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"Listen," the book begins. "Allow me to be your god. Let me take you on a journey beyond imagining. Let me tell you a story." With that, Alameddine launches into the legend of Fatima, an ancient Egyptian slave who becomes the lover of an underworld jinni and gives birth to a child who is half human, half demon. Fatima's story unfolds alongside two other primary narratives. One is the story of Baybars, a 13th-century sultan who vanquished Mongols and Crusaders, which Fatima's master, a prominent emir, tells his pregnant wife in the belief that hearing of rousing adventures will ensure that the child she is carrying is male. The other narrative, the book's most significant, is the contemporary tale of Osama al-Kharrat, told in the first person. Osama, a Lebanese who leaves home for America during the 1970s to escape his country's brutal civil war, has returned to Beirut in 2003 to be at his father's deathbed.
Hakawati is the Arabic word for "storyteller," and the book does have an actual hakawati, Osama's grandfather, Ismail, who earns his living by entertaining the local bey (chieftain) with legends and fables. But Osama explains that the term is derived from the Lebanese word haki, which means "talk" or "conversation." "This suggests that in Lebanese the mere act of talking is storytelling," he says. True enough, all of the book's characters are, in their own way, hakawatis. Everyone has a story to tell, and the book is bursting with them: stories that run parallel to each other, stories within stories, stories that bleed into each other. It would be no surprise if there were 1,001 stories packed into the book, and their sources are as far-ranging as Arabian Nights (natch), the Bible, the Koran, Shakespeare, Ovid, Calvino, and, according to the author's acknowledgments, "the input of almost every Lebanese I know."
By the book's end we have learned a great deal about Osama's extended family. As relatives enter and exit the hospital where his father is clinging to life, he and his sister gossip and reminisce, revealing the rivalries, resentments, alliances, and affairs that have long animated the clan. Osama's sections of the book move backward and forward in time, spanning the courtships of his parents, grandparents, and great-grandparents, their lives and their deaths. While prewar, cosmopolitan Beirut is deftly evoked, the devastating conflict informs much of the family history. Some relatives are described in vivid detail, while others merit only a mention, like the great uncle who helped Osama's father start what became a successful international car dealership. "My father loved him deeply," Osama explains. "In the grand scheme of stories, he was nothing, almost an unmentionable, for he was not an odd character or an interesting one. He was a thread, one of many, without which the tapestry would crumble, the yarn fray, and the tale unravel." In this family, immortality is achieved by those who can tell a story and those worthy of having one told about them.
While the title of the book ostensibly refers to Osama's grandfather, Alameddine himself, of course, is the hakawati extraordinaire, weaving his magic carpet with formidable skill. The author of a short story collection and two previous novels -- which share The Hakawati 's preoccupation with storytelling and identity and its inclination to defy genre boundaries -- he enchants and dazzles while also slyly insisting, through his characters' frequent debates over storytelling, that we grapple with the act's meaning and power. When he is a boy, Osama's mother warns him, "Stories are for entertainment only. They never mean anything." His grandfather rejects didactic and hackneyed tales, insisting, "A story needs to be bewitching." His uncle Jihad tells him that "what happens is of little significance compared with the stories we tell ourselves about what happens. Events matter little, only stories of those events affect us."
Alameddine winks from behind the curtain with his heroic depiction of Baybars. Throughout the book, the reader is regaled with allegorical stories of the sultan's bravery and his righteous rule, but toward the end of the novel, a young Osama mentions the great warrior to his mother and uncle while the three are waiting out an intense round of shelling in their apartment building's underground garage. His uncle disparages Baybars, insisting, "His subjects despised him, because he was a ruthless, fork-tongued megalomaniac who rose to power through treachery and murder.... Baybars consolidated his power and created a cult of personality by paying, bribing, and forcing an army of hakawatis to promulgate tales of his valor and piety." Which Baybars to believe in? And then, of course, the more consequential question: why does it matter?
Scholar Jack Zipes (who happens to have edited a modern edition of Arabian Nights) has written extensively about the power of fairy tales to help societies cope with a changing and baffling world. "No tale is ever new," he has said. "We are always retelling and building on experience and wisdom to navigate our way through a world not of our making." At one point, finding himself unable to answer a simple question, Osama says ruefully, "I could tell stories, but explanations always eluded me." But like many of us, he ultimately understands the world, and explains himself to it, through stories. The final word of this original and important novel is, fittingly, the same as its first: "Listen." Throughout the book it has been an invitation; it is, at last, an exhortation. As Osama urgently recites family lore to his fading, unresponsive father, one can't help but hope: maybe a story really can save a life. --Barbara Spindel
Barbara Spindel has covered books for Time Out New York, Newsweek.com, Details, and Spin. She holds a Ph.D. in American Studies.
