موسم الهجرة إلى الشمال Kindle Í

موسم الهجرة إلى الشمال Kindle Í

موسم الهجرة إلى الشمال [Read] ➬ موسم الهجرة إلى الشمال By Tayeb Salih – Larringtonlifecoaching.co.uk De jonge verteller in Seizoen van de trek naar het noorden keert na een jarenlange studie in Europa terug naar zijn geboortedorp in Soedan Het zijn de jaren zestig van de vorige eeuw; Soedan heeft net De jonge verteller in Seizoen van de trek naar het noorden keert na een jarenlange studie in Europa terug naar zijn geboortedorp in Soedan Het zijn de jaren zestig van de vorige eeuw; Soedan heeft net de onafhankelijkheid bereikt In het dorp ontmoet Moestafa Sa'ied een nieuwe bewoner die in tegenstelling tot de anderen geen blijk geeft van enige bewondering voor zijn prestaties en zelfs een bijna vijandelijke afstandelijkheid toont De verteller is vastbesloten achter de identiteit van deze mysterieuze vreemdeling te komen Wat موسم الهجرة PDF \ hij dan over hem ontdekt wakkert behalve nieuwsgierigheid ook wanhoop en woede aan Salih excelleert in de onconventionele wijze waarop hij de sfeer in het dorp en de gesprekken tussen de bewoners weergeeft en in de navrante wijze waarop hij thema’s van seksualiteit en strijd voor onafhankelijkheid verbindtTayyib Salih is een van de weinige Soedanese schrijvers in de moderne Arabische literatuur die in het Westen naam hebben gemaakt Seizoen van de trek naar het noorden is in door de Arabische Literaire Academie in Damascus benoemd tot 'belangrijkste Arabische roman van de twintigste eeuw'.

10 thoughts on “موسم الهجرة إلى الشمال

  1. Petra-Eggs Sunny Side Up Petra-Eggs Sunny Side Up says:

    I liked the book uite a lot It's beautifully written But that is despite the misogynistic viewpoint that was probably true in the life of the village and the people in the countryside of Sudan I disliked how that was amped up with racism when it came to the 'Northern' women I don't want books to be written from a pc point of view but when half the world's worth is judged by looks sexuality and their usefulness to men it doesn't enhance my enjoyment of it Do African Americans like reading about the slaves in Gone with the Wind?I want to say two things the first is to uote a GR author Emer Martin “I asked them why when they persecute men for religion or colour it was seen by the world as oppression and when they persecute women it was dismissed as tradition”Secondly if the book had been written from any other point of view it would have been dishonest And this honest point of view didn't make me dislike the characters or the book or the author but gave me insight into where the Rotherham and other grooming gangs came from and why their communities didn't give them up We all share this tribal wanting to protect our own feeling but hopefully we have moved on enough to out those whose who are criminally evil That's my point of view Perhaps another culture would give a different weight to that or think of it in a different way Books like this help me try and understand that but I don't really understand it not at allThere are a lot of good reviews of this book I only mentioned one aspect Don't let it put you off just because the world view is one that I find difficult to pass over when reading It's a very good read that made me think On advice I have had to rewrite a considerable part of this review so I remain pc and don't give offence to anyone who might misinterpret what I mean so I did I'm not really happy about this I don't see why some cultures should get a free pass and especially so when they are brought into and maintained in a country that does not support them But I have to have some friends left to buy me drinks

  2. Adina Adina says:

    The narrator of the novel is a young man returning from studies in the North Europe to his village near the Nile in Sudan He periodically visits the village of his childhood while working in Khartoum The village did not change much since his departure his family and his tribe are still there the independence of Sudan and its modernization is slow to reach those parts although some progress was visible When he first come back he discovers a new face that of Mustafa Sa’eed a stranger who moved to the village married a local woman and settled for an agricultural life Not much is known about the man’s past and our narrator becomes fascinated by the mystery surrounding this man and one fateful night manages to obtain a “confession” from him which will haunt all his future life Both the narrator and Mustafa share an education abroad and the need to return to their ruts However Mustafa’s time in London is dark and hides a terrible secret including terrible treatment towards Northern women As the Introduction written by the translator says Season of migration to the North is an African response to the terrible Heart of Darkness by Joseph Conrad I was lucky to read that book a few years ago and I could spot the connections For starters they both involve a narrator who develops and obsession with another man with a dark soul If in HoD the victims were the Congolese Africans here they are replaced by European women who fall for Mustafa’s charms and are destroyed by the experience for details I will let you read the short novel Moreover in both books the writing is poetic although in this one I actually understood something There is a fine border between real and surreal and sometimes it is difficult to distinguished between the two states There a few political statements as well since the book was written after Sudan obtained independence and the white people were mostly still in power corruption was high and progress was slow Also the author makes a case of the unjust treatment of women in Sudan and their lack of rights Tayeb Salih is considered one of the best Arabic authors and I can see why after reading his most known work It might not be for everyone but I think it is worth trying

