BULLETIN

Sasson Somekh

NAGUIB MAHFOUZ: TIME AND MEMORY

Sasson Somekh was born in Baghdad, Iraq, and arrived in in 1951. He received his Ph.D. from Oxford University in 1968, and since 1969 he has been professor of Literature at University, where he is the incumbent of the Halmos Chair of Arabic Literature. He has been a visiting professor at Princeton University and , and from 1995–1998 he served as Director of the Israeli Academic Center in Cairo. He has published several volumes of research on Arabic literature, with special reference to Egyptian writers ( and Yusuf Idris, among others), as well as three volumes of translations of modern Arabic poetry into Hebrew. He is currently engaged in writing a study of the history of the retranslation of the Hebrew Bible into Arabic in the nineteenth century.

In my book, The Changing Rhythm: Trilogy.1 I tried to demonstrate that In Mahfouz’s vast and rich A Study of Najib Mahfuz’s Novels, I there is a salient correlation between literary output, it is possible to devoted several pages to the treat- the pace of life portrayed in these distinguish several modes of rep- ment of time in the works of the works, on the one hand, and their resenting memory, three of which Egyptian novelist Naguib Nahfouz structure and style, on the other. seem to me to be most significant. (b. 1911), especially his Cairo When the rhythm of social life is I shall designate the first mode as slow, or perceived as being slow, historical or objective. Many of the narrative style is relatively Mahfouz’s major novels, notably slow, and vice versa. The “narra- his Trilogy, have the nature of tion time” in the Trilogy becomes semi-autobiographical fiction, shorter and quicker with the pas- drawing many of their details from sage of time. Following the incur- the life of the author, his family sion of modern modes of life into and his friends. Memories are cru- Cairene society, the latter volumes cial in the characterization of the of the Trilogy (and Mahfouz’s sub- protagonist. For example, Kamal, sequent novels) become demon- the main character in the Trilogy, strably smaller in size.2 starts out as a perceptive boy of ten In the following paragraphs, I at the beginning of the first novel, would like to discuss the problem Bayn al-QaÓrayn. By the end of the of memory or remembrance with last novel, al-Sukkariyya, he has regard to the different protagonists developed into a frustrated, un- in Mahfouz's novels: What are the married intellectual of around most characteristic forms in which forty. Memories fill his life in the our writer structures the different second and third volumes of the modes of memory? Is there a Trilogy, but they are separated “diachronic” explanation for the from the present moment. The Naguib Mahfouz on one of his daily appearance or disappearance of impact of past events and memo- walks on Cairo. one form or another? ries on the emotional and psycho-

