Laaltain

In the Country of Men- Book Review

17 مارچ، 2015

in-the-country-of-men-cover (Mobile)
In the Coun­try of Men is the debut nov­el of a Libyan nov­el­ist Hisham Matar pub­lished in 2006 and short-list­ed for the year’s Man Book­er Prize. Matar tells a painful yet pow­er­ful sto­ry of a 9 years old boy, Suleiman, set apart for fif­teen years from his par­ents, Faraj and Najwa, by the repres­sive regime of Colonel Muam­mar Qaddafi. Beau­ti­ful­ly woven togeth­er, it is a tale replete with grief, fear, sep­a­ra­tion, love, humor, and joy. Matar also bril­liant­ly cap­tures the shades and tex­tures of a Libyan family’s social life gen­er­al­ly and specif­i­cal­ly in the wake of the Sep­tem­ber Rev­o­lu­tion (1969) of Qaddafi aka the Guide. The set­ting of the sto­ry is main­ly the Libyan cap­i­tal Tripoli, also called Gor­gi Pop­uli when Libya was an Ital­ian colony. Matar is a pow­er­ful sto­ry­teller and his com­mand over lan­guage is bril­liant.

Matar also bril­liant­ly cap­tures the shades and tex­tures of a Libyan family’s social life gen­er­al­ly and specif­i­cal­ly in the wake of the Sep­tem­ber Rev­o­lu­tion (1969) of Qaddafi aka the Guide.

Suleiman, the pro­tag­o­nist and first-per­son nar­ra­tor of the nov­el, looks back at his 9 years old self try­ing to make sense of the events – pri­vate, famil­ial, and pub­lic (polit­i­cal) – in the last sum­mer in Tripoli before he was sent off to Cairo in 1979 by his par­ents due to trou­bled times at home caused by the Rev­o­lu­tion. Appar­ent­ly, Faraj is a busi­ness­man as he goes on long busi­ness trips and does not come home for many days. But one day, Suleiman sees him at the Martyr’s Square. Revealed lat­er in the sto­ry, Martyr’s Square is the place where his father, a polit­i­cal dis­si­dent, and his com­rade are head­quar­tered to run a pro-democ­ra­cy stu­dent move­ment, and where they used to print leaflets against the extremes of the Guide’s Rev­o­lu­tion.

Actu­al­ly Faraj, his com­rade Ustath Rashid, and a group of young stu­dent rev­o­lu­tion­ar­ies are secret­ly work­ing against the Guide and his Rev­o­lu­tion­ary Com­mit­tees. They hoped to inspire young men to open their eyes to new pos­si­bil­i­ties. The mokhabarat (secret ser­vices), which Matar calls “Anten­nae”, find out that some ‘trai­tors’ are print­ing leaflets against the regime. They take Ustath Rashid away, nev­er to return back. Suleiman and his Mama are extreme­ly griev­ed along with Rashid’s wife aun­tie Salma and his son Kareem who is Suleiman’s best friend. He can­not stand to see the sad­ness and hol­low­ness on Kareem’s face. Mama tells him, “It just is not good for you to be so close to all of his sad­ness. Grief loves the hol­low; all it wants is to hear its own echo” fear­ing lest Faraj be held by the mokhabarat. Suleiman watch­es Ustath Rashid under inves­ti­ga­tion on TV and even­tu­al­ly his tele­vised exe­cu­tion in a sta­di­um.

Matar also unveils a num­ber of tac­tics that the intel­li­gence state of Gaddafi used to ter­ri­fy and con­trol the Libyan pop­u­lace. The Guide’s polit­i­cal ter­ror is extreme and his regime’s tyran­ny mon­strous and uncon­trolled. For instance, the Rev­o­lu­tion­ary Com­mit­tee men fol­low Suleiman and his Mama wher­ev­er they go or live, tap tele­phone calls, and call at Suleiman’s house to talk to him or Mama to find out if his father is around. Some­times, peo­ple are arrest­ed just by asso­ci­a­tion. The intru­sive­ness and hor­ror of the Guide’s total­i­tar­i­an regime are so intense that they even force chil­dren on inad­ver­tent acts of betray­al against their par­ents.

