Islam in the Eastern African Novel by E. Mirmotahari

By E. Mirmotahari

Islam and japanese African Novel makes use of Islam as lens during which to check fiction produced in a selected a part of Africa, renewing conceptual and definitional conversations approximately race, state, coloniality, diaspora, and the unconventional shape itself in an African and postcolonial context.

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And the second part of the town was called Bahareni, and the Arab it belonged to was Said bin Ali. And the third part was called Lufita, which belonged to Mwenye Mlenda, a man from Mrima on the coast. The fourth part was called Mkowani, to an Arab Said bin Habib Al-Afif. And the fifth was Bomani, and the Arab’s name was Seti bin Juma. The sixth was Mbugani, and the Arab who owned it was Salim bin Ali . . the ninth Mbirani, to an Arab Ali bin Sultan . . 21 This comically exhausting list captures the extent to which Arabs annexed and controlled land, commerce, and titles on the Swahili coast.

Their intellectual sparring is not just a casual quarrel between a Muslim and a non-Muslim; it also signifies the capacity of the novel to osmose these worldviews and to stage them without necessarily endorsing one or the other. The “diversity of social speech types” in Paradise also disrupts the privilege of the English language. While Paradise is written in English, it “behaves” as a translation, and especially a translation of key parts of the Qur’an; it has arrived in translation. As a translation of the Qur’an, it violates the age-old injunction against translating from the Arabic.

G. Vassanji’s The Gunny Sack and The Book of Secrets in a dialogue with V. S. Naipual’s powerful and controversial A Bend in the River. Vassanji’s novels rehistoricize the Indian experience in Africa against the tendency in Naipaul’s generally antihistorical novel to laud its erasure from the historical stage. The fifth chapter, the first on Nuruddin Farah, “Revisiting Nuruddin Farah’s From a Crooked Rib,” restores Farah’s first novel to its important place in his corpus. ” The novel presents a woman who finds agency and sanctuary in, and not despite, her Islamic faith.

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