Theft by Abdulrazak Gurnah

 'Theft’: A New Direction in Abdulrazak Gurnah’s Writing

Born in Zanzibar in 1948, Abdulrazak Gurnah came to the UK as a refugee, fleeing the Zanzibar Revolution of 1964 in which the island’s majority black African inhabitants overthrew the Arab government. A professor of postcolonial literature as well as a novelist, he didn’t find much in the way of commercial success until the Nobel Prize came knocking. In an interview after receiving the award, he recalled the emotional experience of reading Tolstoy’s Anna Karenina at 13.

This links directly to Theft, set in 1990s Tanzania, where the novel begins with Raya. Raya’s hurried first marriage was in retaliation to her being the center of attention of a revolutionary soldier in colonial Tanzania of the early 1960s. Her marriage to Bakari Abbas, much older than her, was not of her choosing but rather a patriarchal imposition. The novel later explores how she abandons Bakari and their three-year-old son, a decision that recalls Anna Karenina—a reference made within the novel. However, unlike Tolstoy’s tragic heroine, Raya’s story is not marked by despair but by newfound liberation.

Character Development and Thematic Echoes

One of the most striking elements of Theft is its well-rounded character development. The novel presents multiple equally significant figures—Badar, Karim, Fouziya, and Raya—each undergoing transformation. Badar’s fate, marked by orphanhood and accusations of theft, links him both with Yusuf from Paradise and the biblical Yusuf, reinforcing Gurnah’s engagement with classical narrative archetypes. Moreover, the marriage tensions between Fouziya and Bakari Abbas, as well as Raya and Karim, recall the domestic struggles in Admiring Silence and Gravel Heart, where relationships are shaped by patriarchal impositions and cultural expectations.

Gurnah’s ability to craft characters with depth and emotional complexity is particularly evident in how their personal histories intertwine with broader themes of identity, agency, and social constraints. Karim, for instance, functions as both a contrast and a complement to Badar—while he initially appears to be a steadfast friend, his own struggles with marriage and personal fulfillment add further layers to his character, making him more than just a supporting figure.

Hope and Agency: A Shift in Tone

Unlike Yusuf’s journey in Paradise, where he is repeatedly victimized and left without support, Badar’s story is marked by resilience and companionship. Karim’s unwavering support ensures that Badar is never entirely lost, even when facing mistreatment. This shift signals a move toward a more hopeful narrative, where characters find agency despite societal oppression. Similarly, while disruptions in marriage still highlight patriarchal constraints, Theft is less concerned with themes of exile and displacement than some of Gurnah’s previous novels.

A key example of this shift is seen in the novel’s conclusion, where hope is distinctly present. Fouziya and Badar find the potential for companionship, and Karim’s clandestine relationship with a white woman leads him to break free from an unfulfilling marriage. The novel suggests that walking away from oppressive structures—be it servitude, forced marriages, or societal expectations—can lead to personal fulfillment.

This tone of optimism contrasts with Gurnah’s earlier novels, which often leave characters trapped within cycles of suffering and loss. In By the Sea, for instance, Saleh Omar’s exile is marked by nostalgia and regret, whereas Theft presents a possibility of renewal. The way in which Theft balances personal struggle with the potential for transformation suggests an evolution in Gurnah’s storytelling approach, where endurance is met with the possibility of breaking free rather than perpetual disillusionment.

Generational Cycles of Theft and Entrapment

Theft, as a theme, is not merely a literal act in the novel but a transformative force that reshapes lives. Just as Yusuf’s fate in Paradise was altered by a theft accusation driven by jealousy, Badar’s trajectory is determined by a similar accusation. However, Theft deepens this theme by making it generational—Badar’s predicament is, in part, the consequence of a theft committed by his biological father against Uncle Othman’s family. This cyclical element suggests that histories of transgression and injustice persist across generations, shaping individuals in ways they may not fully grasp.

