Against the Loveless World

by Susan Abulhawa

  zaffa

  Traditional wedding procession leading the newlyweds and wedding party through the streets to the wedding reception. Typically the procession is led by dancers and a musical ensemble of bendir drums, bagpipes, and horns.

  zaghareet

  Ululations—long, high-pitched vocal trilling produced by emitting a loud tone accompanied by a rapid back-and-forth movement of the tongue. It is typically practiced by women to express great joy.

  zakira

  Memory.

  zeit

  Oil; usually refers to olive oil.

  zeit-o-za’atar

  Olive oil and za’atar (thyme), a snack commonly eaten in Palestinian society.

  I.

  KUWAIT

  THE CUBE, EAST

  I LIVE IN the Cube. I write on its glossy gray cinder-block walls however I can—with my nails before, with pencils now that the guards bring me some supplies.

  Light comes through the small glass-block window high on the wall, reached only by the many-legged crawling creatures that also reside here. I am fond of the spiders and ants, which have set up separate dominions and manage to avoid each other in our shared nine-square-meter universe. The light of a world beyond, with a sun and moon and stars, or maybe just fluorescent bulbs—I can’t be sure—streams through the window in a prism that lands on the wall in red, yellow, blue, and purple patterns. The shadows of tree branches, passing animals, armed guards, or perhaps other prisoners sometimes slide across the light.

  I once tried to reach the window. I stacked everything I had on top of the bed—a bedside table, the small box where I keep my toiletries, and three books the guards had given me (Arabic translations of Schindler’s List, How to Be Happy, and Always Be Grateful). I stretched as tall as I could on the stack but only reached a cobweb.

  When my nails were strong and I weighed more than now, I tried to mark time as prisoners do, one line on the wall for each day in groups of five. But I soon realized the light and dark cycles in the Cube do not match those of the outside world. It was a relief to know, because keeping up with life beyond the Cube had begun to weigh on me. Abandoning the imposition of a calendar helped me understand that time isn’t real; it has no logic in the absence of hope or anticipation. The Cube is thus devoid of time. It contains, instead, a yawning stretch of something unnamed, without present, future, or past, which I fill with imagined or remembered life.

  Occasionally people come to see me. They carry on their bodies and speech the climate of the world where seasons and weather change; where cars and planes and boats and bicycles ferry people from place to place; where groups gather to play, eat, cry, or go to war. Nearly all of my visitors are white. Although I can’t know when it’s day or night, it’s easy to discern the seasons from them. In summer and spring, the sun glows from their skin. They breathe easily and carry the spirit of bloom. In winter they arrive pale and dull, with darkened eyes.

  There were more of them before my hair turned gray, mostly businesspeople from the prison industry (there is such a thing) coming to survey the Cube. These smartly dressed voyeurs always left me feeling hollow. Reporters and human rights workers still come, though not as frequently anymore. After Lena and the Western woman came, I stopped receiving visitors for a while.

  The guard allowed me to sit on the bed instead of being locked to the wall when the Western woman, who looked in her early thirties, came to interview me. I don’t remember if she was a reporter or a human rights worker. She may have been a novelist. I appreciated that she brought an interpreter with her—a young Palestinian woman from Nazareth. Some visitors didn’t bother, expecting me to speak English. I can, of course, but it’s not easy on my tongue, and I don’t care to be accommodating.

  She was interested in my life in Kuwait and wanted to talk about my “sexuality.” They all want my pussy’s story. They presume so much, take liberties with words they’re not entitled to. She asked if it’s true I was a prostitute.

  “You think prostitution has to do with sexuality?” I asked.

  Fleeting confusion passed over her face. “No, of course not,” she finally replied. “Let’s move on.”

  She was tall, her brown hair loosely tied at the back. She wore jeans and a simple cream blouse, a jacket, and comfortable black shoes. No makeup. I didn’t like her. I liked the interpreter, who was short and dark, like me, and wore red Converse shoes with fourteen black dots on the white rubber toe caps. One dot, then a group of nine dots, then four dots: 194, the code we used to evade Israeli surveillance. Hidden messages were thus assembled from every first, then ninth, then fourth word. That’s how I knew she was more than an interpreter. Her name, I remember, was Lena.