  3. Adam Dalva Adam Dalva says:

    Salih is an astonishing prose stylist it's comforting to know that he worked closely with the translator and his ability is on full display here using a mix of mediums that tell a seemingly classic story in a modern way The plot occurs obliuely wonderful to have a passive lead and an incredibly active handsome subject and the retold stories of Mustafa's sexual escapades in London are as many have pointed out a conscious subversion of Othello and HEART OF DARKNESS But I'm interested in the conscious overlap with DON UIXOTE which I haven't seen written about anywhereThe narrator is much like Cervantes's Cide Hamete Benegeli an involuntary transcriber of someone else's epic story and the plot takes a very similar turn Toward the end of the book we have a wonderful scene with Mustafa's library and the narrator is disappointed to see that all the books are in English they are listed in catalogue as in UIXOTE Mustafa temporarily lost his mind and morality in an attempt to perpetuate the western perception of him as Othello before finally after a long journey regaining sanity and enjoying a homecoming and a brief intentional return to normalcy That is very much the uixote move and Salih's conscious choice to write in Arabic not English feels like a rebuke of countrymen who only read in English much like Cervantes was taking on the ghastly chivalric novels of his timeThe problem with indirect books is that sometimes one gets the sense that plot is being withheld for no reason than to withhold it The outermost frame is written in direct address and I would be frustrated listening to this storyteller Why did you wait 60 pages to tell me that critical plot point? But there are long descriptive passages here that are as good as anythingI lingered by the door as I savoured that agreeable sensation which precedes the moment of meeting my grandfather whenever I return from a journey a sensation of pure astonishment that that ancient being is still in actual existence upon the earth's surface When I embrace him I breathe in his uniue smell which is a combination of the smell of the large mausoleum in the cemetery and the smell of an infant child And that thin tranuil voice sets up a bridge between me and the anxious moment that has not yet been formed and between the moments the events of which have been assimilated and have passed on have become bricks in an edifice with perspectives and dimensions By the standards of the European industrial world we are poor peasants but when I embrace my grandfather I experience a sense of richness as though I am a note in the heartbeats of the very universe

