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American Dervish

American Dervish

4.3 39
by Ayad Akhtar

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Hayat Shah was captivated by Mina long before he met her: his mother's beautiful, brilliant, and soulfully devout friend is a family legend. When he learns that Mina is leaving Pakistan to live with the Shahs in America, Hayat is thrilled.

Hayat's father is less enthusiastic. He left the fundamentalist world behind with reason. What no one expects is that


Hayat Shah was captivated by Mina long before he met her: his mother's beautiful, brilliant, and soulfully devout friend is a family legend. When he learns that Mina is leaving Pakistan to live with the Shahs in America, Hayat is thrilled.

Hayat's father is less enthusiastic. He left the fundamentalist world behind with reason. What no one expects is that when Mina shows Hayat the beauty and power of the Quran, it will utterly transform the boy.

Mina's real magic may be that the Shah household, always contentious and sad, becomes a happy one. But when Mina finds her own path to happiness, the ember of jealousy in Hayat's heart is enflamed by the community's anti-Semitism-and he acts with catastrophic consequences for those he loves most.

Editorial Reviews

Publishers Weekly
Poor Hayat Shah: his father drinks and sleeps around; his mother constantly tells him how awful Muslim men are (especially his father, with his “white prostitutes”); he doesn’t seem to have any friends; and he’s in love with his mother’s best friend, the beautiful Mina who’s his mother’s age and something of an aunt to him. Unlike his parents, Mina, who came to Milwaukee from a bad marriage in Pakistan, is devout, which makes sexual stirrings and the Qur’an go hand in hand for the young Hayat (aside from a framing device, the story mostly takes place when he’s between 10 and 12). His rival for Mina’s love isn’t just a grown man, he’s Jewish, so along with the roil of conflicting ideas about gender, sexuality, and Islamic constraint vs. Western looseness, first-time novelist Akhtar also takes on anti-Semitism. Though set well before 9/11, the book is clearly affected by it, with Akhtar determined to traffic in big themes and illustrate the range of Muslim thought and practice. This would be fine if the book didn’t so often feel contrived, stocked with caricatures rather than people. Ultimately, Akhtar’s debut reads like a melodramatic YA novel, not because of the age of its narrator but because of the abundance of lessons to be learned. (Jan.)
Boris Kachka
"Akhtar, the star and director of the 2005 terrorism drama The War Within, offers what promises to be one of the most complex treatments of Muslim immigration and fundamentalism to come from an American-born (albeit first-generation) writer."
Manil Suri
"Whether you believe religion is a precious gift from God or the greatest scourge of mankind, you will find yourself represented in these pages. With brilliant storytelling and exquisitely balanced points of view, Ayad Akhtar creates characters who experience the rapture of religion but also have their lives ripped apart by it."
Wendy Smith
"Ayad Akhtar's wonderful first novel tells a quintessentially American coming-of-age story: The child of immigrants struggles to find a place in his life for the traditions and beliefs of his ancestral homeland in a new world of broader possibilities that are both enticing and threatening. Although the main narrative unfolds in the early 1980s, it speaks to issues that collectively preoccupy us even more today... AMERICAN DERVISH so richly depicts a wide variety of humanly inconsistent and fallible characters that it feels reductive to call it a Muslim American novel, yet it is impossible to call it anything else because it is steeped in the tenets of Islam and a fierce debate over their deepest meaning.... Akhtar's complicated, conflicted characters are not helpless victims; they make irrevocable mistakes and do dreadful things, but Akhtar encourages us to understand and forgive.... The vivid particulars of [Hayat's] spiritual quest and emotional confusion embody universal experiences: growing up, learning to accept the faults of those you love (and your own), achieving an identity nourished by your roots but shaped by your individual needs and aspirations. Akhtar's poignant and wise debut announces the arrival of a generous new voice in American fiction."
Beth Kephart
"AMERICAN DERVISH is set to become The Help of 2012."