  At first I was confused. The 194 method only works with written messages. We couldn’t count, listen, interpret, and speak at the same time. Then I realized Lena was tapping her pencil on certain words as she translated. She must have recognized the moment I figured it out because she smiled slightly. The words she kept tapping were variants of “eat the note,” “mouth the paper,” and “notepad food.”

  The interviewer looked down, as if unsure about her next question. “What would you like to talk about?” she asked.

  On this particular day, I had been roaming the shores, deserts, and malls of Kuwait in simpler times.

  “Zeit-o-za’atar,” I blurted.

  “Is that the Palestinian bread dip?” she asked Lena.

  Lena nodded, and the woman jotted down some notes, though I could tell she wasn’t interested in the story. I told it anyway.

  “When we lived in Kuwait, the Tawjihi scores of the graduating high school class were always published in the newspapers, and Palestinians dominated the top ten graduates every year. Kuwaitis were especially perturbed the year when the top five were all Palestinian, and rumors began circulating that Palestinians were smart because we ate so much zeit-o-za’atar. The whole country went on a zeit-o-za’atar eating binge. Stores could barely keep za’atar stocked on shelves.” I laughed.

  The Western woman fidgeted as she listened to Lena translate. Ignoring her growing impatience, I continued: “I knew it wasn’t true, because I ate a lot of za’atar and never did well in school. I got held back in ninth grade for failing both religion and mathematics the same year my brother, Jehad, was invited to skip fourth grade.” Although those had been happier times, I recalled them now with a sense of tragedy and a desire to assure my younger self of her worth and intellect; of her capacity to learn, to believe she was not dumb, as the world had convinced her she was.

  The Western woman tried to interrupt me, but I went on: “For a while, I tried to do better and let my little brother tutor me. But once a school believes you’re stupid, no amount of good work will convince them otherwise.”

  “Your brother … I read that he was—”

  I didn’t let her finish. “My brother is brilliant,” I said. She looked down at her notepad, though she had quit taking notes. I knew she wasn’t interested in these reveries of my childhood. “I don’t care what you read about my brother. Jehad was gentle and vulnerable. When he was in middle school, I found out two boys were bullying him. I gathered my girl posse, and we waited for them outside the school gate and gave them a good hiding. It made Jehad look up to me even more. One summer—”

  The Western woman put her hand up. She glanced down at her notepad, covered her written questions with both hands, inhaled deeply, and blinked one of those exaggeratedly long blinks—as if she were breathing through her eyelids—then said, “I read somewhere that you were gang-raped the night Saddam Hussein invaded Kuwait.”

  I raised one eyebrow, which seemed to make her uneasy. In my peripheral view, Lena’s lips turned up almost imperceptibly.

  The woman continued, “I can only imagine the horror of that night, and I’m sorry to bring it up.”

  “What makes you think it’s okay to ask me these things?”

  Lena hesitated but faithfully translated.

  The woma
n appeared exasperated. “You agreed to be interviewed. That’s why I’m asking questions,” she said, pausing to take another breath through her eyelids. “I had to go through two months of vetting just to have this hour with you. I provided all my questions to the authorities in advance,” she added, almost desperately.

  Lena repeated her words in Arabic but communicated something else with her eyes.

  Finally I responded: “Ah, the authorities did not run them by me. Rest assured that I shall reprimand them accordingly.” My sarcasm reduced her nearly to tears, which softened me. I added, “But I’ll answer your question: No. I was not gang-raped the night Saddam invaded Kuwait.”

  She seemed disappointed, but moved on to ask how I became involved in the resistance. She called it “terrorism.” She asked about my prison cell, which she called a “nice room,” then qualified, “But I know it’s still prison.”

  “Are you Jewish?” I asked.

  She made another long blink. “I don’t see how that matters.”

