Is murder unforgivable because the only person from whom rightful forgiveness could come is no longer there?
In 1994 I went on holiday in South America. I was totally shocked that in the short time I was away, up to a million people were massacred in an intentional genocide in faraway Rwanda. I still suffer a strange feeling of guilt over that.
This novel is the story of two characters struggling to deal with the trauma from that time. The young woman, Isaro, had to flee the country for France after her parents were murdered. She comes up with the ‘modest’ research project of interviewing all the survivors and putting their stories into one book. What she does come up with is a novel, which centres on the other main character, Niko – we don’t find out that he is only her creation until right at the end. Niko is a sociopath and a mute, who has banished himself to a nose-shaped island in a lake, populated by monkeys. While he was not popular, he was a peaceful blacksmith until the day the genocidal army came and he is forced to club to death another man who may – or may not- be his own father, or else both of them will be shot; and he must decide whether to die or become a murderer in a split second. He chooses to kill and to live, and becomes the enthusiastic leader of a band of thugs.
I would have loved to have had the inexplicable explained – that is, why the genocide happened and how apparently normal decent human beings could carry out such heartless brutality on those they had lived with peacefully. I didn’t feel that I did get it. Maybe it’s some disease of collective madness that infects a group. Before we look down on the Rwandans – or Germans – or Turks – or anyone else collectively, we need to remember that few of our countries or peoples haven’t committed injustices to others (certainly my country has); and if as individuals we are sure that we would never commit such atrocities – well, can anyone who hasn’t been guilty of cruelty to a cockroach, for example, ever be certain of that? All of us are guilty if we knew what was happening in a ‘faraway African country’ and didn’t care.
Nowadays, Rwanda is doing quite well economically, and is even very progressive in some respects (banning plastic bags and percentage of women in parliament). An astonishing number of victims have even forgiven their tormentors. It has come at the price of putting a blanket over much of what happened. Nowadays, officially, people can’t call themselves Tutsi or Hutu.
I can’t imagine what it must be like every day to see someone who murdered the whole rest of your family walking the streets. I can’t blame any country for deciding that, when a choice has to be made, reconciliation or at least peace is preferable to justice, but I wish we could have both – not only due process for those who ordered the crimes, but also for the torturers, the people with the machetes, and the bureaucrats.
GATORE, Gilbert (1981 – ),The Past Ahead, translated from French by Marjolijn de Jager, Global African Voices, Bloomington & Indianapolis, Indiana University Press, 2012, ISBN 9780253006660
(Originally published as Le passé devant soi, Paris, Editions Phébus, 2008)
Before midnight, the old man’s leaf fell gently from the tree on the moon. It was a most gentle death. Hush. And the soft falling of the withered leaf didn’t even tease the well of Karin’s emotions, nor did it puncture the lacrymatory pockets. She didn’t cry, didn’t announce the departure of the old man’s soul to anyone until the following morning. She stayed by him, keeping his death all to herself. She lay by him in reverent silence, he dead, she alive – but you couldn’t have told the difference, so quiet was she beside him.
This is the first novel in the Blood in the Sun trilogy.
It is basically an in-depth study of the evolving relationship between the Somali orphan Askar and Misra, an ethnic Ethiopian lady who comes to look after him. It takes place at the time of the largely forgotten Ogaden war (1977-8) between Somalia and Ethiopia. The Ogaden Desert is inhabited by Somalis but was (and is, after the Ethiopians reconquered it with the help of their then sponsor the USSR and its allies), occupied by Ethiopia. In what looks like a continuing theme for the world’s twilight nations, or regions, “it is easier ridding yourself of a colonialist from beyond the seas than it is to oust an African one.” (for ‘African’, insert ‘Asian’ or any of the other possibilities). However, I’m not convinced that Namibia should have been listed as an exception – by the time of the setting, the German colonialists were long gone, but the future Namibia was finding it very difficult to escape from its neighbour South Africa.