Helen Rogan
"Akhtar dazzles with his debut novel about a Muslim family in pre-9/11 America.... Ambitious but accessible, playwright Akhtar's engaging first novel tells a particularly fresh and touching coming-of-age story that illuminates the everyday lives of Muslims in America and brings new resonance to universal questions of belief and belonging." 3-1/2 stars
Steve Bennett
"[An] astutely observed novel.... Akhtar, a promising young playwright publishing his debut novel, embraces the contradictions - spiritual, sexual, cultural - of growing up Muslim in America in AMERICAN DERVISH. Hayat's story of betrayal comprises the meat of the novel, which will leave a hole in the heart of the biggest sinner. Whether you are Muslim, Jewish or Christian, this coming-of-age tale hits home.... Intelligently written, emotionally charged, AMERICAN DERVISH is a loss-of-innocence tale that will leave readers pondering the state of their own faith.... it's likely that Akhtar's novel will be on many 2012 best-books lists, including that of the Express-News."
Mark Athitaki
"AMERICAN DERVISH is a strong candidate for the title of the Great Muslim American Novel."
Repps Hudson
"[D]isturbing, complex and....fascinating... AMERICAN DERVISH is nuanced and full of surprises, conveying the dilemmas many people - not just Muslims - face when they immigrate to the United States."
Kate Tuttle
In this remarkably self-assured, infectiously readable debut novel, Ayad Akhtar beams readers directly inside Hayat's young mind. His growing love for Mina - as his revered "auntie,'' focus of his budding sexual interest, and teacher of Islam through nightly Koran readings - feels sweet yet fraught. After listening to her read these lyrical holy verses, Hayat floats back to his room "my heart softened and sweet, my senses heightened.'' Of course it's headed toward disaster, but Akhtar lets the ensuring calamities unfold without melodrama. Along the way, Hayat learns that his beloved adults' worst flaws sometimes coincide with what is most lovable and laudable about them, and that faith, mystery, and love have less to do with any religious text than with the human heart.
Melissa Smith
"Akhtar is a well-experienced, wonderful writer who approaches a difficult subject confidently and without any pretense.... AMERICAN DERVISH is one of those rare (and, at times, uncomfortable) books that deserves a literary award."
Hazel Rochman
"The young teen's personal story about growing up in Muslim America is both particular and universal, with intense connections of faith, sorrow, tenderness, anger, betrayal, questioning, and love."
Marilyn Dahl
"AMERICAN DERVISH opens with an epigram from the Hadith Qudsi (sacred sayings of Muhammad): "And Allah said: I am with the ones whose hearts are torn." A fitting quote for this moving, insightful story about religion and family, immigration and assimilation, wherein hearts are numbed, warmed and broken. Faith and love are found, lost and re-formed as the narrator, Hayat Shah, travels a jagged road through the early years of adolescence with all its confusions and dramatic certainties.... Ayad Akhtar's explorations into the tension between the universal truths of religion and literal readings of its documents plays out effectively in AMERICAN DERVISH, his debut novel. Already a master of scene and dialogue, and evocative prose, he's created a compelling and visceral story. When Mina teaches Hayat to listen to the still small voice within that can only be heard by finding the silence at the end of a breath, Hayat tries, and discovers what will continue to inspire him to find the still, small voice hidden between and beneath each breath, and, with it, wisdom and insight."
Hooman Majd
"Akhtar's graceful and moving novel is a story most immigrants can relate to, regardless of background, but resonates particularly with first generation Muslim-Americans who, in this interconnected world, struggle daily with both a clash of cultures and (today) a deep suspicion of, if not prejudice against the faith of their forefathers. But apart from that, it is a wonderful story of coming to terms with who one is, and who society expects one to be--and absolutely everyone can relate to that."
Rob Brunner
"[A] heartfelt first novel.... Akhtar himself is the son of Pakistani immigrants who settled in Wisconsin, and his knowing take on the complexities of that particular experience feels fresh.... The book's central tension between secularism and religiosity obviously has broader significance, and Akhtar explores these issues with admirable nuance.... Akhtar's characters drive a story that's compelling and believable even at its most alien. AMERICAN DERVISH offers a rich look at a nearby world that many Americans don't know nearly enough about."
Adam Langer
"What a pleasure to encounter a first novel as self-assured and effortlessly told as Ayad Akhtar's AMERICAN DERVISH. Mr. Akhtar, a first-generation Pakistani-American, has written an immensely entertaining coming-of-age story set during the early 1980s among the Pakistanis in the author's hometown, Milwaukee.... Mr. Akhtar's astute observations of the clashes between old world and new, between secular and sacred, among immigrants might seem familiar to readers of both contemporary and classic literature.... But what distinguishes Mr. Akhtar's novel is its generosity and its willingness to embrace the contradictions of its memorably idiosyncratic characters and the society they inhabit.... Mr. Akhtar is particularly adept at depicting the tensions between Jews and Muslims in pre-Sept. 11 America.... Yet for all the rage and satire contained within its pages, Mr. Akhtar's novel is far from an antireligious screed in the tradition of Christopher Hitchens. It is instead admirably restrained, deeply appreciative of some aspects of Islam and ultimately far more interested in raising provocative questions than in definitively answering them.... [A] charming debut."
