Sugar Street


Master storyteller Naguib Mahfouz crowns his best-selling Cairo Trilogy with this final chronicle of the Abdal-Jawad  clan, climaxing the story begun in Palace Walk and continued in Palace Of Desire.

The New York Times Book Review called Palace Walk, the first volume of the Cairo Trilogy, "a tale told with great affection, sensitivity, and humor" and described Palace of Desire, the second volume, as "elegant and often explosive." The Nobel Prize winner now ...

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Master storyteller Naguib Mahfouz crowns his best-selling Cairo Trilogy with this final chronicle of the Abdal-Jawad  clan, climaxing the story begun in Palace Walk and continued in Palace Of Desire.

The New York Times Book Review called Palace Walk, the first volume of the Cairo Trilogy, "a tale told with great affection, sensitivity, and humor" and described Palace of Desire, the second volume, as "elegant and often explosive." The Nobel Prize winner now offers the climactic third volume, print.

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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Nobel laureate Mahfouz's third volume of his Cairo Trilogy, a stunning portrait of a family in dissolution, mirrors its setting--an Egypt that is adjusting to the modern world. (Jan.)
Kirkus Reviews
The final volume in Nobel laureate Mahfouz's magisterial Cairo trilogy takes the Abd al-Jawad family from a rising tide of nationalist sentiment in 1935 through the darkness and confusion of WW II, as Britain defends an Egypt officially neutral. Yet national politics, for all its importance as background accompaniment here (as in Palace Walk and Palace of Desire), is usually kept just offstage—"They say that Hitler has attacked," old family servant Umm Hanafi announces halfway through, and matriarch Amina's final illness coincides with a bombing raid—as Mahfouz continues to dramatize the emergence of modern Egypt through ailing family head Ahmad Abd al-Jawad's family—his sons, sensualistic Yasin and scholarly Kamal; his daughters, prematurely aged widow Aisha and settled wife and mother Khadija; and his five grandchildren. As perennial bachelor Kamal methodically visits his father's favorite brothel and frets about whether to marry, the focus of the trilogy shifts from Palace Walk to Khadija's home with Ibrahim Shawkat on Sugar Street, where the couple's sons—Abd al- Muni'm, turning toward fundamentalist Islam, and increasingly committed Communist Ahmad—argue about their duty to the country and the nature of Egyptian society, but both end meeting the same fate. Meanwhile, Yasin's son Ridwan rises rapidly through the ranks of the civil service with the aid of magnetic, homosexual Pasha Isa, and their sister Karima, like Aisha's daughter Na'ima, prepares to receive the inevitable wedding proposal—though both times from a surprising source. Individual episodes—Ahmad Abd al- Jawad's hazy awareness that his friends are all dying; Kamal's abortive romancewith Budur Shaddad, sister of his far-distant first love Aida; and his final tormented guilt over his moral paralysis—show Naguib's Tolstoyan economy at its most dramatic, though the third generation of his family makes a more muted impression than the first two. Mahfouz writes in the great tradition of the 19th-century novel from Balzac to Buddenbrooks. His trilogy shows just how rich and vital that tradition remains in the hands of a master.
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Product Details

  • ISBN-13: 9780385264709
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 12/28/1992
  • Series: Cairo Trilogy Series, #3
  • Edition description: Reprint
  • Edition number: 1
  • Pages: 320
  • Product dimensions: 6.00 (w) x 9.20 (h) x 0.65 (d)

Meet the Author

Naguib Mahfouz was born in Cairo in 1911 and began writing when he was seventeen. A student of philosophy and an avid reader, his works range from reimaginings of ancient myths to subtle commentaries on contemporary Egyptian politics and culture. Over a career that lasted more than five decades, he wrote 33 novels, 13 short story anthologies, numerous plays, and 30 screenplays. Of his many works, most famous is The Cairo Trilogy, consisting of Palace Walk (1956), Palace of Desire (1957), and Sugar Street (1957), which focuses on a Cairo family through three generations, from 1917 until 1952. In 1988, he was awarded the Nobel Prize in Literature, the first writer in Arabic to do so. He died in August 2006.
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Read an Excerpt