  4. Ahmad Sharabiani Ahmad Sharabiani says:

    م‍وس‍م‌‌ ال‍ه‍ج‍رة ال‍ی‌ ال‍ش‍م‍ال‌ Mawsim al Hijrah ilâ al Shamâl Season of Migration to the North Tayeb Salih Season of Migration to the North is a classic post colonial Arabic novel by the Sudanese novelist Tayeb Salih In 1966 Salih published his novel the one for which he is best known It was first published in the Beirut journal Hiwâr The main concern of the novel is with the impact of British colonialism and European modernity on rural African societies in general and Sudanese culture and identity in particular His novel reflects the conflicts of modern Sudan and depicts the brutal history of European colonialism as shaping the reality of contemporary Sudanese society Damascus based Arab Literary Academy named it one of the best novels in Arabic of the twentieth century Mawsim al Hijrah ilâ al Shamâl is considered to be an important turning point in the development of postcolonial narratives that focus on the encounter between East and West Mawsim al Hijrah ilâ al Shamâl is a story told to an unspecified audience of the “traveled man” the African who has returned from schooling abroad by an unnamed narrator The narrator returns to his Sudanese village of Wad Hamid on the Nile in the 1950's after writing a PhD thesis on ‘the life of an obscure English poet’ Mustafa Sa'eed the main protagonist of the novel is a child of British colonialism and a fruit of colonial education He is also a monstrous product of his time The unnamed narrator is eager to make a contribution to the new postcolonial life of his country On his arrival home the Narrator encounters a new villager named Mustafa Sa'eed who exhibits none of the adulation for his achievements that most others do and he displays an antagonistically aloof nature Mustafa betrays his past one drunken evening by wistfully reciting poetry in fluent English leaving the narrator resolute to discover the stranger's identity The Narrator later asks Mustafa about his past and Mustafa tells the Narrator much of his story often saying I am no Othello Othello was a lie as well as I am a lie تاریخ نخستین خوانش روز بیست و پنجم ماه ژوئن سال 2012 میلادیعنوان فصل هجرت به شمال؛ نویسنده طیب صالح؛ مترجم مهدی غبرایی ترجمه از متن انگلیسی؛ تهران، پوینده، چاپ اول 1390؛ در 105ص؛ شابک 9789642950225؛ چاپ دوم 1391؛ موضوع داستانهای نویسندگان سودانی به عربی سده 20معنوان موسم هجرت به شمال؛ نویسنده طیب صالح؛ مترجم رضا عامری؛ تهران، نشر چشمه، 1390، در 140ص؛ شابک 9789643624613؛ چاپ دوم 1395؛ عنوان موسم هجرت به شمال؛ نویسنده طیب صالح؛ مترجم عطاءالله مهاجرانی؛ تهران، امید ایرانیان، 1394، در 170ص؛ شابک 9789648978292؛ روانشاد «طیب صالح، یا الطیب صالح زاده روز دوازدهم ماه ژوئیه سال 1929میلادی؛ – درگذشته روز هجدهم ماه فوریه سال 2009میلادی»، ادیب اهل کشور «سودان»، و یکی از نام آشناترین نویسندگان عرب بودند، که منتقدان، ایشان را «نابغه ی رمان عربی» نامیده اند؛ ایشان در «بریتانیا»، «قطر»، و «فرانسه» نیز زندگی کرده اند؛ الطیب صالح یا همان «نابغه رمان عربی»، که نام و نام خانوادگی ایشان «طیب محمد صالح احمد» بوده‌ است، در شمال «سودان»، در منطقه ی «مروی»، در روستای «کرمکول»، به دنیا آمدند، و در یک بیمارستان در شهر «لندن» پایتخت «بریتانیا»، در شب چهارشنبه، روز هجدهم ماه فوریه سال 2009میلادی، از این سرای درگذشتندایشان در جوانی برای تکمیل خوانشهای خود، به «خارطوم» نقل مکان کردند، و سپس به «انگلستان» سفر نمودند، و در آنجا تحصیلات خود را ادامه دادند، و رشته تحصیلی خود را برای «مطالعه امور سیاسی بین‌المللی» تغییر دادند؛ کتاب «مهاجرت به شمال» ایشان، یکی از یکصد رمان برتر دنیاست، و جوایز بسیاری را به دست آورده‌ است؛ این رمان، نخستین بار، در سالهای پایانی دهه ی 1960میلادی، در «بیروت» منتشر شد؛ در سال 2001میلادی، همین کتاب ایشان توسط «آکادمی عرب در دمشق»، به عنوان «بهترین رمان عرب سده بیستم میلادی» شناخته شد؛ «الطیب صالح»، سه رمان و چند مجموعه داستان کوتاه را منتشر کرده اند؛رمان «عروسی زین»، در سالهای پایانی دهه ی 1970میلادی، به یک نمایشنامه در «لیبی» تبدیل شد؛ «الطیب صالح» در زمینه ی روزنامه‌ نگاری نیز، یک ستون هفتگی در یک روزنامه عربی لندن، تحت عنوان مجله داشتند، که در آن می‌نوشتند؛ و در طول کار خود در «بی‌بی‌سی» نیز، به