Sara Nelson
"Loss of innocence-sexual, of course, but also cultural and religious-is the subject of Ayad Akhtar's poignant AMERICAN DERVISH, set in a Muslim-American community in the early 1980s.... With characters full of contradictions and complexity, this debut novel is refreshing for its lack of the political and religious hand-wringing so common in the post-9/11 world. But it's also resonantly familiar in its depiction of youthful obsession and the desire to belong."
Kate Christensen
"AMERICAN DERVISH is an intelligent, courageously honest book about religion that never bogs down in dogma, proscriptions, or easy answers. The characters are memorable and alive, most of all the narrator's fierce, tough-minded mother and gorgeous, tragically principled "auntie," who in different ways help the young narrator on his difficult path of doubt, faith, and, hopefully, happiness. The story is as stirring and thought-provoking as it is compulsively page-turning."
Rayyan Al-Shawaf
"The Muslim American novel has arrived, and it is titled AMERICAN DERVISH. There have been other novels by and about Muslim Americans, but Ayad Akhtar's tale distinguishes itself from its predecessors....by probing controversial aspects of Islam alongside its sympathetic portrayal of one Muslim American boy's maturation. Akhtar has not only created a heartfelt and arresting story of a precocious but impressionable boy trying to navigate faith, folly, and family; he has provided an intellectually rigorous and unflinchingly conscientious examination of the fraught and much-manipulated subject of Muslim scripture."
Kathryn Lang
"Ayad Akhtar's engaging first novel is about weighty matters: religion and politics and the troubled nexus in between. It's also a consideration of what it means to be ethnically "other" in America, a coming of age tale, and a story of guilt and redemption. It's a compulsively readable novel, one I consumed in big gulps, eager to see where this gifted storyteller would take his appealing cast of characters...Akhtar, an award-winning playwright, brings into sharp relief the conflicts between East and West, and at the same time dramatizes universal elements of our flawed humanity. In the novel's epilogue, Hayat hints that his own "wonderful and troubled interfaith romance" will be the source of "a tale for another time." I'll be among the first to order a copy."
Agnes Torres Al-Shibibi
"Haunting.... The time is right to explore the multifaceted Akhtar's work."
Mike Fischer
"A screenwriter and playwright, Akhtar thinks visually, intuitively grasping the power of a well-arranged set piece.... The resulting conflicts make for some compelling scenes in which abstract ideas - alternative versions of Islam, the role of women and the meaning of tolerance - play out through the characters who embody them."
Maggie Galehouse
"By turns, beautiful, seductive, [and] dangerous.... Akhtar's characters are certainly built to carry the weight of melodrama. Hayat, Mina, Naveed, Muneer and Nathan are nuanced beings, as surprising, irritating and endearing as people in the real world. There's no pure good or pure evil in Akhtar's novel, just a whole lot of in between. And no matter how theatrical the story becomes, readers will stay until the end of the show."
Susan Salter Reynolds
"AMERICAN DERVISH describes the varied distractions of ecstasy, spiritual and physical."
Andy Lewis
"DERVISH is a well-observed story about the fault lines that run through religions, families and communities."
Lorraine Ali
"[B]eautifully written..."
William Green
"A riveting and disturbing tale.... The power of this unsettling novel lies in Akhtar's refusal to simplify such contradictions."
Amelia Cook
"A pathos-filled coming-of-age narrative..."
Laura Hutson
"Timely and thought-provoking..."
Esther Perel
"Reading AMERICAN DERVISH is like wandering through an old city where each winding street leads to another you never guessed existed. Just when you think you've reached the end of town, you discover yet more twists and turns. Ayad Akhtar constructs an emotional maze layered with questions of faith, love, identity, individual choice and collective loyalty. All written in the simple words of a ten-year-old Pakistani-American boy."
Gregg Hurwitz
"A triumph of a book. A courageous, deftly told story of finding and losing love, faith, and the false comforts of moral righteousness. Above all else, AMERICAN DERVISH is a laid-bare novel of the dark contradictions of the human heart."
From the Publisher
"By turns, beautiful, seductive, [and] dangerous.... Akhtar's characters are certainly built to carry the weight of melodrama. Hayat, Mina, Naveed, Muneer and Nathan are nuanced beings, as surprising, irritating and endearing as people in the real world. There's no pure good or pure evil in Akhtar's novel, just a whole lot of in between. And no matter how theatrical the story becomes, readers will stay until the end of the show."—Maggie Galehouse, The Houston Chronicle"