Matar’s style of writ­ing and lan­guage are intense in describ­ing the moments of hor­ror. He shock­ing­ly exclaims why peo­ple have “respect for the sight of blood” and how hang­ing some­one gen­er­ates “mad­ness of the crowd.” Matar also reveals that in Libya “walls have ears”, that inform­ing on the fel­low cit­i­zens is “Libya’s nation­al sport”. At one point in the sto­ry, in order to deceive mokhabarat and to prove Faraj’s ‘inno­cence’, the fam­i­ly puts a pic­ture of Colonel Qaddafi on the wall in their house. Matar recalls that the “absolute and sud­den author­i­ty of the Guide seemed instant­ly accept­able.”

“I suf­fer an absence, an ever-present absence, like an orphan not entire­ly cer­tain of what he has missed or gained through his uncho­sen loss.”

The mokhabarat even­tu­al­ly take Faraj away. After a long time, he is freed with the help of their neigh­bor, Ustath Jaf­fer, who holds an impor­tant posi­tion in the gov­ern­ment. Najwa finds Faraj in a very poor and fright­en­ing con­di­tion after he is brought home. She does not allow Suleiman to see him. Suleiman is angry and tries to sneak in. He sens­es that the room smells like a dead dog. The intrigued Suleiman recalls the stench of death. Final­ly, he finds that the “naked mon­ster with bruis­es and hor­ri­ble face” was his Baba, Faraj. He looks into his Baba’s eyes to feel him but in vain.

“Nation­al­ism is as thin as a thread”, Suleiman says in Cairo, as he adjusts too soon to Egypt for­get­ting Libya. But he does not meet his par­ents for fif­teen years due to the repres­sive decrees of the regime. The Guide issues bru­tal decrees: “Stray dogs” have to return and spend the same amount of time in prison that they spent out­side the coun­try; those who didn’t return would be hunt­ed down, and their par­ents would not be giv­en visas to vis­it them. Baba dies and Suleiman does not get a chance to see him. After hear­ing the news of the death of Baba at 24 in Cairo to which he adapt­ed too soon, Suleiman says, “I suf­fer an absence, an ever-present absence, like an orphan not entire­ly cer­tain of what he has missed or gained through his uncho­sen loss.” Mama reunites with him in Cairo fif­teen years lat­er.

Najwa’s own past and the hor­rors of the regime deeply affect her life. Fara­j’s lin­ger­ing absence from her life makes her depen­dent on alco­hol, stuff in a dark bot­tle which Suleiman thinks is her med­i­cine, and on Suleiman who she unleash­es heavy loads of secrets and con­fu­sions upon. For a 9 years old, that is too much to put up with.

The title of the nov­el “In the Coun­try of Men” hints at the con­ser­v­a­tive patri­ar­chal nature of Libyan soci­ety and appears as a recur­ring theme in the sto­ry. Suleiman’s father has great expec­ta­tions of him based in his man­hood, and quite often admon­ish­es him about tak­ing care of the fam­i­ly in his absence. Suleiman’s moth­er as a teenag­er was once closed in a room for hold­ing hands with a boy in a cof­fee shop. She, after all this time, feels angry at her father and broth­ers, espe­cial­ly at her broth­er Khalid the poet whose poems made the fam­i­ly feel ashamed because of being against the social norms. She calls all men the “High Coun­cil”, and says that all of them are the same.

As a mat­ter of fact in real life, Matar’s father Jabal­lah, a career diplo­mat, also dis­ap­peared, alleged­ly kid­napped by the Libyan regime, from the fam­i­ly home in Cairo in March 1990 while Matar was at school in Eng­land. Matar and his fam­i­ly set­tled in Cairo after they were forced to leave Libya in 1979 by the Libyan regime. Matar does not know the where­abouts of his father to this day. Dead or alive? No one knows.

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