First published in 1966, Naguib Mahfouz’s Adrift on the Nile is an atmospheric novel that dramatizes the rootlessness of Egypt’s cosmopolitan middle class. Anis Zani is a bored and drug-addicted civil servant who is barely holding on to his job. Every evening he hosts a gathering on a houseboat on the Nile, where he and a motley group of cynical and aimless friends share a water pipe full of kif, a mixture of tobacco and marijuana. When a young female journalist—an “alarmingly serious person”—joins them and begins secretly documenting their activities, the group’s harmony starts disintegrating, culminating in a midnight joyride that ends in tragedy.
|Publisher:||Knopf Doubleday Publishing Group|
|Product dimensions:||5.30(w) x 8.00(h) x 0.40(d)|
About the Author
Naguib Mahfouz was born in Cairo in 1911 and began writing when he was seventeen. His nearly forty novels and hundreds of short stories range from re-imaginings of ancient myths to subtle commentaries on contemporary Egyptian politics and culture. Of his many works, most famous is The Cairo Trilogy, consisting of Palace Walk (1956), Palace of Desire (1957), and Sugar Street (1957), which focuses on a Cairo family through three generations, from 1917 until 1952. In 1988, he was the first writer in Arabic to be awarded the Nobel Prize in Literature. He died in August 2006.
Reading Group Guide
About the Book:There are nineteen works of fiction currently available in paperback from Anchor. Because of the many universal themes of Mahfouz's work, and the variety of titles from which one can choose, this guide has been designed to provide you with questions that can apply to any or all of the books by Mahfouz which you choose to read. The questions offer new perspectives and context for your conversations.
Although each of Mahfouz's novels is a unique reading experience, in an effort to guide you in making a selection, it is suggested that you might particularly be interested in one of the four following titles, each of which represents a different decade of his career: Palace Walk (1956), Midaq Alley (1966), The Harafish (1977), and The Journey of Ibn Fattouma (1983). For your convenience, a complete listing is included in this guide.
Discussion Questions:1) How would you identify the novel you are reading in terms of style and genre? What does it have in common with Western literature you have read? What about it appears to be particularly "Middle Eastern"?
2) What did you find familiar in Mahfouz's stories? What parallels can you find in your own culture or experience to the life in Egypt he describes?
3) What elements of this novel are unfamiliar/alien to you? Do these merely reflect cultural differences or do they also address larger, more universal themes?
4) It has been suggested by many writers that there is a great contrast between the men and the women in Mahfouz's novels; that the men are weaker and more flawed than the women, who are strong and dependable. Does this appear to be true in the novel(s) you have read? How would you characterize the women in Mahfouz's fiction?
5) Mahfouz once said "If I had traveled, like Hemingway, I'm sure that my work would have been different. My work was shaped by being so Egyptian." Focusing on the particular works you have read, in what ways do you imagine the tone of the narrative and the perspective might change had the text been written by a more "worldly" author?
6) How does Mahfouz's literary rendering of Egypt affect your political perception of the country? Does it alter any preconceptions you may have brought to the work for better or for worse?
7) In his acceptance speech for the Nobel Prize for Literature in 1988, Mahfouz stated: "Man remembers what hurts more than what pleases." In what ways is this dictum borne out in his writings?
8) Many of Mahfouz's characters are derived from the lower and middle class strata of society. Yet he chooses to imbue all of his characters with a language that is considered to be classical literary Arabic as opposed to the colloquial dialects that would be more natural to their stations in life. Why do you think he does this? What effect does he achieve through the employment of this universal tongue?
9) When Mahfouz was awarded the Nobel Prize, many Arab and Egyptian intellectuals responded with mixed feelings. While on the one hand they were both pleased and proud that one of their own had achieved such recognition, on the other they wanted the world cautioned that his political views were not necessarily representative of the average Egyptian. What examples do you find in his writing that lead you to believe that there is a more "Western" sensibility at work here?