Ayad Akhtar's engaging first novel is about weighty matters: religion and politics and the troubled nexus in between. It's also a consideration of what it means to be ethnically "other" in America, a coming of age tale, and a story of guilt and redemption. It's a compulsively readable novel, one I consumed in big gulps, eager to see where this gifted storyteller would take his appealing cast of characters...Akhtar, an award-winning playwright, brings into sharp relief the conflicts between East and West, and at the same time dramatizes universal elements of our flawed humanity. In the novel's epilogue, Hayat hints that his own "wonderful and troubled interfaith romance" will be the source of "a tale for another time." I'll be among the first to order a copy."—Kathryn Lang, Dallas Morning News"

Haunting.... The time is right to explore the multifaceted Akhtar's work."—Agnes Torres Al-Shibibi, Seattle Times

Library Journal
In his fiction debut, actor/director Akhtar draws in readers with characters he has created with an understanding informed by empathy. Not unlike the protagonist he plays in the film The War Within, Hayat Shah is a young man exploring his religious identity within the context of his family and community. Whereas his father is a man of science openly antagonistic to religion, his devout mother is often critical of Muslim men by way of her husband's infidelities. Mediating the two viewpoints is Hayat's aunt Mina, recently arrived from Pakistan, who teaches Hayat the Koran and encourages his religious studies. Hayat cares about having an authentic identity as a Muslim, as dictated by his understanding of the Koran, which sets him on a collision course with his father and his peers. VERDICT Through Hayat's struggles to find a stable religious identity against the cultural backdrop of a pluralistic society pre-9/11, first-generation Pakistani American Akhtar shows that multiple factors, including social marginality, complicate the Muslim American experience. Readers who enjoyed Leila Aboulela's The Translator will enjoy this work. [See Prepub Alert, 7/10/11.]—Joshua Finnell, Denison Univ. Lib., Granville, OH
Kirkus Reviews
Actor/playwright/filmmaker Akhtar makes a compelling debut with a family drama centered on questions of religious and ethnic identity. In 1980s Milwaukee, 10-year-old Hayat Shah lives in a troubled Pakistani-American household. Father, a determinedly secular neurologist, has no use for the ostentatiously devout local Muslim community; his best friend is a Jewish colleague, Nathan, and he cheats on his wife with white women, a fact Hayat's angry mother is all too willing to share with her son. The arrival of Mina, Mother's best friend from home who has been divorced by her husband for having "a fast mouth," brings added tension. Mina, a committed but non-dogmatic Muslim, introduces Hayat to the beauties of the Quran and encourages him to become a hafiz, someone who knows the holy book by heart. But Hayat's feelings for his "auntie" have sexual undercurrents that disturb them both, and his jealousy when Mina and Nathan fall in love leads him to a terrible act of betrayal that continues to haunt him as a college student in 1990. Akhtar, himself a first-generation Pakistani-American from Milwaukee, perfectly balances a moving exploration of the understanding and serenity Islam imparts to an unhappy preteen with an unsparing portrait of fundamentalist bigotry and cruelty, especially toward intelligent women like Mina. His well-written, strongly plotted narrative is essentially a conventional tale of family conflict and adolescent angst, strikingly individualized by its Muslim fabric. Hayat's father is in many ways the most complex and intriguing character, but Mina and Nathan achieve a tragic nobility that goes beyond their plot function as instruments of the boy's moral awakening. Though the story occasionally dips into overdetermined melodrama, its warm tone and traditional but heartfelt coming-of-age lesson will appeal to a broad readership. Engaging and accessible, thoughtful without being daunting: This may be the novel that brings Muslim-American fiction into the commercial mainstream.
New York Magazine
"Akhtar, the star and director of the 2005 terrorism drama The War Within, offers what promises to be one of the most complex treatments of Muslim immigration and fundamentalism to come from an American-born (albeit first-generation) writer."

Product Details

Little, Brown and Company
Publication date:
Product dimensions:
6.10(w) x 9.30(h) x 1.40(d)

Read an Excerpt

Prologue: 1990

The court glowed, its wooden surface a golden, honey-brown beneath the overhead lights. Along the edges, players were hunched with their coaches, and beyond, we were gathered, the clamoring rows upon rows of us, eager for the timeout to end.

I remember it all with a clarion vividness that marks the moment as the watershed it would be:

Below, I spied the vendor approaching: a burly man, thick around the waist, with a crimson-brown pony-tail dropping from beneath the back of his black and orange cap, our school colors: "Brats and wieners!" he cried. "Brats and wieners!"

I nodded, raising my hand. He nodded back, stopping three rows down to serve another customer first. I turned to my friends and asked them if they wanted anything.

Beer and bratwurst, each of them said.

"I don't think he's got beer, guys," I replied.

Out on the court, the players were returning to their positions for the last minute of the half. The crowd was getting to its feet.

Below, the vendor made change, then lifted the metal box to his waist and mounted the steps to settle at the edge of our row:

"You have beer?" one of my friends asked.

"Just brats and wieners."

"So two bratwurst and a beef dog," I said.

With a clipped nod, he tossed open the cover of his box and reached inside. I waved away my friends' bills, pulling out my wallet. The vendor handed me three, shiny packets, soft and warm to the touch.

"Beef wiener's on top. That's nine altogether."

I handed off the brats, and paid.

Cheers erupted as our side raced down the court, driving to the basket. I unwrapped my packet only to find I wasn't holding a beef frank, but a marbled, brown-and-white pork bratwurst.

"Guys? Anyone have the beef dog?" I shouted over the crowd's noise at my friends.

Both shook their heads. They were holding bratwurst as well.

I turned back to the aisle to call out to the vendor when I stopped. What reason did I have anymore not to eat it?

None at all, I thought.

We drove to the basket again, where we were fouled. When the whistle shrieked, the roar was deafening.

I lifted the sausage to my mouth, closed my eyes, and took a bite. My heart raced as I chewed, my mouth filling with a sweet and smoky, lightly-pungent taste that seemed utterly remarkable—(perhaps all the more so for having been so long forbidden). I felt at once brave and ridiculous. And as I swallowed, an eerie stillness came over me.

I looked up at the ceiling.

It was still there. Not an inch closer to falling in.

After the game, I walked along the campus quad alone, the walkway's lamps glowing in the mist, white blossoms on a balmy November night. The wet air swirled and blew. I felt alive as I moved. Free along my limbs. Even giddy.