1. The novel opens with the tale of an emir and his wife who have twelve daughters and seek the aid of their slave, Fatima the Egyptian, to help them have a son. This family tale runs parallel, for much of the book, to the story of Osama and his family. What links, if any, do you see between these major plotlines?
2. When Osama returns to his ruined former home in Beirut, he hasn't lived there for twenty-six years. He feels out of place and alienated. How has the war changed life for his family? Do any of the ensuing events, the family and friends he sees, or the memories called up by his visit, help to create a renewed sense of belonging for him, or does his sense of alienation continue throughout?
3. Fatima tells Khayal that his desire for Jawad can only be fulfilled if his stories are seductive enough: “Please . . . favor us with your seduction. We sit here, parched earth awaiting its promised thunderstorm. Quench our thirst, we beg you” [p. 21]. What are some other instances of how stories are shown to be both seductive and life-giving?
4. In Turkey, under the Ottoman Empire, the British doctor Simon Twining and his Armenian maid produce Osama's grandfather, the hakawati. Osama's family, eventually Lebanese, is Maronite Christian on his mother's side and Druze on his father's side. While this primary story is set in Beirut, the other tales are set in many different countries and time periods. Does the Middle East seem to be just as much a melting pot as the United States? How does the novel give a sense of the many cultures and histories mingled under the term “Arab”?
5. How is The Hakawati like others novels you have read,and how is it not? What is its structure? What demands does it place upon you as a reader, and what are its pleasures?
6. The Hakawati presents the reader with a wide array of smart, funny, sexy, strong women: the two Fatimas, Lina, Osama's mother, and many others. Given cultural stereotypes about Islam's repression of women, does this come as a welcome surprise? Who are some of the most enjoyable female characters in the novel, and why?
7. How many people in the primary plot of Osama and his family would you consider to be storytellers (hakawatis)? Which of these characters is the most important storyteller, and why?
8. Fatima meets the djinn Afreet-Jehanam when he comes to take revenge for her claim to highwaymen that he was her lover: “He is no more than my plaything”, she boasted [p. 12]. As a result, he cuts off her hand [p. 70]. When she goes to the underworld to recover her hand, the two become lovers and she conceives the child who will become Shams. What are the most surprising twists in the long, intermittent story of Fatima, and why is she a great character? What, if anything, does this Fatima have to do with the other one, Osama's friend who lives in Rome?
9. Shams means “sun” in Arabic; Layl means night. Shams Tabrizi is an important figure in the Divan of the Sufi poet and mystic, Rumi. The story of Shams and Layl may also be based on the ancient tale of the lovers Layla and Majnoun. While Alameddine improvises freely upon ancient sources, what interpretations might be drawn from the love between Layl and Shams?
10. Fatima's struggle with the magician King Kade, “the master of light,” is full of astonishing events as she tries to find a way to bring Afreet-Jehanam back to life. King Kade is finally defeated when she throws mud onto his gleaming white robe. How does this episode—Fatima going on a journey to the upper world to find King Kade—work with the tale of Orpheus and Eurydice, which Uncle Jihad tells Osama in an interlude of the Fatima tale [pp. 171-179]?
11. Osama asks Uncle Jihad if he will come for him to the underworld, if he, Osama, were to die young like Eurydice [p. 178]. Since all of the stories in The Hakawati are told in the context of the fact that Osama's father is dying, why is this exchange particularly relevant? What is puzzling about Uncle Jihad's death?
12. Soon after his grandfather's funeral, Osama is having an oud lesson with his teacher, Istez Camil, who points out that he is playing without feeling [p. 209]. What has happened to Osama, and why does he give up the oud for the guitar shortly after this? What does the oud represent, and why is the surprise gift of another oud, from his niece, so moving [pp. 395-97]?
13. How would you describe the style in which Alameddine has reimagined and retold the ancient stories in this book? How does he shift the language and humor in the traditional tales into a register that a contemporary audiences can relate to?