  “It matters.”

  “I’m here as a professional, not a religion.”

  “And yet most professionals wouldn’t call this place a nice room,” I said.

  Her eyes bore into me. “Considering what you did, I’d say it was nicer than you might deserve. You wouldn’t fare so well in any Arab country. They’d have flogged and hanged you by now.”

  She folded her notebook and rose. “I think I have all I need,” she said, motioning to the guard to let them out.

  The guard—who had been standing over us, ensuring that neither the Western woman nor the translator touched me or handed me any object—locked my security bracelets to the wall before opening the door.

  The woman turned to me. “I just want you to know that my grandparents—”

  “—survived the Holocaust,” I finished her sentence.

  Her eyes filled with contempt. “As a matter of fact, they did. And they taught me to always be fair. That’s what I was trying to do here,” she said.

  Lena started to translate, but I interrupted. “That’s not what you’re doing here,” I said in English with enough scorn to mask the indignity of being shackled to the wall. The guard ordered us to stop speaking and I was grateful, for it allowed me to have the last word. Such a small sliver of control meant everything—everything—to me.

  Later came the whistle signaling that my next meal was being pushed through the slot. But as I approached the door, someone on the other side whispered, “Inside the bread.” I sat down with the tray, tore small pieces of the pita bread, and carefully peered into its pocket, mindful of the ceiling camera. There it was, a tightly folded paper wrapped in plastic. I waited until dark to open it and put it in one of my books, which I pretended to read when light came again.

  Stop speaking to reporters. Israel is selling a story that Muslim men abused you your entire life, then forced you to join a terrorist group. They claim Israel saved you, and prison has given you a better life. You’re the only prisoner who gets international visitors. They’re allowed into your cell. That’s unheard of! Think about it. They’re publishing pictures of you in a clean cell with a lot of books to show that Israel is a benevolent nation, even to terrorists. Your family is well. They send their love. We are still fighting to get them a chance to visit. Eat this note.

  I didn’t need a signature to know it was from Jumana. This was the first indication I’d had that she was okay. I could barely remember her face, but I missed her. I wished she had written something about Bilal. Some news. Or just his name. Or simply the first letter of his name. B is alive and well. B sends his love. Or just B.

  When it was dark again, I put the note in my mouth, chewed, and swallowed. I imagined how terrible I must look in those photos in the press. I am not allowed a mirror, but I knew my hair was frizzy without a blow-dryer. It hadn’t yet turned gray as it is now, and I hadn’t stopped caring about such matters. The fuzz over my lip hadn’t been waxed and my eyebrows were bushy. I probably looked exactly how Westerners imagine a terrorist—unkempt, hairy, dark, ugly. But those weren’t the photos that bothered me. It was the ones in the Arab press during my trial, taken in Kuwait all those years ago. I imagined my family seeing them. How much it must have hurt my mother.

  But now even that no longer moves me. Nothing can move in confinement, not even the heart.

  I didn’t have visitors for a very long time after Lena and the Western woman left. My hair had grown nearly five centimeters when I saw the next human—a guard. She entered the Cube holding a notebook and two mechanical pencils. She could have just slipped them through the door slot, but she chose to enter the Cube, announcing herself over the speaker so that I could lock myself to the wall. I wondered if she was the one who had slipped me the note. She wasn’t allowed to speak, but she smiled, I think, when she saw how excited I was by the delivery on my bed.

  I had waged a long battle to gain these writing utensils. But now I wondered what to write. A letter? A story! A journal! Maybe poems? As soon as the metal door slammed shut, and I was unlocked from the wall, I picked up one pencil and opened the notebook.

  I stare at the blank pages now, trying to tell my story—everything I confessed to Bilal and everything after. I want to tell it as story-tellers do, with emotional anchors, but I recall emotions in name only. My life returns to me in images, smells, and sounds, but never feelings. I feel nothing.

  DANCE, RUBY RIVER

  I DON’T REMEMBER the first time I danced. Women of my generation were born dancing. It was just something we did when we gathered. We’d form a circle, clapping and singing as each of us entered the middle to roll our hips. But I knew early on, by the way people watched me, that the way I danced was enchanting.