As is usual in war, Misra is accused of treason. Meanwhile, Askar’s relationship with her becomes both intimate and testy. He feels that he is faced with the impossible choice of having to betray either her or Somalia. Farah explores the psychology of this complicated link.
It took a long time for the significance of the title to be revealed, but maps become a symbol of the way that ‘truth’ is not one and unchangeable, just as the country’s borders are not immutable. It is not as easy to pin down as it should be. Going back to the map, the one hanging on your wall probably has something called ‘Somalia’ (and something called ‘Ethiopia’) separated by nice confident red lines. But one country blends into another, both in space (geographically and culturally) and time (historically). Since we started drawing neat lines across the landscape, it has never been the case that everyone belonging to a certain people will always find themselves on the ‘right’ side of the border. And as for Somalia itself – all nicely coloured yellow on my map – it currently doesn’t exist as a single entity. Somaliland (the part colonised by the British rather than the Italians) is de facto independent, as is Puntland, while violence-torn Somalia proper is in fact the most tenuous part of the land.
At the time I read it I was in the mood for something with a faster and more intricate plot. But it is a very good and thought-provoking novel.
FARRAH, Nuruddin (Nuuradiin Faarax) (1945 – ), Maps, New York, Arcade, 2016, ISBN 978-1-62872-585-8
Captain Kadian takes a large swig from his glass tumbler, closes his eyes for a moment, smacks his lips, and says, ‘The job’s not that hard, you see, you just go down once a week or fifteen days, and the money, the money is not bad at all.’
This novel is set in Indian Kashmir, near the ‘Line of Control’ with Pakistan. Kashmir isn’t an independent country (though you suspect most Kashmiris might want it to be). When India and Pakistan gained independence, the Muslim-majority state was ruled by an indecisive Hindu maharaja who opted for India at the last moment. Open and covert warfare between Pakistan and India, and Kashmiri militants, for decades has been the consequence. Both countries claimed the state and occupy it (India the majority). India promised an independence referendum at the outset, that has never been held. Some sixty years later, no solution is in sight. The lovely valley is perhaps the world’s most likely flashpoint for a nuclear war.
In ‘The Collaborator’, brutal, drunken Indian Army Captain Kadian gives a marvellous self-justification for his actions, going through the full catalogue of rationalisations with which such people kid themselves (only). It’s their own fault that atrocities occur, can’t be helped, just part of his job, I’m just a tiny cog in the machine, it’s the law, those who whinge about human rights don’t understand, I have a family too, I didn’t kill them myself, they chose to die, it would have happened anyway, even if I agreed I couldn’t do anything.
He forces the boy narrator to ‘collaborate’ and count the fallen corpses in the typically beautiful Kashmir valley on the border (a job he considers too dangerous for his own soldiers); every day he expects to find one of his boyhood friends who had gone across to Pakistan to join the militants.
The high point is the visit of the Governor of Kashmir, who helicopters in as if on a military operation, humiliating the villagers (who had been warned by an azan ((Muslim call to prayer)) recited backwards), like the preparation for a massacre instead of a ‘hearts and minds’ campaign.
There are a lot of Kashmiri, Arabic and Hindi/Urdu words used, but unfortunately no glossary is provided and they are not always explained.
Although he is speaking of his scavenging expeditions, when the Collaborator says he is tired of it all he must be speaking for most Kashmiris.
WAHEED, Mirza (1955 – ), The Collaborator, London, Viking, 2011, ISBN 978-0-670-91895-9
What struck you in the first place about Claire’s dish was the immense emptiness. Of course, I also well know that in the better restaurants quality is considered more important than quantity, but there are emptinesses and there are emptinesses. Here the emptiness, the part of the plate where there was no food to be found at all, was clearly put on a pedestal above all else, as a matter of principle.
It was as if the empty plate taunted you to say something about it, to go and make a song and dance about it, in the open kitchen. ‘But you don’t dare!’ said the plate, and it laughed you in the face.