Back at the dorm, I stood before the bathroom mirror. My shoulders looked different. Not huddled, but open. Unburdened. My eyes drew my gaze, and there I saw what I was feeling: something quiet, strong, still.

I felt like I was complete.


I slept soundly that night, held in restful sleep like a baby in a mother's loving arms. When I finally heard my alarm, it was a quarter of nine. The room was awash in sunlight. It was Thursday, which meant I had Professor Edelstein's Survey of Islamic History in fifteen minutes. As I slipped into my jeans, I was startled by the bright prickle of new denim against my skin. The previous night's wonders were apparently still unfolding.

Outside, it was another unseasonably warm and windy day. After hurrying over to the student Union for a cup of tea, I rushed to Schirmer Hall, Quran tucked under my arm, spilling hot water as I ran. I didn't like being late for Edelstein's class. I needed to be certain I would find a place near the back—close to the window he kept cracked—where I would have the space quietly to reel and contemplate as the diminutive, magnetic Edelstein continued to take his weekly sledgehammer to what still remained of my childhood faith. And there was something else that kept me in the back of the room:

It was where Rachel sat.

Professor Edelstein looked fresh and formal in a variation on his usual pastel medley: an impeccably-pressed, mauve oxford, topped and tightened at the neck by a rose-pink bow-tie, and suspenders matching the auburn shade of newly polished penny-loafers.

He greeted me with a warm smile as I entered. "Hey, Hayat."

"Hi, Professor."

I wove my way through the desks to the corner where I usually sat, and where lovely Rachel was munching on a cookie.


"Hey there."

"How was the game?"


She nodded, the corners of her lips curling coyly upward as she held my gaze. It was looks like this—her bright, blue eyes sparkling—that had made me hazard the invitation to the game the night prior. I'd been wanting to ask her out on a date all semester. But when I'd finally gotten up the courage, she'd told me she had to study.

"You want some?" she asked. "It's oatmeal-raisin."


She broke off a piece and handed it to me: "You do the reading for today?" she asked.

"Didn't need to."

"Why not?"

"I already know the chapters he wanted us to read...by heart."

"You do?" Rachel's eyes widened with surprise.

"I grew up memorizing that stuff," I explained. "It's a whole production some Muslim kids go through. You memorize the Quran... - They call it being a hafiz."

"Really?" She was impressed.

I shrugged: "Not that I remember much of it anymore. But happen to remember the chapters he assigned for today..."

At the front of the class, Edelstein started to speak: "I trust you've all done your reading," he began. "It's not ground we're going to cover today, but it's obviously important material. I'd like you guys to keep moving. The Quran can be slow going, and the more of it we get through this semester, the better." He paused and arranged the papers gathered before him. Rachel offered me the rest of her oatmeal cookie with a whisper: "Wanna finish?"

"Absolutely," I said, taking it.

"Today, I'd like to share some of the recent work a couple of my colleagues in Germany are doing. I wasn't able to offer you any readings on their work, because it's very much happening right now. It's at the very forefront of Islamic scholarship..." Edelstein paused again, now making eye-contact with the Muslim-born students in the class—there were three of us—and added cautiously: "...and what I have to share may come as a shock to some of you."

So began his lecture on the Sanaa manuscripts.

In 1972, while restoring an ancient mosque in Sanaa, Yemen, a group of workers busy overhauling the original roof found a stash of parchments and damaged books buried in the rafters. It was a grave of sorts, the kind that Muslims—forbidden from burning the Quran—use to respectfully discard damaged or worn-out copies of the holy book. The workers packed the manuscripts into potato sacks, and they were locked away until one of Edelstein's close friends—a colleague—was approached some seven years later to take a look at the documents. What he discovered was unprecedented: The parchment pages dated back to Islam's first two centuries, they were fragments of the oldest Qurans in existence. What was shocking, Edelstein told us, was that there were aberrations and deviations from the standard Quran that Muslims had been using for more than a thousand years. In short, Edelstein claimed, his German colleague was about to show the world that the bedrock Muslim belief in the Quran as the direct, unchanged, eternal word of God was a fiction; Muslims weren't going to be spared the fate Christians and Jews had over the past three centuries of scholarship: the Quran, like the Bible, would prove to be the historical document common-sense dictated it had to be.

Up in the front row, one of the students—Ahmad, a Muslim—interrupted Edelstein's lecture, raising his hand angrily.

Edelstein paused. "Yes, Ahmad?"

"Why has your friend not published his findings yet?" Ahmad barked.

Edelstein held Ahmad's gaze for a moment before replying. And when he did, his tone was conciliatory: "My colleague is concerned about continued access to the texts if they were to make these findings known to the Yemeni authorities. They're preparing a series of articles, but are ensuring that they've had enough time to go through all 14,000 pages carefully, just in case they never get to see the documents again."

Now Ahmad's voice bellowed, red and bitter: "And why exactly would they be barred from seeing them again?"

There was silence. The classroom was thick with tension.

"There's no need to get upset, Ahmad. We can talk about this like scholars..."

"Scholars! What scholars make claims without documented findings? Huh?!?"