10) From 1949 to 1957, the books that Mahfouz produced were semi-autobiographical works of social realism. From 1961 to 1967, his output changed, with the pieces becoming existential and concerned with souls in a state of spiritual crisis. Since then, his approach has been eclectic. Consulting the publication chronology provided at the back of this guide, locate the period in which the book you have read came out, and discuss what elements there are in the writing style that identify it as belonging to that particular genre.
11) The novels, while possessing a timeless quality, are very much informed by a sense of place. Can you picture the events depicted here or the sensations of the characters occurring in our own society at any given point in our history? If so, when?
12) The Koran instills the belief and deference to one God. Often, the characters will refer to the "work of God" or view their fortunes as being "in God's hands." Discuss the theme of fate vs. personal determination that runs throughout the novels. How do religious beliefs protect and hinder us? How do they affect our ability to act?
13) With our Western ideology, we would view the lives of many of these women depicted as being
little better than that of prisoners. But what does Mahfouz with the advantage of his Egyptian heritage think of their lives? Do you imagine that he shares our opinion that they are repressed, or do you think that he finds their existence satisfying and as it should be?
14) Discuss the role of women's complicity in their own repression both in Cairene society and in our own as typified by classic examples in the text of blaming the victim.
15) Like all societies, this one has superstitions that are specific to it. Identifying them, discuss the negative and positive functions that these superstitions serve for Cairene society.
16) The narratives are almost completely serious in tone, with occasional pinpoints of humor brightening the way. Discuss the techniques employed by the author to inject humor into the tales, and your opinion as to whether or not he is successful.
17) Can we hampered by our Western vision appreciate the inherent beauty of a culture so different from our own, or does our perception of the wrongness of human oppression blind us to this?
18) Usually, the author refers to his characters by name. But, now and again particularly during more dramatic moments he will refer to them as "the man" or "the woman." What effect do you suppose that Mahfouz is trying to achieve through his fashioning of this style?
19) In 1919, Egypt experienced a brief period of rebellion against the British colonial rule. In 1952, there was a revolution. Situating the piece you have read against this historical backdrop, how does Mahfouz's writing speak to you about a nation experiencing internal unrest before, during, and after these periods of turmoil?
Most Helpful Customer Reviews
A group of middle age men and women gather on a houseboat every night to drink, shoot the breeze and get high, their lives marked by cynicism and ennui. Into this gathering is introduced a young journalist and aspiring playwright who seeks to overturn their dissolution. A powerful portrait of a group of people adrift in their lives, representative of a society itself adrift and lacking direction.
In the 1960s, a group of friends meet nightly on a houseboat on the Nile and get high. They don't concern themselves with the world around them because doing so will change nothing. Like the houseboat, they drift along, going through the motions of life, but never really getting anywhere. Then a "serious" person appears in their gathering. Will she shake them out of their lethargy?Perhaps this was not a good choice for me as an introduction to Mahfouz's work. It was written in 1966, and I know little of the time and place described. The characters are distant. Their belief in life's meaningless frustrates me; I want to shake them up, to make them do something. Is that how I was supposed to react? Or was I supposed to agree with them that life is for naught and my ideas, actions, and beliefs do nothing and mean nothing? I'm not sure I know, and that frustrates me too. All in all, it just wasn't the book for me.
A group of friends spend their leisure time on a house boat on the Nile smoking a water pipe and relaxing into inertia. The fabric of their group changes with the introduction of a friend with differing values. A tragedy shows the fragility of their relationship.A difficult book to rate. I found the narrative in parts vague, but the messages clear.
The way the characters are collectively forced to confront the consequences of their actions, steeped as they are in nihilistic philosophy, reminded me a lot of the character Raskolnikov from Crime & Punishment, and the consequences he confronted by committing murder. These aimless, drugged out characters are reminiscent too of the kind of blase creeps Ellis described in Less Than Zero, though Mahfouz is far superior in distinguishing the different layers of degradation of his characters compared to Ellis' (who all look, sound, and act pretty much the same in LTL) and he more artfully too, I would argue, describes the ennui and spiritual malaise affecting these young lives adrift on the Nile.