Their heads were huddled around the brazier, and their hands were spread over its fire: Amina's thin and gaunt, Aisha's stiff, and Umm Hanafi's like the shell of a turtle. The beautiful pure-white ones were Na'ima's. The January cold was almost severe enough to freeze water at the edges of the sitting room, which had retained its time-honored appearance with its colored mats and the sofas distributed around the sides. The old lantern with its oil lamp had vanished, and hanging in its place was an electric light. The location had changed too, for the coffee hour had returned to the first floor. Indeed the entire upper story had moved downstairs to make life easier for the father, whose heart was no longer strong enough for him to climb to the top.

The family members had changed as well. Amina's body had withered, and her hair had turned white. Although barely sixty, she looked ten years older, and her transformation was nothing compared to Aisha's decline and disintegration. It was ironic or pathetic that the daughter's hair was still golden and her eyes blue, when her listless glance gave no hint of life and her pale complexion seemed the symptom of some disease. With a protruding bone structure and sunken eyes and cheeks, her face hardly appeared that of a thirty-four-year-old woman. Although the years had settled on Umm Hanafi, they did not seem to have marked her in any essential way, hardly diminishing her reserves of flesh and fat. Instead, they had accumulated on her skin and around her neck and mouth like crusts or earthy deposits. But her grave eyes glinted from participation in the family's silent sorrow.

Na'ima stood out in this group like a rose growing in a cemetery, for she had developed into a beautiful young woman of sixteen. Her head enveloped by a halo of golden hair and her face adorned by blue eyes, she was as lovely as her mother, Aisha, had been — or even more captivating — but as insubstantial as a shadow. Her eyes had a gentle, dreamy look suggesting purity, innocence and otherworldliness. She nestled against her mother's side, as though unwilling to be alone even for a moment.

Rubbing her hands together over the brazier, Umm Hanafi said, "The builders will finish the project this week after working for a year and a half. . . ."

Na'ima responded sarcastically, "A building for Uncle Bayumi the drinks vendor. . . ."

Aisha raised her eyes from the brazier to look at Umm Hanafi for a moment but made no comment. They had previously learned that the house once belonging to Mr. Muhammad Ridwan would be torn down to allow construction of a four-story building for Uncle Bayumi the drinks vendor. This project had stirred up many old memories about Maryam and her divorce from Yasin — what had become of Maryam? — and about Maryam's gained possession of the house half by inheritance and half by purchase. Back then life had been worth living, and hearts had been carefree.

Umm Hanafi continued: "The most beautiful part of it, my lady, is Uncle Bayumi's new place for soft drinks, ice cream, and sweets. It has lots of mirrors and electric lights, with a radio playing day and night. I feel sorry for Hasanayn the barber, Darwish the beam seller, al-Fuli the milkman, and Abu Sari' with his snack shop. They have to look out of their dilapidated premises at the store and apartments of their former comrade."

Pull her shawl tighter around her shoulder, Amina said, "Glory to God who gives blessings. . . ."

With her arms around her mother's neck, Na'ima commented, "The building blocks off our roof on that side. Once it's inhabited, how can we spend any time up there?"

Amina could not ignore the question raised by her beautiful granddaughter, if only out of concern for Aisha. She answered, "Pay no attention to the tenants. Do as you like."

She glanced at Aisha to see what impression her gracious reply had made. She was so afraid for her daughter that she was almost frightened of her. But Aisha was busy looking at herself in the mirror above the dresser between her room and her father's. She had not abandoned the custom of examining her reflection, even though it had become a meaningless exercise. With the passing days her face's withered appearance had ceased to alarm her. Whenever a voice inside asked, "Where is the old Aisha?" she would answer indifferently, "And where are her sons, Muhammad and Uthman, and her husband, Khalil?"