"I understand this is some controversial stuff... - but there's no need - "

Ahmad cut him off: "It's not controversial, Pro-fess-or," he said, spitting the middle syllable back at Edelstein with disgust. "It's incendiary." Ahmad bolted up from his desk, books in hand: "In-sult-ing and in-cen-diary!" he shouted. After a look to Sahar—the usually-reticent, Malaysian girl sitting to his left, her head lowered as she doodled tensely on her pad—and then another look, back at me, Ahmad stormed out of the room.

"Anyone else want to leave?" Edelstein asked, clearly affected. After a short pause, Sahar quietly gathered her things, got up, and walked out.

"That leaves you, Hayat."

"Nothing to worry about, Professor. I'm a true-and-tried Mutazalite."

Edelstein's face brightened with a smile: "Bless your heart."


After class, I stood and stretched, surprised again at how alive I felt. Nimble and awake, even along my limbs.

"Where you headed?" Rachel asked.

"To the Union."

"Wanna walk? I'm going to library."

"Sure," I said.

Outside, as we strolled beneath the shedding linden trees that lined the path to library, Rachel remarked how surprised she was at Ahmad and Sahar walking out.

"Don't be," I said. "Saying less than that could get you killed in some circles." She looked surprised. "Look at Rushdie," I said. The fatwa was still only a year old, an event still fresh in everyone's mind.

Rachel shook her head: "I don't understand these things... So what did you mean by what you said to Edelstein?"

"About being a Mutazalite?"


"A school of Muslims that don't believe in the Quran as the eternal word of God. But I was joking. I'm not a Mutazalite. They died off a thousand years ago."

She nodded. We walked a few paces in silence, and then she asked: "How did you feel about the lecture?"

"What's to feel? The truth is the truth. Better to know it than not to."

"Absolutely..." she said, studying me: "...but it doesn't mean you can't have feelings about it, right?" Her question was softly put. There was tenderness in it.

"Honestly? It makes me feel free."

She nodded. And we walked awhile in silence.

"Do you mind if I ask you a personal question?" I finally asked.

"That depends."


"What you want to know."

"Did you really have to study last night, or were you just saying that?"

Rachel laughed, her lips parting to reveal her small square teeth. She really was lovely. "I have an organic chemistry exam tomorrow, I told you that. That's why I'm going to the library now." She stopped and put her hand on my arm: "But I promise I'll go with you to the next game... - Okay?"

My heart surged with sudden joy. "Okay," I said with a cough.

When we got to the library's steps, I had the urge to tell her what had happened to me last night. "Can I ask you another personal question?"


"Do you believe in God?"

For a moment, Rachel looked startled. And then she shrugged. "No. At least not the guy-in-the-sky type thing."

"Since when?"

"Since ever, I guess. My mom was an atheist, so I don't think I ever took it that seriously. I mean my dad made us go to temple sometimes - Rosh Hashanah and stuff... - but even then, my mom would spend the whole way there and back complaining."

"So you don't know what it's like to lose your faith."

"Not really."

I nodded. "It's freeing. So freeing. It's the most freeing thing that's ever happened to me... - You asked me how I feel about the lecture? Hearing Edelstein talk about the Quran as just a book, a book like any other, makes me feel like going out to celebrate."

"Sounds like fun," she said, smiling again. "If you wait 'til tomorrow, we can celebrate together..."

"Sounds like a plan."

Rachel lingered on the step above me just long enough for the thought to occur. And when it did, I didn't question it. I leaned in and touched my lips to hers.

Her mouth pressed against mine. I felt her hand against the back of my head, the tip of her tongue gently grazing the tip of my own.

All at once, she pulled away. She turned and hopped up the steps, then stopped at the door and shot me a quick look. "Wish me luck on my exam," she said.

"Good luck," I said.

When she was gone, I lingered, in a daze, barely able to believe my good fortune.


That night, after a day of classes and an evening of ping-pong at the Union, I was sitting in bed, trying to study, but thinking only of Rachel...when the phone rang. It was Mother.

"Behta, she's gone."

I was quiet. I knew, of course, who she was talking about. A month earlier she and I had gone to Kansas City to visit Mina—not only my Mother's life-long best-friend, but the person who'd had, perhaps, the greatest influence on my life—as she lay in a hospital bed, her insides ravaged with cancer.

"Did you hear me, Hayat?" Mother said.

"It's probably better, isn't it, Mom? I mean she's not in pain anymore."

"But she's gone, Hayat," Mother moaned. "She's gone..."

I listened quietly as she cried. And then I consoled her.

Mother didn't ask me that night how I felt about Mina's passing, which was just as well. I probably wouldn't have told her what I was really feeling. Even the confession I had made to Mina while she lay on what would turn out to be her death bed, even that hadn't been enough to assuage the guilt I'd been carrying since I was twelve. If I was reluctant to share how aggrieved I was with my mother, it was because my grief was not only for Mina, but for myself as well.

Now that she was gone, how could I ever repair the harm I'd done?


