For over half a century, the ‘Gulf’ has been
Eldorado for the people of South Asia, particularly Kerala. As the narrator in Al Arabian Novel Factory reflects, “God
blesses some small Arab country with petrol dollars. And then a tiny sliver of
land far away gets to enjoy some of those blessings… There was a long and
lonely road between the two lands, and it could tell many stories of
sacrifice.
It is these stories of sacrifice, toil,
humiliation, deprivation, loneliness, despair and alienation of the ‘Gulf
Malayali’, and the wider immigrant community, that Benny Daniel — who writes as
Benyamin — chronicles in much of his writing.
Over the years, especially in Malayalam,
there have been books and films on the Gulf immigrant experience. But few of
these capture the granular details of immigrant life in the region with
authenticity. And it’s these granular details that Benyamin writes about with
authority, perhaps because he was, himself, a Gulf Malayali for over two
decades.
With almost a score of books across genres
to his name, Benyamin explores a world that is familiar to Kerala, but also
alien, especially the darker side of that world. He received widespread
recognition with his award-winning 2008 Malayalam novel Aadujeevitham, translated into English as Goat Days, and soon to be a Malayalam film. Since then, he’s
returned regularly to his known turf — facets
of immigrant life in the Gulf and the complicated relationships that entwine
the locals and the ‘guest’ workers who keep Arab nations ticking.
At first glance, Al Arabian Novel Factory seems to have a simple narrative. Pratap,
an Indian-Canadian journalist, travels to a West Asian country known only as
the ‘City’, ruled by an authoritarian regime.
He’s ostensibly there to helm a research project. But his real objective is to
reconnect with Jasmine, his onetime lover, who lives in the City and is an
elusive but constant presence through the book. In the City, his life tangles
with the lives of his team members and also with the tortuous journey of A Spring Without Fragrance, a mysterious
manuscript written by Sameera Parvin, a radio jockey who once lived there.
But appearances can be deceptive: Though a
standalone novel, Al Arabian Novel
Factory is also a companion volume to Benyamin’s Jasmine Days (Mullappoo
Niramulla Pakalukal in Malayalam). Positioned as Jasmine Days’ sequel, it could just as easily be a ‘prequel-sequel’
hybrid. So intensely interwoven are the narrative strands and devices that
connect the books that it does get a little convoluted at times.
Both novels though, are set against the
backdrop of the Arab Spring, with this one focusing on the period immediately
after. It captures the immigrant experience, but the immigrant here is mostly
the comfortably off one. The sort who sings praise songs for the City’s
despotic ruler while hosting a workshop on ‘socialism-driven freedom in
Kerala’; the immigrant who is a ‘socialist’ at heart, but lives a capitalist
life.
Translated from the Malayalam by Shahnaz
Habib, the book also tackles other themes including freedom of speech, thought
and action; minority rights; and women’s rights. And looming over everything
that happens is the all-seeing City, a character in itself. Habib’s translation
is always competent and occasionally exquisite, capturing the nuances and
cadences of the original; I must confess that I could occasionally visualise
the original Malayalam line as I read the English version.
Sometimes, in factories, things can go out
of kilter and so do things in this novel factory — not seriously awry, though.
The narrative tends to meander occasionally. Also puzzling are some sections,
particularly those in which Pratap behaves somewhat naively despite his
journalistic experience. You could attribute it to the pangs of love, but one
method he explores to trace Jasmine is far-fetched, stupid even, if not
downright dangerous. Perhaps it was intended as a narrative device, but it seemed
rather off.
What is disconcerting is the depiction of
some female characters. They’re portrayed as unaware of and uninterested in
little beyond their immediate surroundings and passions. Knowing the many
informed, opinionated and worldly-wise women around us, even among the
demographics presented in the novel, this characterisation seems baffling.
This, even as several male characters, at times, appear misogynistic.
Perhaps, it is all a pointer towards one of the
book’s takeaways — that we are all flawed beings. Or that glittering facades
often hide messy secrets and disguise dreary, grasping lives where
self-interest reigns supreme. As Pratap says: “I have always been curious about
the City, how it rose out of dust like an enchanted land in a fairy tale.” More
than anything else, Al Arabian Novel
Factory reminds us that there are no fairy tales.