq’s oil ministry and became a member of the Ba’ath Party, then quit the job and party when he became disenchanted with the government policies. He chose to channel his frustration with the region’s political state into his novels, focusing on the rise of oil-backed autocracies and the way the United States props them up with money and technology. Whether this is the great Arab novel, I can not say, with almost no experience with the region’s literature. Daniel Burt chose it for his Novel 100 at #71, the only Arabic-language novel on the list, although it wasn’t clear to me whether he was including this novel or the entire pentalogy. It had to be there for its cultural import, as it breaks no new ground in literary technique or storycraft, with thematic similarities to Chinua Achebe’s Things Fall Apart and the setting-as-star setup with multiple characters sharing center stage in the narrative seems descended from John Dos Passos’ U.S.A. Trilogy (both also on Burt’s list). Its value to me, however, was its window into a part of the world of which I know little and understood less, and that is enough for me to eventually read the two remaining books of the pentalogy that have been published in English.
Next up: I’m already into Giles Milton’s first novel, Edward Trencom’s Nose: A Novel of History, Dark Intrigue, and Cheese