Yet, Gurnah offers the possibility of breaking this cycle. Badar’s eventual path hints at a different future, one where individuals can redefine their lives rather than being trapped by inherited legacies of wrongdoing. This generational approach also subtly critiques the ways in which familial and societal debts are passed down, suggesting that cycles of suffering can only be broken through conscious personal choices rather than through mere endurance.

Similarly, the theme of entrapment operates across generations. Raya and Fouziya both struggle with constraints placed upon them. Raya’s marriage is a form of patriarchal confinement, and she eventually finds freedom in her relationship with Haji. Fouziya, on the other hand, is burdened by her mother Khadija’s belief that her childhood epilepsy would be passed on to her children, leading to an overprotectiveness that disgusts Karim. Meanwhile, Badar’s entrapment stems from his orphanhood and innate submissiveness. The freshness of the novel lies in its contrast: while the older generation largely fails to break free from these societal and familial constraints, the next generation finds ways to do so.

Breaking Free from Wedlock: Marriage as a Site of Liberation

An interesting motif in Theft is the role of marriage as a space of confinement—and, paradoxically, liberation. Raya leaves Bakari despite having a child, as his patriarchal control becomes unbearable. Her marriage, described as happening "in a panic," was a humiliating submission to her father’s will, reinforcing the idea that patriarchal traditions often dictate women's lives. However, Raya finds happiness in her new life with Haji in Dar es Salaam. Similarly, Fouziya, unable to endure the postpartum struggles and Karim’s insensitive reactions, decides to leave her marriage, setting the stage for a fresh start with Badar.

Unlike in traditional postcolonial narratives, where broken marriages often signal deeper societal dysfunctions, Theft frames these departures as acts of self-determination. This represents a departure from Gurnah’s earlier portrayals of relationships, where characters frequently find themselves trapped in cycles of emotional and cultural dissonance.

This shift further underscores Theft's overarching theme of transformation—where relationships, instead of being static sites of suffering, become dynamic spaces for reinvention. By portraying women as actively leaving unsatisfying marriages and reclaiming their agency, Gurnah challenges conventional narratives of endurance and victimhood.

Universal Themes with Cultural Anchors

Another notable shift in Theft is its thematic focus. Unlike the popular conception of African literature, which often deals with colonial/postcolonial turmoil and historical bloodshed (African horror/tragedy pornography), Theft focuses on universal domestic struggles—patriarchy, personal agency, and marriage. However, Gurnah does not strip the narrative of its cultural depth. Instead, he seamlessly integrates cultural elements, from cuisine to lifestyle, ensuring that while the themes are universally relatable, the novel remains rooted in a specific world.

The presence of cultural nuances—such as the depiction of Zanzibari customs, familial structures, and social expectations—ensures that Theft is both a deeply personal novel and one that resonates on a broader scale. The universality of its themes does not dilute its specificity; rather, it reinforces the idea that personal struggles transcend geographic and cultural boundaries.

A Refreshing Evolution in Gurnah’s Writing

For longtime readers of Gurnah, Theft marks a refreshing new direction. While his works have always explored displacement, exile, and colonial legacies, this novel shifts toward intimate, personal battles, offering a more hopeful and transformative outlook. For those new to Gurnah, Theft can serve as a strong entry point, though a progression through Memory of Departure, Admiring Silence, and Paradise would enhance appreciation of his evolving style.

Ultimately, Theft affirms why Gurnah’s Nobel recognition was well-deserved—not just for his past works but for his continued evolution as a storyteller. The novel reaffirms his position as a literary voice that transcends both geographical and thematic boundaries, making it a vital addition to his body of work.

Sources:

1.       https://www.kirkusreviews.com/book-reviews/abdulrazak-gurnah/theft-3/

2.       Mphuthumi Ntabeni. ‘PenAfrican: Theft by Abdulrazak Gurnah – a book review’, 03.03.2025, https://www.litnet.co.za/penafrican-theft-by-abdulrazak-gurnah-a-book-review/. Accessed 15.03.2025

3.       Paul Genders. ‘A Life More Ordinary – Theft’, Literary Review, March, 2025, https://literaryreview.co.uk/a-life-more-ordinary.  Accessed 15.03.2025