موضوعات گوناگون ادبی می‌پرداختند؛ روانش همیشه شاددر باره ی کتاب خیال‌پردازی بومی‌گرا از دیدنگاه منتقدان یکی از تم‌های اصلی رمان «موسم هجرت به شمال» نوشته طیب صالح است، رمان نخستین بار و به زبان عربی در سال 1966میلادی چاپ شد، «سودان» در حال تجربه ی انقلابی دیگر بود، سرنگونی دولت نظامی «ژنرال ابراهیم عبود» و در آغاز سیستم پارلمانی؛ نگارنده یا همان «صالح» در مقدمه‌ ای در چاپ سال 2003میلادی برای انتشارات «پنگوئن» نوشته است «جـَوِ آن روزهای خارتومخارطوم بسیار بانشاط بود؛ و به دلایلی چند، کار من با فرآیند پرسشهای روشنفکرانه آن دوران یکی شد»؛ البته این پایان کار نبود چرا که مثلا همین کتاب مهم «صالح» در «سودان» آنروزگار اجازه ی چاپ نگرفت؛ در این رمان، که تا کنون به بیش از سی زبان دنیا ترجمه شده، راوی «بی‌نام» داستان، پس از هفت سال زندگی، و تحصیل در انگلستان، به زادگاه خود در «سودان» بازمی‌گردد؛ داستان ساده ی «طیب صالح»، نویسنده ی سودانی، از آنجایی پیچیده می‌شود، که راوی در راه بازگشت به خانه، با فردی غریبه، به نام «مصطفی سعید» آشنا می‌شود، و در صدد کشف هویت وی برمی‌آید؛ «مصطفی» نیز دانش‌ آموخته یکی از دانشگاه‌های غربی است، و یواش و آهسته، داستان زندگی پردغدغه ی او در غرب، و روابط عاطفیش به محور اصلی داستان بدل می‌شود؛ شخصیتی با جذابیت فراوان، که ماجراهای زندگی خویش را، به راوی داستان تحمیل می‌کند، و به شخصیت نخست داستان بدل می‌شود؛ هرچه داستان پیش می‌رود، خوانشگر بیشتر به این نتیجه می‌رسد، که «مصطفی» و راوی داستان، یعنی هر دو راوی، شخصیت یک انسان واحد را دارا هستند، که البته بی‌شباهت به «طیب صالح» نیست؛ نویسنده‌ ای سودانی، که برای ادامه ی تحصیل به انگلستان رفت، و سپس به کشورش بازگشت؛ «طیب صالح» دوران کودکیش، در روستایی کوچک سپری شد، و آینده‌ ای که ایشان همواره برای شغل خود خیال می‌کرد، کشاورزی بود؛ اما «صالح»، برای ادامه ی تحصیل به دانشگاه لندن رفت، و به نویسندگی روی آورد؛ خوانش کتاب «موسم هجرت به شمال» «طیب صالح»، نخست می‌تواند گیج‌ کننده باشد؛ ساختار اپیزودیک رمان، که داستان در قالب آن روایت می‌شود، فاقد اطلاعات مهمی از گذشته ی شخصیت‌های رمان است، و حس «گمشدگی در یک سرزمین غریب» را به خوانشگر القا می‌کند؛ «موسم هجرت به شمال» بر محوریت راوی، و «مصطفی سعید» است، که هر دو همانند نویسنده، کشور را برای تحصیل ترک کرده‌ اند، و به انگلستانی رفته‌ اند، که آن هنگام که داستان در آن می‌گذرد، انگلستان «سودان» را در مستعمره ی خود دارد؛ «مصطفی سعید» دانش‌آموز نخبه‌ ای که راه رسیدن به قله‌ های علمی را به سرعت پیموده، و در انگلستان دکترای اقتصاد خوانده، و آنجا از اقتصاد عشق می‌گوید، و زندگی دون ژوان‌ مآبانه‌ ای دارد، و راوی که آنجا ادبیات خوانده و شعر می‌داند، هر دو برگشته‌ اند به کشور، «سعید» پس از گذراندن زندان، که حتی می‌توانست منجر به مرگش شود، اما نشد؛ او متهم بود به اینکه زنش را کشته؛ و چند زن دیگری که با او رابطه داشته‌ اند نیز، هر یک به نحوی خودکشی کرده‌ اند؛ سعید از دادگاه تقاضای مرگ می‌کند، اما چند سال زندان حکم نهایی اوست؛ بعد از اتمام زندان به سودان برگشته، و در روستایی که زادگاه راوی است زندگی مرموزی دارد؛ هر چند آرام و همدل با ساکنان و برنامه‌ های آنجاست؛راوی نیز که چند سالی از وطن دور بوده، و در نخستین روزهای برگشت خود، فضای مه‌ آلودی را حس می‌کند، که بین او و مردمان آنجا فاصله انداخته اما در نهایت حالش بهتر می‌شود، و به قول خودش و دوست صمیمی‌ اش بیکاره‌ ای می‌شود، که کارگزار دولت غافل و سرسپرده مرکز است؛ بومی‌ گرایی خیالپردازانه که مثلا در ارادت راوی و مصطفی سعید به پدربزرگ راوی متجلی شده، شرایط استعمار ناکارآمدی‌های دولت مرکزی و امکانات و تحولاتی که در داستان رخ می‌دهد و دوران پسا استعماری و خشونت آنچه سعید بر سر همسر خود در انگلستان می‌آورد و آنچه حسنه بنت محمود، بیوه او، در سودان بر سر بزرگ هوسران روستا؛ ود الریس می‌آورد شاید مهم‌ترین تم‌های این رمان کوتاه باشند که همه زیر سایه‌ ای بزرگ جمع می‌شوند؛ و آن تفسیری است که انسان‌ها از تقابل خود و «دیگری» دریافت می‌کنند؛ تقابلی که می‌تواند منجر به ناملایماتی شدید باشد؛ رمان با لحنی تغزلی نوشته شده، و همه جا از نثر آن تمجیدهای فراوانی شده، که البته چندان به ترجمه فارسی منتقل نشده است؛ با این حال همانطور که خود نویسنده می‌خواهد، می‌توان بارها از استعمار، و خوانش صرفا سیاسی رمان، فراتر رفت، و به تقابل‌های بیمارگونه، بین خود و دیگری، که برسازنده بسیاری از تضاد و دشمنی‌هاست، پرداخت، و آن را نقد کرد؛ خوانش این رمان مهم است؛ و پاسخی که پس از تمام شدن به این پرسش باید بدهیم که؛ واکنش یا راه‌ حل ما در رویارویی با مدرنیته چیست؟ ا شربیانی