This was only the second book I’ve read in Dutch (after Anne Frank’s diary).
Going by what seemed a boring title and plot, I wasn’t expecting much from this one (although perhaps the sinister looking lobster on the cover of my Dutch edition should have given me a hint). I couldn’t have been more wrong! I’m sure this will turn out to be one of the outstanding reads of this project.
Just as the label specifies, this acutely observed novel describes a dinner party – a particularly poisonous dinner party, with the cynical narrator and his despised bigwig elder brother, and their respective wives. The crosscurrents between the participants are fascinating. As the meal progresses, we learn that all of the diners and their family members have dark secrets, including one especially ugly one, and what the real purpose of the dinner is. We come to question who really is most sensible of the brothers. Normally you will tend to follow the narrator, but here you might or might not continue to do so. You come to realise that you have to deal with that trickiest (but fascinating) of narrative styles, the unreliable narrator. Koch plays with your viewpoint and sympathies. The scene, the meal, the restaurant’s workings and the interpersonal relationships are minutely – and cynically – observed.
It is a complete course in family – and restaurant – politics and psychology. You can throw in anthropology too – especially, is nature or nurture responsible for the boys’ behaviour?
Since the intrigue and the setting are so concentrated, I think there is the makings of a fantastic play here. (I found the movie disappointing, and why does everything have to be transposed to the US?)
I can totally recommend this surprising, uncomfortable, caustic novel.
Koch, Herman (1953 – ), Het Diner, Amsterdam, Anthos, 2009, ISBN 978 90 414 1368 0
By the end of that summer, hatred had taken possession of me. I was enthused by it; I felt that it was saving me. Hatred gave me the feeling of superiority I was searching for. I carefully read the pamphlets distributed at every meeting with the other girls and memorized whole sections of them, particularly the fatwas charging other sects with heresy. I became closer to my seven companions and grew to love them. We exchanged secrets and books describing the horrific agonies of the grave. My integration with them saved me from my desires for Ghada, who had in my mind become wretched; she was still far from the power and severity I possessed when asked my opinion on punishing those who showed contempt for religion’s doctrines. I astonished them by requesting to make a list of such girls at my school and seeking permission to disfigure them with acid for wearing tight shirts that clearly showed their breasts. Alya’s eyes shone as she asked me to be patient, as if she already knew the date we would do it.
Sadly, Syria has slipped a fair way down the list (which I’m trying to read in population order) from when I read this book, due to so many of its people being killed in the sickening civil war. But as it seems like the endgame is coming in the war, its time has finally come for a post. You might feel that it is set in today’s war-torn Syria, but it actually takes place in the 1980s, when a previous President Assad oversaw another terrifying massacre in Aleppo. Plus ça change…
This blistering novel is an interesting female perspective on radicalism. The young narrator is consumed by hatred. She hates not only others but even her own body, warring against her awakening sexuality; she despises her mother; sees her own family as hypocrites – since only one member of her family bothers to get up for the dawn prayers. She hates other Muslim groups that she sees as misguided. And she hates the secular but dictatorial government. She is imprisoned, both physically (in practice) and spiritually, and as much by herself as by others; not only by people, but also by institutions and by history. She can only see an enemy (and she is so like them!) – not the (invisible) good majority, only the bad in people and not the good. She fosters hatred as a weapon to gain power – as do so many around her.
When I was studying Middle Eastern history in the early 1980s, the Lebanese civil war was in full fight. My university tutor warned us that some day Syria would blow up into a far bigger conflagration, but since it was ostensibly stable and peaceful that seemed hard to believe at the time. Alas that he proved right.
This is not a happy read, but an insightful and tragic book, brilliantly written, and vital.
KHALIFA, Khaled (خالد خليفة) (1964 – ), In praise of hatred, translated from Arabic by Leri Price, London, Black Swan, 2013, ISBN 978-0-552-77613-4
(first published in Arabic 2008)