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logical development of other char- peaceful demonstration welcoming these clusters of dates in a system- acters is also evident, but the mem- the returning leader.4 Similarly, on atic way, although they are viewed ories represent a reality that is the day that Sa‘d dies, three mem- artistically from afar, or, to borrow dead and buried. bers of Kamal’s family, a brother- the words of Mira Rosa Menocal, There are certain dates or in-law and two nephews, meet as components of a “detached historical moments around which their death from typhoid.5 developmental narrative.”7 The Kamal’s recollections (and those of Another set of dates is added in same applies to the 1985 novel many of Mahfouz’s other major Mahfouz’s later works: 1952 – the Yawma Qutila al-Za‘≠m (“The Day characters) seem to center, together young officers’ revolution; 1967 – the Leader Was Killed”). forming a distinct historical pattern, the Six-Day War; and still later, This historical pattern of memo- a structure of history characteristic 1973 – the October war; 1979 – the ry is to be found not only in of what I would describe as a con- Mahfouz’s traditional, realistic cerned Wafdist. These dates are novels, but also in a series of works connected with the history of the published in the 1970s and 1980s Wafd (Nationalist) party and its whose artistic structure can be founder, Sa‘d Zaghloul. The dates described as pseudo-autobiogra- that recur most frequently in phy. In contrast to the semi-auto- Mahfouz’s early works, up to the biographical novels discussed 1950s, are 1919 – the year of the above, whose mode is easily recog- revolution led by Zaghloul, which nized by the reader as fiction ultimately gained him the premier- (whether the narration is first-per- ship; 1924–1925 – the years in son or third-person), a work of which Zaghloul lost ground and pseudo-autobiography aims (with was forced out of the government varying success) to create the through the collusion of royal and impression that it is not fiction but British colonial interests; and, most truly autobiographical or mem- poignantly, 1927, the year Sa‘d oiristic. It presents, as it were, the died. Another important date, also author’s own memories, although related to the history of the Wafd some of the names may have been party, is February 2, 1942, the day changed in order to avoid embar- on which Nahhas, Zaghloul’s heir rassing the people in question. In to the leadership of the party, was fact, though, these works use the returned to the premiership, this writer’s own biography only as a time thanks to the interference of skeleton, which he covers with a the British. In the mind of our pro- mixture of fact and fiction. tagonist, this event signals the end Mahfouz’s first work written in of the Wafd as a true national and this fashion is al-Mar$ya,8 pub- progressive party. In the Trilogy lished in 1972. In 1982 he pub- and in several other novels by lished two similarly structured Mahfouz, it marks “the end of “novels”: Sabaº a-Ward (“Morning 3 history.” Mahmoud Mukhtar’s statue of Sa’d of Flowers”) and Qushtumur (the These historical events are not Saghloul (1853–1927), situated by the name of a cafe in Cairo). In these necessarily separated from the pri- Kasr al-Nil Bridge, Cairo. three books, the same clusters of vate histories of the protagonists. dates and historical events that The day Sa‘d returns from exile Camp David accords, and finally recur in Mahfouz’s earlier works (April 8, 1919), a day on which the 1982 – the death of Anwar Sadat. constitute the grid that underlies whole nation rejoices, a horrible Such novels as Miramar (1967) and the memory of their protagonists. tragedy befalls Kamal and his al-B$q≠ Min al-Zman S$‘a (“Only an As before, past events are auto- family: his brother Fahmi, a law Hour is Left”)6 serve as excellent nomous and detached from the student, is killed in the course of a illustrations of the employment of present moment.

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The second type of memory that nothing about his personal history. afar some kind of psychological I would like to discuss in this He is allowed to reside in the hotel, experiment on the topic of memo- context may be termed mystical and before long marries the propri- ry. Alternatively, the master repre- memory. It is absent from the pre- etor’s daughter. It transpires, how- sents the Omnipotent, who is sent moment and yet integrated ever, that his wife and father- testing our protagonist to find out into it. The characters in question in-law know him only too well. In whether he will accomplish “the are unable to remember some or all the past he had been married to the assignment” (al-muhimma) despite of the details of their past experi- same woman, but at some point he his amnesia. In one of these ence, yet their present existence is had embezzled the hotel’s money episodes, we read the following dominated and motivated by that and run away with another woman. dialogue:10 very experience. This type of mem- The plot of this story is complex, ory informs several of Mahfouz’s fast-moving and crowded with Master: Hasn’t he been thinking short stories, mainly those written events and sudden turns. However, about his unknown past? in the late 1960s and early 1970s. the main story is halted every now Messenger: He has no time for The style of these stories is blatant- and then – four times in all – while that. However, he once told his ly non-realistic, at times bordering the scene of action shifts to the top wife that if he should regain his on the absurd. Noteworthy among of a mountain. Here we meet two memory, he would discover that them is a long short story entitled men, a master and a subordinate he had been a millionaire’s son. al-Rajul Alladh≠ Faqada Dh$kiratahu working for him as a messenger or But she repudiated him by say- Marratayn (“The Man Who Twice spy. In each of these intervals, the ing that he was dreaming of a Lost His Memory”).9 subordinate reports to his master hidden treasure, just like her The main protagonist in this about our protagonist, after which father. story is a young man who appears the master instructs the subordi- Master: When do you think he’ll out of the blue at a small hotel in nate concerning future action. resume his thinking about his Cairo. He has lost his memory, for- These two mystical men may origin? gotten his identity and remembers impress one as conducting from Messenger: What origin, sir? Master: How can you be so stupid? Messenger: O.K., sir. It all de- pends on how successful he is in carrying out his assignment.