  5. [P] [P] says:

    A while ago I was in heated conversation with a man a British man upon the subject of immigration and asylum and at the end of this conversation he said something like ‘obviously coming here is better for you lot’ It became clear to me at that point that he was under the impression that I wasn’t English It is better for me and my kind? Better in what way sir? ‘Nicer not like where you came from’ Putting aside the insignificant detail that I am actually English the suggestion was that uprooting yourself and moving to a different country a superior and civilised country is always an entirely positive endeavour It is the unfortunate locals who have to put up with us – and our weird rituals food smell etc – and whose jobs we steal – that one ought to consider and sympathise withPerspective is a strange thing There are some that appear incapable of seeing things through the eyes of others who seemingly cannot comprehend that one’s cultural practices and values – ie what seems right and normal to you – are subjective are related to your upbringing and experiences; and that to someone else who has had a different upbringing and experiences your practices and values may seem eually absurd or immoral It strikes me that were I to have told this man – who I am sure wasn’t trying to offend me – that actually many people who come to England prefer their home countries and in some cases did not want to come here at all and that for them this – being in England – is not akin to winning the lottery but often a sad yet necessary event he would not have believed me Because well being a foreigner my word is hardly the most reliable is it?Tayeb Salih’s The Season of Migration to the North begins with a return with the unnamed narrator or partial narrator discussing his arrival in the ’obscure’ village of his birth after seven years abroad in England He returned he says with ‘a great yearning’ for his people; he had ‘longed for them had dreamed of them’ At home he re familiarises himself with ’the room whose walls had witnessed the trivial incidents of my childhood and the onset of adolescence’ and the uniue sound of the wind as it passes through palm trees There are so many novels written from the European perspective that focus on what it is like as a European to visit such a place and the majority of them accentuate the hostility or strangeness of the landscape and people and so it is refreshing to read something that provides an alternative point of view one that is positive and loving For the narrator this is where he has his roots and where he feels once again as though he has ‘a purpose’While there is much in the village that is familiar there is one thing a man that is new and unknown and perhaps because he stands out in this way the narrator is excessively curious about who he is and why or how he came to be there I use the word excessively because at least initially Mustafa Sa’eed does nothing to raise suspicion; he we’re told ‘kept himself to himself’ and always showed extreme politeness as one would naturally expect of someone who has moved to a new place In this way Salih subtly probes the concept of ’the outsider’ for even in a village of men of the same race religion etc Mustafa Sa’eed is viewed as not uite ‘one of them’ However one day he mentions that he has a secret and it is this secret that provides Season of Migration to the North with one of its two compelling central storylinesWhen the two men get together to discuss the secret Mustafa Sa’eed begins by relating some details of his childhood details that I think say much about his character and give strong hints as to his future behaviour He was he says essentially given the freedom to do as he pleased; he had no father and his mother was emotionally distant Of significance he describes himself as emotionally distant also When he is given a place at a school in Cairo he leaves home with little than a shrug of the shoulders and later admits to feeling no gratitude towards those who help him Indeed the the highly intelligent but strangely cold Mustafa Sa’eed says the it becomes clear long before the big reveal that he is at least a sociopath but probably a psychopath In this way the novel could have become simply another in a seemingly endless line of existential dramas focussing on intense disturbed loners – such as Camus’ Mersault or Sabato’s Juan Pablo Castel – and their terrible crimes and on the most basic level it is one of those but it is also much besidesI flippantly said to someone the other day that Tayeb Salih must have sold his soul to the devil in exchange for magic literary powers This I joked was the only explanation for what he was able to achieve in Season of Migration to the North in approximately 130 pages However I am going to overlook or only briefly touch upon many of the complex and challenging themes and ideas present in the novel not because I am not interested in them but simply because I have to maintain control over my work and not allow it as I said in a previous review to mutate into a dissertation Therefore although colonisation and the effect upon those who are subjected to it certainly underpins much of the action I am going to leave it for others to tackle aware that this is generally what reviewers focus upon I on the other hand prefer to look at the controversial or uncomfortable elements of the bookFor large parts of Season of Migration to the North Tayeb Salih investigates and challenges liberal and conservative Eastern and Western attitudes towards sex and race; indeed the nature of Mustafa Sa’eed’s ‘villainy’ is both sexual and racial and even political but as stated I am not going to linger over that When he moved to England his chief aim was to bed as many white women as possible in the process playing up to the stereotype and playing upon the fear of conservative white Europeans of the savage sex obsessed invading African black male Yet Salih takes this one stage further for the women who succumb to his charms do so with his race and the accompanying stereotypes at the forefront of their minds even when they believe that they are dismissing it or ‘accepting’ of itFor example one woman appears to be under the impression that Mustafa has just crawled out of the jungle wearing a loincloth and smelling of mangoes For her this fantasy which he encourages adds an exotic flavour an alien uality something uixotic to the proceedings Another of the women imagines herself and calls herself Sa’eed’s slave a woman who wants to be dominated of course and who clearly associates the subjugation of women with Arab culture Words and phrases such as ‘savage bull’ and ‘cannibal’ are thrown around; and Jean Morris outright calls this ‘showpiece black man’ ugly Yet once again Salih wasn’t satisfied with presenting only one side for he makes it clear that Sa’eed also finds the novelty of these kind of couplings exciting he comments on their bronze skin and the intoxicating but strange ‘European smell’ All sexes all cultures all races can experience the allure of ‘the other’ This is fascinating thrilling stuffThe only criticism I have to make of the novel which is as beautifully written as it is brave is in relation to the murder of Jean Morris which is preposterously melodramatic although I guess it is purposely reminiscent of the conclusion of Othello Regardless this act is not for me the most heinous in the novel nor is this death or Sa’eed’s fate the most tragic Throughout Season of Migration to the North one is led to believe that the European women with their sexual rights and freedom to choose even a black man are a symbol of modernity or modern attitudes In contrast when the aged lothario Wad Reyyes falls in ‘love’ which for him is the same as lust with Hosna Bint Mahmoud who outright refuses him he declares ‘She will marry me no matter what you or she says’ In this village he continues men make the decisions In short Reyyes wants to fuck the woman and so she will be fucked However when he with great violence attempts to take her by force and Bint Mahmoud follows through on her promise to kill Reyyes and herself one comes to realise that it is she who is the modern woman not the so called liberal free Europeans Why? Because Bint Mahmoud kills to make a statement to say no when no is not permitted