The following evening, Rachel and I sat side by side at the pizzeria counter, our dinner before a movie. I didn't tell her about Mina, but somehow, she sensed something was wrong. She asked me if I was alright. I told her I was. She insisted. "You sure, Hayat?" she asked. She was looking at me with a tenderness I couldn't fathom. "Thought you wanted to celebrate," she said with a smile.

"Well... after I left you yesterday, I got some bad news."


"My aunt died. She was like... a second mother to me."

"Oh God. I'm so sorry."

All at once, my throat was searing. I was on the verge of tears.

"Sorry," I said, looking away.

Feeling her hand on my arm, I heard her voice: "You don't have to talk about it..."

I looked back and nodded.


The movie was a comedy. It distracted me. Toward the end, Rachel pushed herself up against my side, and we held hands for awhile. Afterwards, she invited me back to her room, where she lit candles and sang me a song she'd written as she played the guitar. It was something longing and plaintive about lost love; she looked down at her hands as she played and sang. Only three days ago, I couldn't have imagined myself being so lucky. And yet I couldn't push away thoughts of Mina.

When Rachel finished her song, she looked up at me.

"That was great," I said.

"Still thinking about your Aunt, aren't you?"

"Is it that obvious?"

She shrugged and smiled. "It's okay," she said, setting her guitar aside. "My grandma was really important to me like that. I went through a lot went she died."

"But the thing is, it's not just that she died...it's that I had something to do with it." I didn't even realize I'd said it until I was almost finished with the sentence.

Rachel looked at me, puzzled, folds appearing along her forehead, between her eyes.

"What happened?" she asked.

"You don't know me very well... - I mean, of course you don't. It's just... - I don't think you realize how I grew up."

"I'm not following you, Hayat."

"You're Jewish, right?"

"Yeah? So?"

"You may not like me very much if I tell you what happened..."

She shifted in her place, her back straightening. She looked away.

You barely know her. I thought. What are you trying to prove?

"Maybe I should leave," I said.

She didn't reply.

I didn't move. The fact was, I didn't want to leave. I wanted to stay. I wanted to tell her.

We sat in silence for a long moment, and then Rachel reached out to touch my hand.

"Tell me," she said.

What People are Saying About This

William Green
A riveting and disturbing tale.... The power of this unsettling novel lies in Akhtar's refusal to simplify such contradictions.

Meet the Author

Ayad Akhtar is an American-born, first generation Pakistani-American from Milwaukee, Wisconsin. He holds degrees in Theater from Brown University and in Directing from the Graduate Film Program at Columbia University, where he won multiple awards for his work. He is the author of numerous screenplays and was star and co-writer of The War Within, which premiered at the 2005 Toronto Film Festival and was nominated for an Independent Spirit Award for Best Screenplay and an International Press Academy Satellite Award for Best Picture - Drama. American Dervish is his first novel.