Observing this, Amina was saddened, and her gloom quickly affected Umm Hanafi, who was so much a part of the family that their worries were hers.

Na'ima rose and went to the radio, which stood between the doors to the parlor and the dining room. Turning it on, she said, It's time for the records, Mama."

Aisha lit a cigarette and inhaled deeply. Amina stared at the smoke, which spread out in a thin cloud over the brazier. A voice on the radio sang, "Companions from the good old days, how I wish you would return."

Na'ima resumed her seat, tucking the robe around her. Like her mother, she loved singing. She listened carefully so she could memorize the song and sing it in her pleasing voice. This interest was not dampened by the religious feelings that dominated her entire emotional life. She prayed conscientiously and had fasted during the month of Ramadan since the age of ten. She frequently dreamed of the mysteries of the spiritual realm and welcomed with limitless delight her grandmother's invitation to visit the mosque of al-Husayn. All the same she had never weaned herself from a love of singing. She sang whenever she was alone, in her room or in the bath.

Aisha approved of everything her one remaining child did, for Na'ima was the only bright hope on otherwise gloomy horizons. As pleased by her daughter's piety as by her voice, Aisha even loved and encouraged the girl's excessive attachment to her, not tolerating any comment on it. In fact, she had no patience for any kind of criticism, no matter how trivial or well-intentioned. Her only occupations at home were sitting, drinking coffee, and smoking. Whenever her mother invited her to help with the housework, not from a need for assistance but to distract Aisha from her thoughts, she was annoyed and uttered her famous phrase: "Oh, leave me alone." She would not let Na'ima lift a finger to help with the work either, since she feared the least exertion from her daughter. If she could have performed the prayer ritual for Na'ima, she would have, to spare her the effort.

Amina frequently chided Aisha about this, telling her that Na'ima was almost old enough to marry and needed to learn the duties of a housewife. Aisha always responded angrily, "Don't you see she's like a specter? My daughter can't bear any exertion. Leave her alone. She's my sole hope in the world."

Then, heartbroken, Amina would abandon the conversation. Gazing sadly at Aisha, she saw the personification of shattered hopes. When she looked at this unhappy face, which seemed to have lost all its vitality, Amina's soul was overcome by sorrow. Apprehensive about distressing her daughter, she had learned to greet Aisha's rude answers and harsh comments with affectionate forbearance.

The voice kept on singing, "Companions from the good old days," while Aisha smoked and listened to the song. She had been fond of singing once, and sorrow and despair had not killed her taste for it. Perhaps they had even enhanced it, since so many of the lyrics were plaintive and melancholy. Of course nothing could ever bring back her companions of the good old days. She wondered at times if that past had been a reality or a dream, a figment of her imagination. Where was that happy home? Where was her fine husband? Where were Uthman and Muhammad? Did only eight years separate her from the past?

Amina rarely liked these songs. The prime attraction of the radio for her was that it allowed her to hear recitations from the holy Qur'an and the news. The sad themes of the songs worried her. She was concerned about their effect on her daughter and remarked to Umm Hanafi one day, "Don't they sound like funeral laments to you?"

She could not stop thinking about Aisha and almost forgot the trouble she was having with high blood pressure. Visits to al-Husayn and to the other saints in their shrines were the only relief she found. Thanks to al-Sayyid Ahmad, who no longer restricted her movements, she was allowed to hurry off to God's sanctuaries whenever she felt the need. Amina herself was no longer the same woman she had once been. Grief and ill health had changed her considerably. With the passing years she had lost her amazing diligence and her extraordinary capacity for tidying up, cleaning, and running her home. Except for service to al-Sayyid Ahmad and Kamal, she paid little attention to the house. Satisfied to supervise, she had turned over the oven room and the pantry to Umm Hanafi and was remiss even in this supervision. Her confidence in their servant was boundless, for Umm Hanafi was part of the household. A lifelong companion, she had shared Amina's good and bad times and had been absorbed into the family, so that she identified with all their joys and sorrows.