  6. Tracey Duncan Tracey Duncan says:

    heart of darkness backwards one of my favorite books ever just try doing better than i want to liberate africa with my penis just try

  7. Shovelmonkey1 Shovelmonkey1 says:

    A powerful and unusual contrast of carnality and pastoralism Not two key themes you might often find in your common or garden novel but this book is neither common nor domestic A powerful description of the life and death of the mysterious Mustafa Sa'eed who despite being an outsider to the village he currently inhabits and seemingly little known in the area has wielded a great and mysterious skill women kill themselves for the love of him Mustafa Sa'eed journeyed north to England as a scholar and returns south under the shadow of scandal During his time in England he portrays himself as the physical embodiment of eastern exoticism and decks himself with the trappings and trinkets of popular romantic misconceptions surrounding the east A collision of chilled Occident and heated Orient lead to the deaths of all his lovers either at his own hand or through his actions and suggestions He is unapologetic and unrepentant for the most part and seeks only to return home and start a family under the unuestioning empty Sudanese sky where he is not regarded as exotic or rare but simply as man amongst many others His wanderlust was a disease he reasons and the deaths only a by product of an illness contracted during the colonial regime The descriptions of sex and death under the dreary skies of London in bedsits and student digs stand in stark contrast to the rich descriptions of the ponderous Nile and the agricultural and riverine landscape dominating the Sudanese village to which Sa'eed returnsThis book is startling powerful and uite brilliant in its writing style techniue and subject matter and in a way it surprised me because it was not what I expected Whether you regard it simply as an excellent fictional novella a partly biographical work the author was a scholarship student who spent time in Europe and studied and lived in London and you cannot help but wonder how many opinions expressed or situations rendered are ones which he himself experienced although presumably not the murdering bit of the student tourist experience or a telling narrative of the corrupting influence of colonialism you will be intrigued