  When the music plays, my body moves as it wishes. I never tried to control anything. It was complete surrender to music and all the unseen, unknowable forces it inspired. I let rhythm rub against my body and wrap around my breath. Maybe that’s what people saw, because dancing is the nearest I’ve ever come to true faith.

  Eastern dance, what people who don’t know better call “belly dancing,” might look like controlled, orchestrated movement, but it’s exactly the opposite. Our dance is about chaos and anarchy. It is the antithesis of control. It’s about relinquishing power over one’s body, bestowing autonomy on every bone, ligament, nerve, and muscle fiber. On every skin and fat cell. Every organ.

  I suppose this is true of every form of native dance, but all I know are the rhythms of the Levant, Babylon, el Khaleej, and North Africa. This is the music that rooted in my body as it matured from infancy, then settled in my bones. The lyrics of Um Kulthum, the plaint of a ney, the melody of a qanuun or the rasp of an oud are the sounds of my life. They echo inside me, through time and with the stories those ancient instruments made. As much as I love the sounds of India—the complex resonance of the sitar or the high-pitched strings of a tumbi—or the deep percussion and multilayered rhythms of African drums and the piercing precision of a xylophone, though they move my body, they do not reach the depths from which music transports me, because they are the sounds of other peoples and stories I only heard as an adult.

  Music is like spoken language, inextricable from its culture. If you don’t learn a language early in life, its words will forever come out wrinkled and accented by another world, no matter how well you memorize or love the vocabulary, grammar, and cadences of a new language. This is why foreign “belly dancers” have always bothered me. The use of our music as a prop to wiggle and shimmy and jump around offends me.

  Eastern music is the soundtrack of me, and dancing is the only nation I ever claimed, the only religion I comprehend. When I see women “belly dance” to music they do not understand, in clothes of a people they do not know—or worse, disdain—I feel they are colonizing me and all Arab women who are the keepers of our traditions and heritage.

  My life began in a two-bedroom apartment in Hawalli, a Kuwait ghetto where Palestinian refugees settled
after the Nakba. Although I grew up hearing stories of Palestine, I didn’t get the politics, nor did I care to learn. Even though our father took us there every year to “renew our papers,” Palestine remained the old country in my young mind, a distant place of my grandmother’s generation.

  In fourth grade, Gameela, an Egyptian classmate, taunted me once with “Palestinians are stupid. That’s why the Jews stole your country.” I yanked her to the ground by her braids and beat her up good. The school suspended me, entrenching my reputation as a troublemaker. It was one of the few times Sitti Wasfiyeh said she was proud of me. No one in school dared cross me after that.

  I never told anyone, until I met Bilal, that I beat up Gameela precisely to get suspended in advance of national school testing. I was barely literate. More than anything, I feared being outed as dumb. Up until then, I had gotten by in school by cheating on tests, through my superior memorization skills, and by fighting. But then my brother, Jehad, began tutoring me when he advanced enough to be almost in the same grade as me. He did it in secret and told me often that I was “really smart.” With his encouragement, I began to read poetry, and in time, I could recite some of the greatest and most erotic love stories in Arabic verse. It was through them that I found a command of the written word.

  Mama kept a box of black-and-white photographs from her life in Haifa. Her family had been well-off, but European Jews stole everything when they conquered Palestine in 1948—right down to their furniture, books, and bank accounts. Her family became penniless overnight, then scattered to different corners of the world or died. She didn’t like to talk about it. “What’s the point of picking at scabs?” she’d say, except when I told her what Gameela had said. She called up Gameela’s mama and told her she’d better tie up her loose Egyptian tongue, or she’d cut it out of her face.

  “Woman, you better put your hands on your head when you talk about Palestine, or I’ll put my shoe in your mouth,” she yelled into the receiver. It thrilled me to hear my mother berate Gameela’s mother, and I couldn’t stop giggling.