14. One of the epigraphs to Book Four is from Fernando Pessoa: “Literature is the most agreeable way of ignoring life” [p. 403]. Another is from Eric Hoffer: “Man is eminently a storyteller. His search for a purpose, a cause, an ideal, a mission and the like is largely a search for a plot and a pattern in the development of his life story-a story that is basically without meaning or pattern” [p. 403]. How do these ideas relate to the many plots, and possible patterns, in The Hakawati?
15. The central story is that of Osama and his family gathered in the hospital room of his dying father. Is the proliferation of stories a vast diversion from the inevitable, approaching death of Osama's father? Do the stories have the effect of stopping time? What is the novel's perspective on time?
16. When Uncle Jihad tells Osama, “Never trust the teller, trust the tale” [p. 206], the saying is funny in the context of the family name, al-Kharrat, which means fibster. Are stories lies, or are they more true than reality in certain ways? What is Osama like as a narrator of the main story?
17. What picture do Osama's various recollections conjure of his relationship with his father? Why does his father not remember the same things he remembers, like the incident of the falcon hurting Osama's arm? Is Uncle Jihad right when he says, “Events matter little, only stories of those events affect us” [p. 450]?
18. What is the effect of the final scene, in which Osama begins to tell his father the stories his grandfather told him, including stories of his father as a boy? What kind of ending does this create? Why does Alameddine end with the word “Listen”?
Anonymous
Posted May 19, 2008
As a good Hakawati should, Alameddine thoroughly bewitches his readers in this novel that is both epic and intimate. It navigates easily from tales of heros, villians, magic, jinnis, and treachery to the equally interesting story of one family's life together. One finds oneself easily relating to some of its characters, longing to be like others, but either way, living amongst them throughout this masterful work. Absolutely brilliant. Certainly one of the best I've EVER read. Bravo!
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Posted April 24, 2008
Rabih Alameddine¿s new novel, 'The Hakawati,' is a sprawling, delicious panoply of over-the-top tales of love, sex, murder, heroism, magic, loss, triumph, skulduggery, noblesse, repentance, lies, redemption, loyalty, curses, and just about everything else, all plaited into a set of parallel narratives which augment and illuminate each other. It is a masterful and startling accomplishment, a sort of literary maqam that twists and turns on recurrent themes and characters. The reader initially wonders how to relate all these seemingly unrelated stories, but quickly notices with growing awareness how they are really jazz riffs on single themes, embellishments that sear those themes into our consciousness so that we can¿t get them out of our heads. This is not the first time that Alameddine has used such literary structure. His first novel, Koolaids, interlaced two parallel narratives, the worst years of the AIDS crisis and the civil war in Lebanon. There, as in 'The Hakawati,' the narratives resonated one with the other. And his second novel, 'I, the Divine,' an ingenious work all in first chapters of his narrator¿s never-to-be-completed memoir, managed to give us multiple perspectives on events told by a single character, much as 'The Hakawati' gives us multiple views of universal themes that echo through very different tales. But whereas the two earlier works had some rough edges and unpolished facets, 'The Hakawati' is a perfect gem, burnished, intricate, complex, and with every feature serving to magnify its brilliance and dazzle. Here is a writer who has grown into his initial promise, perhaps beyond it. It is easy to fall in love with the tales themselves they are both currently relevant and timeless as well as entirely engrossing. The more discerning reader will also delight in the language of this book. Like other writers using English as a second language for their literary medium 'Conrad and Nabokov come to mind', Alameddine is almost preternaturally aware of its sound and cadence, its semantic subtleties, its echos and reverberations of meanings. He is clearly besotted with English, and we follow him in a vertiginous trance like a whirling dervish, lost in the ecstasy of the moment. Alameddine is nothing short, it seems, of a literary magician, pulling our emotions out of his hat, our dreams from out his sleeve, and showing them to us in a way that forces us to see them anew. This novel is a masterpiece, unlike anything I¿ve ever read before or ever hope to read again.
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Overview
An astonishingly inventive, wonderfully exuberant novel that takes us from the shimmering dunes of ancient Egypt to the war-torn streets of twenty-first-century Lebanon.In 2003, Osama al-Kharrat returns to Beirut after many years in America to stand vigil at his father’s deathbed. The city is a shell of the Beirut Osama remembers, but he and his friends and family take solace in the things that have always sustained them: gossip, laughter, and, above all, stories.
Osama’s grandfather was a hakawati, or storyteller, and his bewitching stories–of his arrival in Lebanon, an orphan of...