  8. Nidhi Singh Nidhi Singh says:

    I listened intently to the wind that indeed was a sound well known to me a sound which in our village possessed a merry whispering – the sound of wind passing through palm trees is different from when it passes through fields of corn I heard the cooing of the turtle dove and I looked through the window at the palm tree standing in the courtyard of our house and I knew all was still well with life I looked at its strong straight trunk at its roots that strike down into the ground at the green branches hanging down loosely over its top and I experienced a feeling of assurance 'Season of Migration to the North' begins with a beautiful lyrical evocation of the comfort of the homeland that is soon lost with the chasing of mirages and being adrift in the ideological conflicts and uncertainty of the time It is a whole circle traversed Dislocation from one’s home and finding shelter once again in its rootedness and the ensuing existential angst and frustration of being the cultural misfit Of being altered and recasted in a form that is nameless unacceptable in the strongly woven matrix of past tradition and its beliefs Where is the assurance that one longs for when there has been a fundamental shift and change in one’s own self and identity? And there is the alleged incapacity and helplessness in the whole scheme of things The unnamed narrator returns to his land after his stay in the West to find himself utterly in limbo The past seems to be chafed like the worn out colors of a hard wearing monument That feeling of assurance is lost in the unruly wilderness of a colonized history with the chaos which refuses to subserve in the wake modernization He is no towering oak tree with luxuriant branches growing in a land on which Nature has bestowed water and fertility; rather he is like the sayal bushes in the deserts of the Sudan thick of bark and sharp of thorn defeating death because they ask so little of life Hajj Ahmed the narrator’s grandfather and Bint Majzoub are forbearing presences; shadows of a night falling in a land in which the day is nothing but a blistering pause The events of their lives are like recurring waves There is the unusual the bizarre but in firmly etched stony contours Mustafa Sa’eed Hosna the narrator; everyone who is caught in a flux are elusive mirage like luminous but elfin figures perpetually undiscovered and doused in mystery Either the silhouettes are still coming to life or there is a perpetual taunt of a phantasm in the aridity of the desert The narrator’s chase of the phantasm that is Mustafa becomes the chasing of possibilities Some which have escaped like smoke out of the chambers of the past Some which are still there locked and documented These are haunting reflections of what he could have been What he could still become And it is inextricably linked with the egoism of Mustafa Mustafa Sa’eed is the product of the colonial past He has imagined himself as nothing less than a precious artifact Like some historical object of value He has cautiously laid down the map for his discovery His tale is evoked through poetry suggestions symbols allusions metaphorical non linearity It navigates continents history past present and transports itself in a highly burlesued tragic comic narrative of his amorous exploits in England She would tell me that in my eyes she saw the shimmer of mirages in hot deserts that in my voice she heard the screams of ferocious beasts in the jungles And I would tell her that in the blueness of her eyes I saw the faraway shoreless seas of the North This is not love This is hate And a curious mix of fascination and contempt A mock adventure injected in the staleness of existence There is the ever going farcical chase in which sometimes the hunter becomes the uarry conuerors get vanuished Egos are bruised More destruction violence erupts in turn There is the element of precision theatricality madness in this uest The man and the woman become the empty farcical caricatures of their own selves It is a mock exoticized rebirth of Mustafa garbed in the essentialized stereotypical fantasies of the West He lavishes in them His conuests have strong undertones of power domination and self loathing And his preys languish for their black God amidst Arabic poetry Eastern perfumes and Persian rugs They not only draw attention to their own wretchedness but also to the pitiable ineffectualness of Mustafa Sa’eed But his escapades have that sense of romance and melodrama which make the narrator think of his own life as an unimaginative simulation of Mustafa’s Another fire would not have done any good I left him talking and went out I did not let him complete the story Mustafa leaves his tale to the narrator to be discovered and completed One occasion of futility implodes into another It is with these parallels that the phantasmagoric tale takes the tone of lament at the collapse of the possibility of change and mutability in a present which is muddled with the debris of the past The rigid boundaries of tradition refuse to merge in harmony with a compassionate humane worldview and let go of such essentialized notions of the East and the West It is a dense predicament in which the narrator finds himself when he struggles with his obsession with Mustafa Where are the shores to be found while drifting in such existential loss and meaninglessness? Where is the consolation for this rootlessness? What is the course of human action and where lies the hope in a world which is hostile to a synthesis between the old and the new? And from where to continue and where to return? Myriad uestions assail him and Salih’s book becomes beautiful wounded poetic confluence of this dilemma and deliverance