They were silent for a time, as though the song had distracted them. Then Na'ima said, "I saw my friend Salma in the street today. She was in grade school with me. Next year she's going to sit for the baccalaureate examination."

Aisha commented with annoyance, "If only your grandfather had let you stay in school, you would have surpassed her. But he refused!"

The protest implied by Aisha's final phrase did not escape her mother, who said, "Her grandfather has ideas, which he won't abandon. Would you have wanted her to pursue her studies, despite the effort involved, when she's a delicate darling who can't stand fatigue?"

Aisha shook her head without speaking, but Na'ima said with regret, "I wish I had finished my education. All the girls study today, just like boys."

Umm Hanafi observed scornfully, "They study because they can't find a bridegroom. But a beauty like you . . ."

Amina nodded her head in agreement and said, "You're educated, young lady. You have the grade school certificate. Since you won't need to find a job, what more than that would you want? Let's pray that God will strengthen you, clothe your captivating beauty with health, and put some meat and fat on your bones."

Aisha retorted sharply, "I want her to be healthy, not fat. Obesity's a defect, especially in girls. Her mother was the outstanding beauty of her day, and she wasn't fat."

Smiling, Amina said gently, "It's true, Na'ima, your mother was the most beautiful girl of her day."

Aisha sighed and said, "And then she became the cautionary tale of her day."

Umm Hanafi murmured, "May our Lord bring you happiness with Na'ima."

Patting the girl affectionately on the back, Amina said, "Amen, Lord of the universe."

They fell silent again as they listened to a new voice sing, "I want to see you every day."

Then the door of the house opened and close. Umm Hanafi said, "My master." She rose and rushed out of the room to turn on the stairway light.

They soon heard the customary taps of his walking stick. When he appeared at the entrance of to the sitting room, they all stood up politely. Breathing heavily, he gazed at them a moment before saying, "Good evening."

They replied in unison, "Good evening to you."

Amina went to his room to put on the light, and he trailed after her, exuding an aura of dignified old age.

He sat down to regain his breath. It was only nine o'clock. He was dressed as elegantly as ever. His broadcloth cloak, striped silk caftan, and silk scarf were of the same type as before, but the white in his hair, his gray mustache, his slender, "deserted body", and his early return were all symptomatic of a new era. Another novel development was the bowl of yogurt and the orange prepared for his supper. He had to avoid alcohol, the appetizers he ate when drinking, red meat, and eggs. Still, the sparkle in his wide blue eyes indicated that his desire for life had not flagged.

He proceeded to remove his clothes with Amina's assistance as usual. Then he put on a wool night shirt, wrapped up in a robe, donned a skullcap, and sat down cross-legged on the sofa. Amina served him supper on a tray, and he ate without enthusiasm. Afterward she gave him a glass half filled with water, to which he added six drops from a bottle of medicine. He got it down with a frowning expression of disgust. Then he mumbled, "Thanks to God, Lord of the universe."

His doctor had frequently told him that the medicine was a temporary measure but that this new diet would be permanent. The physician had often cautioned him against being reckless or neglectful, for his high blood pressure had become severe, affecting his heart. Experience had taught al-Sayyid Ahmad to heed these instructions, because he had suffered whenever he had ignored them. Every time he had exceeded the limits, he had paid the price. He had finally been forced to give in, eating or drinking only what he was supposed to and coming home by nine. His heart had not given up hope that, by whatever means, he would regain his health and enjoy a pleasant, quiet existence, even though his past life had disappeared forever.

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Table of Contents

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Reading Group Guide

1. How would you identify the novel you are reading in terms of style and genre? What does it have in common with Western literature you have read? What about it appears to be particularly "Middle Eastern"?

2. What did you find familiar in Mahfouz's stories? What parallels can you find in your own culture or experience to the life in Egypt he describes?

