'Theft’: A New Direction in Abdulrazak Gurnah’s Writing
https://www.fazalrahman.com/essays/article/rttyyyyy
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