  9. Huda Aweys Huda Aweys says:

    My review in English first then in Arabic مراجعة بالانجليزية تليها اخرى بالعربية railway originally established to transport troops and have established schools to teach us how to say 'yes' in their own language Mustafa in the novel represents intellectual alienation that we have experienced all of us which uprooted us from our roots and made us cadaver which jostling it identities and cultures like Mustafa in his loneliness when Masonic and the Communist jostling him Everyone were wanted to issue guardianship on him for different purposesAnd there was a scene when Jane Morse burned Almslah and intermittently Arabic manuscript That represents how we needed to waive the Arab Islamic identity in order to find a place for us on the map of secularism with our new identity as a Middle Eastern people this identity which have been added on us by the imperialist powers instead of our Arab and Islamic identity سكك الحديد أنشأت اصلا لنقل الجنود ، و قد أنشأوا المدارس ليعلمونا كيف نقول نعم بلغتهممصطفى في الرواية بيمثل التغريبة الفكرية التى تعرضنا لها جميعا ، و التى اقتلعتنا من جذورنا و جعلتنا جيفة بتتصارع عليها الهويات و الثقافات زي ما اتصارع على مصطفى في غربته الماسونى و الشيوعي الكل رغب في تصدر الوصاية عليه لغايات مختلفة مصطفى كمان بيمثل رمز لحلم امتنا بالتنمية و التوسع ، لكن حلمه كان مشوه بسبب تغريبته دى و الصراع النفسي اللى قام جواه بسببها الحكاية كلها بتتكلم عن التغريب اللى بعدنا بيه عن الجذور و ماوصلناش الا لسراب في النهاية عن موروث العنف الاوروبى في مجتمعنا زي ما حلى للكاتب ان يسميه و اللى اتنقلت الينا عدواهالتنازل عن هويتنا العربية الاسلامية في سبيل ايجاد مكان لنا على خريطة العلمانية بصفتنا الشرق اوسطية اللى اضفتها القوى الامبريالية علينا بدلا من صفتنا العربية الاسلامية و اللي اتصور في مشهد جين مورس و هي بتحرق المصلية و بتقطع المخطوطه العربيةو الكاتب من الجيل اللى سقوه الروحانيات ويا ثقافة الشرق و العروبة مع مبادئ الاشترا كية و القومية العربية جملة واحده كده في كاس واحد الجيل اللى اتصدم في الفشل الذريع اللى الخلطة دى اودت لمجتمعاتنا اليه فبدأ يتمرد عليه لمجرد التمرد من غير مراجعة أمينة و موضوعية لثقافته و جذوره و رغم كده فالرابط الواضح في روايته و اللى وصل لحد عدم القابلية للانفصال بين الفلسفة الشرقية و بين الفلسفة الاشتراكية القومية اللى بيحاول يتمرد عليهم اصلا بيعود الكاتب و يفصم وثاقه في أحايين كثيرة زي في تساؤله اللى عرضه على لسان بطل الرواية اثناء عودته من الخرطوم الى بلدته في الفصل الرابع لما قال هل هؤلاء الناس الذين يطلق عليهم الفلاحون في الكتب ؟ لو قلت لجدى ان الثورات تصنع باسمه ، و الحكومات تقوم و تقعد من أجله لضحكو زي كلامه مع محجوب و مع نفسه بعدها حوالين مؤتمر التعليم لكن رغم دا الروايه في النهاية بتظل مرجع ادبي هام في تأصيل الفكر القومى زي ما هو واضح من شهرتها و الضجه اللى مرسومة حواليها و اللى سببها في رأيي التأصيل اللى قامت بيه للثقافه القوميه ، و ليس الحوارات الجنسيه المقحمه ، و اللى قصد بيها على احسن الاحوال و النوايا تصوير انعكاس القمع عموما على المجتمع بما فيه القمع الجنسي و فكرة اقحام الصور و الحوارات الجنسية في أدب العهد دا كانت منتشرة جدا و سبق و عملت ريفيو على كتاب أرخص ليالي ليوسف ادريس قلت فيما معناه ان الجيل دا اتربى على نظريات فرويد حوالين الحافز الجنسي و اتأثر بيها شديد التأثر و آمن بيها شديد الايمان، و حاجه من اتنين دايما بيرجع اليها اقحام الحوارات و الصور دى ، اما ان الكاتب ابتدى يبحث و يرجع نتيجة ابحاثه على المجتمع و الناس اليها نتيجة تأثره بالنظريات دى فعلا ، او انه بيستخدمها ببراجماتيه لكونه يعلم مدى تأثيرها على الناس فى مجتمعاتنا ، عشان يزيد من شهرة رواياته و تأثيرها ، باسلوب رخيص و مبتذل طبعا لكن في الروايه هنا ما ينفعش نبص على الموضوع من الناحية دي و بس و ننسي المنظور الشعبي في ثقافة افريقيا للمواضيع دي افريقيا الحارة الوثنية اللى النساء فيها كانت مشاع و الموضوع دا في موروثها كان عادى زي شرب الماء مثلا فبنلاقى في الآخر مثلا ان بنت مجذوب اللى ماتعرفش العيب بمنطقنا قالت على الحكي في موضوع الحادثة و ظروفها عيب في حين انها موش شايفه اي عيب في حواراتها المبتذله مع الرجال على ما يبدو أو بمناسبة ذكر المنظور دا ماننساش كمان ان الكاتب استخدم المنظور دا فى اسقاطاته طول الروايه زي استخدامه اسقاطات عن الشرق و الغرب و الشمال و الجنوب لتصوير حالة الضياع اللى احنا فيها بسبب تركنا لجذورنا في سبيل السعي وراء السراب زي وصفه لطريق البحر الى بلدته بـالشرقي الاكثر عمقا و اتساعاأ و الاسقاط دا بيبان خصوصا و بصورة واضحة في مشهد النهاية و بيدينا صورة للى حصل لمصطفى ، يعني انا شفت وقتها مصطفى في نفس مكانه و قدرت اتخيله مستسلم و تباين موقفهم اللى رجع و اللى ساب نفسه للتيار بيوضح اكتر الرواية و بيبين جوهرها عموما رواية غنية تناولت مواضيع تاريخية و سياسية و فلسفية و ادبية مهمه للغاية

  10. Sue Sue says:

    This novel is one of comparisons colonial vs post colonial; youth vs age; male vs female; agrarian vs the culture of the city; but it is also a lyrical story of people living by the Nile as their forefathers had for centuries So many influences at play hereMustafa Sa'eed used the education provided by the British to leave for England and conuer he wrote books taught the British young captivated British women but ultimately returned to the Sudan The Narrator follows a similar route but indulges in esoteric education poetry while in England He does not cut the huge swath through England that Sa'eed does but also returns home to become a civil servant Which man is the migrant who has truly come home I wonder? Was it likely that what had happened to Mustafa Sa'eed could have happened to me? He had said that he was a lie so was I also a lie? I am from here is not this reality enough? I too had lived with them But I had lived with them superficially neither loving nor hating them I used to treasure within me the image of this little village seeing it wherever I went with the eye of my imagination p 41One of my fellow GR readers has said this book should be read twice to really feel what is or has happened I think she is correct and I believe I will read this book again someday to see what new secrets feelings insights unfold Certainly the experience of reading it was excellent though not always easy But that is one of the pluses of cross cultural and time exploration We may not always approve of every detail but we may learnThere's so much here and so many possible meanings colored by our own individual cultural influences

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