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American Dervish 4.3 out of 5 based on 0 ratings. 39 reviews.
kdpeffley More than 1 year ago
I could not put this book down. I heard the author interviewed on NPR's Fresh Air and immediately knew that I wanted to read this book and just about anything else written by him. The story is told through the eyes of a young man who recalls his boyhood relationship with his parents and his aunt, who gives him the loving encouragement he seeks during his study of the Quran. While he takes on the huge task of memorizing the Quran to become a hafiz, his aunt reminds him again and again to seek its meaning from the heart of intension, not simply as a trophy for the ego to conquer. Meanwhile, his father's close friend, who happens to be Jewish, courts his aunt and old deep seated prejudices and hatreds in the Muslim community conspire to destroy their love. The story told is compelling and heartening for the main reason that it takes on such difficult issues within Muslim culture as it carefully weaves in the boy's inspired religious innocense and coming of age to meet these hard realities. The end result was refreshingly human as well as it was disturbing. I highly recommend this book to anyone who wants to have an intimate glimpse into the life of a modern Muslim family and its struggles to assimilate into American culture.
Anonymous More than 1 year ago
This was a wonderful book. It is an interesting look at a young American boy's experiences with his faith. I found the characters of both his mother and father to be intruiging. Highly recomment this book.
RebeccaScaglione More than 1 year ago
American Dervish by Ayad Akhtar was a book that I enjoyed.  Hayat is a character that I just wanted to yell at!  I really liked him, but could see him going down the wrong path a few times.  But that made me more engaged in the story itself.   This book takes you into a small piece of the Muslim world in America.  The characters in the book are torn with feelings about Jews: some see them as completely terrible as "evidenced" (reading the literal, as some sects of religions do with the Bible and Torah) in the Quran, while others read something opposite in the same words.   Hayat and his family have to make faith-based decisions on those feelings, and this fictional tale is one that will leave you wanting more.   Thanks for reading, Rebecca @ Love at First Book
OurBookAddiction More than 1 year ago
I was sucked into this from the first chapter. I tend to enjoy these “coming of age” stories and especially where we are dealing with an individual trying to straddle two different cultures. I really think the author did a wonderful job laying out this story. I know there have been some critics that complained he “told” the story more than he let it reveal itself. I disagree because I personally don’t have a problem being “told” a story if the context makes sense and it is done appropriately.
EmilyNM More than 1 year ago
I did not want this book to end--I fell in love with it after the first few chapters. I love learning about the Islamic tradition and this book has been on the top of my reading list. I found the coming-of-age story to be emotional and engaging, and Akhtar's writing is very honest, which solidifies this as one of my favorite books now! I highly recommend Censoring an Iranian Love Story--it has been my #1 favorite since it came out. I look forward to reading more from Akhtar.
BookerC More than 1 year ago
Very perceptively written. A very unusual coming-of-age book, dealing with issues of immigrants and their American-born children; the religiously observant and the skeptics, and the extremes found among both; anti-Semitic factions and Muslims who believe adamantly in the subjugation of women, and the women who are torn between fighting for their own self-worth and independence, and following the faith in which they were raised.
Anonymous More than 1 year ago
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Anonymous More than 1 year ago
Unlike other resources out there, American Dervish does not sugar coat the issue of interfaith relationships. It uses the perspective of a young boy, Hayat, (around the age of 11) to explore, in one facet, the way that he sees his auntie Mina (a Muslim) and his father’s friend, Nathan, (a Jew’s) interfaith relationship. However, their relationship is highly problematic. Mina has convinced Nathan to convert to Islam, yet he cannot shake his Jewish identity. In a particularly shocking moment, the members of the mosque bully Nathan out after cornering him in a shoe closet when he protests the Imam’s particularly hateful speech about Judaism. He has gone there to convert in order to marry Mina and yet this is the beginning of the end to their relationship. The involvement of the community destroys their individual love. While many interfaith couples think that they can create their own individually combined religious values despite their respective religious traditions’ opinions, this book paints a very different picture of the situation. No matter how much in love they were, they were still tied to their traditions because community and culture mattered. This book offered a different perspective on interreligious relationships, which sought to problematize what happens when love doesn’t conquer all.  The novel shoots for realism, and achieves it in many ways. It is beautifully written and compelling. However, what needs to be asked is what is the source of the conflict amongst all the characters? Religion is problematic, not love. It is not simply the bigoted few, who seek to destroy the relationship of Mina and Nathan, but the seemingly innocent religious views of the main character, Hayat, and the religious leaders of the community, the imam and co. . Then, why cannot Mina and Nathan love each other? The answer is not only religion, but Islam. Interfaith relationships may work, but surely not when Islam is involved because it only causes pain and suffering. It is not just any religion that is tearing these two people apart, but the stereotypes about Islam. Islam doesn’t just happen to be a factor in their separation, but it is the factor. While this novel portrays the situations with vibrant realism, behind each situation are Islamophibic stereotypes being thoroughly reinforced. Not only is the entire faithful Muslim community (those depicted as attending mosque and reading the Qur’an) Anti-Semites, the men enforce patriarchy, and they violently beat their wives (because the Qur’an says so). The Muslims within this novel are an archaic bunch, and the only voice of reason, Hayat’s father, has completely turned away from Islam. The only positive portrayal within this novel of Islam is that it is not monolithic, however, because Hayat turns away from his original interpretation of the Qur’an, the uninformed reader sees the Imam and other negative characters’ interpretations of Islam as the real truth of all Muslims. If one was reading this book and looking for reasons to hate Muslims, they would be justified on almost every front. This book portrays a complex and complicated view of intermarriage because it is another mode for critiquing Islam itself by reinforcing stereotypes about the Muslim community. 
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Anonymous More than 1 year ago
In light of world events, I believe this is a must read to get a feel of the various views of the Islamic community of the U s.
fussy18reader More than 1 year ago
The many voices of Islam are expressed through very real family member's and their extended community. The parallel's that come up in my Torah study classes, within my Jewish community are startling in similarity. The story is engaging and well written.
Anonymous More than 1 year ago
I couldn't put it down! I loved it. It reminds me of Jhumpa Lahiri's fiction in that it is told from the point of view of American children of immigrants. I found the story absorbing and well written. Read it!
Anonymous More than 1 year ago
Anonymous More than 1 year ago
There are many American dysfunctional families but to read how Islam dictates family requirements is eye-opening. I highly recommend this book about a young boy, his beautiful aunt from Pakistan and his parents. I understand this is a first novel. The characters are very well drawn out and the plot builds. It's great!
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KathleenP More than 1 year ago
I really enjoyed the story, and didn't want the book to end. I am hoping there will be a continuation, as I really want to know how Hayat's life and his parents lives, and Mina's kids end up.
UAK More than 1 year ago
I was so incredibly disappointed after reading this book. It portrays Muslims as angry and extremist monsters. This book did a great disservice to the large amounts of Muslims that live in North America peacefully. I wish Ayyad Akhter would have used his talents in a better way.
Anonymous More than 1 year ago
Anonymous More than 1 year ago
We see through a child's eyes, trying to make sense of adult conflicts, hypocrisy and senseless hatred, finally coming to terms with and embracing the freedom of uncertainty. A wonderful read.