3. What elements of this novel are unfamiliar/alien to you? Do these merely reflect cultural differences or do they also address larger, more universal themes?

4. It has been suggested by many writers that there is a great contrast between the men and the women in Mahfouz's novels; that the men are weaker and more flawed than the women, who are strong and dependable. Does this appear to be true in the novel(s) you have read? How would you characterize the women in Mahfouz's fiction?

5. Mahfouz once said "If I had traveled, like Hemingway, I'm sure that my work would have been different. My work was shaped by being so Egyptian." Focusing on the particular works you have read, in what ways do you imagine the tone of the narrative and the perspective might change had the text been written by a more "worldly" author?

6. How does Mahfouz's literary rendering of Egypt affect your political perception of the country? Does it alter any preconceptions you may have brought to the work for better or for worse?

7. In his acceptance speech for the Nobel Prize for Literature in 1988, Mahfouz stated: "Man remembers what hurts more than what pleases." In what ways is this dictum borne out in his writings?

8. Many of Mahfouz's characters are derived from the lower and middle class strata of society. Yet hechooses to imbue all of his characters with a language that is considered to be classical literary Arabic as opposed to the colloquial dialects that would be more natural to their stations in life. Why do you think he does this? What effect does he achieve through the employment of this universal tongue?

9. When Mahfouz was awarded the Nobel Prize, many Arab and Egyptian intellectuals responded with mixed feelings. While on the one hand they were both pleased and proud that one of their own had achieved such recognition, on the other they wanted the world cautioned that his political views were not necessarily representative of the average Egyptian. What examples do you find in his writing that lead you to believe that there is a more "Western" sensibility at work here?

10. From 1949 to 1957, the books that Mahfouz produced were semi-autobiographical works of social realism. From 1961 to 1967, his output changed, with the pieces becoming existential and concerned with souls in a state of spiritual crisis. Since then, his approach has been eclectic. Consulting the publication chronology provided at the back of this guide, locate the period in which the book you have read came out, and discuss what elements there are in the writing style that identify it as belonging to that particular genre.

11. The novels, while possessing a timeless quality, are very much informed by a sense of place. Can you picture the events depicted here or the sensations of the characters occurring in our own society at any given point in our history? If so, when?

12. The Koran instills the belief and deference to one God. Often, the characters will refer to the "work of God" or view their fortunes as being "in God's hands." Discuss the theme of fate vs. personal determination that runs throughout the novels. How do religious beliefs protect and hinder us? How do they affect our ability to act?

13. With our Western ideology, we would view the lives of many of these women depicted as being little better than that of prisoners. But what does Mahfouz-- with the advantage of his Egyptian heritage-- think of their lives? Do you imagine that he shares our opinion that they are repressed, or do you think that he finds their existence satisfying and as it should be?

14. Discuss the role of women's complicity in their own repression-- both in Cairene society and in our own-- as typified by classic examples in the text of blaming the victim.

15. Like all societies, this one has superstitions that are specific to it. Identifying them, discuss the negative and positive functions that these superstitions serve for Cairene society.

16. The narratives are almost completely serious in tone, with occasional pinpoints of humor brightening the way. Discuss the techniques employed by the author to inject humor into the tales, and your opinion as to whether or not he is successful.

17. Can we-- hampered by our Western vision-- appreciate the inherent beauty of a culture so different from our own, or does our perception of the wrongness of human oppression blind us to this?

18. Usually, the author refers to his characters by name. But, now and again-- particularly during more dramatic moments-- he will refer to them as "the man" or "the woman." What effect do you suppose that Mahfouz is trying to achieve through his fashioning of this style?

19. In 1919, Egypt experienced a brief period of rebellion against the British colonial rule. In 1952, there was a revolution. Situating the piece you have read against this historical backdrop, how does Mahfouz's writing speak to you about a nation experiencing internal unrest before, during, and after these periods of turmoil?

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