It would seem that our protagonist is capable of remembering, if he so wishes. In his case, memory is shapeless and unworded, proba- bly like that of an animal. He is, after all, expected to accomplish the mission with which he was entrusted. However, memory in the proper sense is absent from his mind in his present existence. The third and last type of mem- ory that I would like to point out is dynamically integrated into the present moment. I will call it the synchronic type of memory. The work that I have selected to illus- trate this type is a short novel Naguib Mahfouz with the author in Cairo, 1990. entitled ±ik$y$t ±aritn$ (“Tales of

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Our Alley”),11 published in 1975. It specter of death rises up before Notes consists of seventy-eight short my eyes. I jump out of bed and 1. S. Somekh, The Changing Rhythm: A episodes or anecdotes representing dash to my closed door, hesitate Study of Naj≠b Maºf†¤’s Novels, Leiden scenes from the life of the narrator- a moment then throw it open to 1973. The three volumes of the Trilogy protagonist (this novel, too, can be face the unknown. My father is are Bayn al-QaÓrayn (1956), QaÓr al- classified as pseudo-autobiograph- seated, my mother leans against Shawq (1957) and al-Sukkariyya (1957). In the Doubleday English translation ical), from childhood to maturity. the sideboard and the servant these volumes are entitled Palace Walk The tone of voice in these stories is stands in the doorway. They are (1989), Palace of Desire (1991) and Sugar far less “objective” than in the nov- all crying. My mother sees me Street (1992). els of the first type, and historical and comes to me. “We scared 2. The Changing Rhythm, pp. 130–132. 3. On the significance of Mahfouz’s dates, though they are present, do you ... Don’t be afraid, son.” Trilogy in portraying historical aware- not punctuate the text. Some of the Through a dry throat I ask, ness see Israel Gershoni, “Between anecdotes have a rather mystical “What ...?” She whispers Ottomanism and Egyptianism: As character; in episode no. 58, for hoarsely in my ear, “Saad Reflected in Najib Mahfouz’s Bayn al- QaÓrayn,” Asian and African Studies, 17 example, an apocalyptic darkness Zaghloul ... May he live on in (1983), pp. 227–263. engulfs the alley in the middle of you!” I cry from my soul, 4. Bayn al-QaÓrayn (Palace Walk), ch. 70. spring, in the wake of a series of “Saad!” I go back to my room. 5. Qasr al-Shawq, ch. 44. fierce battles among the local Gloom hangs everywhere.12 6. See my article, “The Essence of Naguib Mahfouz,” Tel Aviv Review, 2 thugs. Some anecdotes appear to (Fall–Winter 1989), pp. 244–257. An be autobiographical, especially This episode, along with the English translation of Miramar those telling the story of the narra- greater part of the novel, is written appeared in 1980. 7. Maria Rosa Menocal, The Shards of Love: tor’s childhood and early boy- in the historical present; that is, the Exile and the Origin of Lyrics, Durham hood. form yaf‘al is used to narrate past 1994. The most interesting feature of events, replacing the more com- 8. Published in English as Mirrors (English the narrative structure of ±ik$y$t mon fa‘ala.13 The historical present transl. by Roger Allen), Minneapolis 1977. ±aritn$ is that there is no separa- is not a common feature in Arabic 9. The story is included in Mahfouz’s tion between memory and experi- narrative style, or at least it was book, Hikaya Bil$ Biday$ Wa-la Nihaya ence, between past and present. not common in 1975, when the (“A Story with No Beginning or End”), When a historical figure like Sa‘d book first appeared. Its use in this Cairo 1971. 10. Ibid., p. 232 (my translation). Zaghloul surfaces in the novel, he work accentuates the sense of 11. Published in English as Fountain and is presented indirectly, not through unity between memory and cur- Tomb (English transl. by Soad Subhy, a narrator in a specific moment, rent experience. By using yaf‘al to Eassam Fattouh and James Kenneson), but through the timeless con- express past or narrative modes, Washington, D.C., 1988. 12. Ibid., p. 23; Arabic, p. 50. sciousness of the protagonist, a Mahfouz injects into this novel a 13. See my Genre and Language in Modern young boy in this case. Episode no. quality reminiscent of the Arabic Literature, Wiesbaden 1991, pp. 23 is precisely such a text. The boy Proustian modes of treating past 33–34. suddenly wakes up from sleep to experience as part and parcel of find his entirely family plunged the current moment. into grief. It turns out that Sa‘d is dead. The child retreats to his room, shocked to the core:

One morning I am awakened with sudden harshness. A dark grip grabs and jerks me from the land of dreams. A flood of jangling noise engulfs me. My hair stands on end with horror: voices wail in the hall. Terrible thoughts rip at my flesh and the

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