War-Time Alexandria: Resilience, Identity,
and Sanity
(An
analysis of Ibrahim Abdel Meguid's No One Sleeps in Alexandria reveals
it as a passionate yet unflattering, realistic portrayal of a great city caught
in the wartime upheaval of World War II. The novel intertwines the lives of a
diverse array of characters from across Egypt and beyond, sharing both joys and
miseries, and contributing to the hybrid cultures that Alexandria is known for.
By blending history with personal narratives, the novel crafts a poignant epic
of humanity at the crossroads of violent shifts and cultural transformations.)
Fazal
Rahman
Founded by Alexander the
Great in 331 BC, Alexandria is one of the most historic cities in the
Mediterranean. Located on the northern coast of Egypt, it served as a center of
knowledge and culture in the ancient world. It was home to the famous Library of
Alexandria and the Lighthouse of Pharos, one of the Seven Wonders of the
Ancient World. Alongside Greek, Egyptian, and Roman influences, Alexandria
later became a significant meeting place for Islamic culture. It excelled in
science, philosophy, and art, and its strategic location established it as a
hub for trade and maritime exchanges, connecting Africa, Europe, and Asia. A
witness to the rise and fall of empires over the ages, the city remains a
cradle of rich heritage, including Greco-Roman ruins, Coptic churches, and
Islamic architecture. Merging historical grandeur with modernity, Alexandria is
celebrated today for its literary and intellectual legacy, vibrant cultural
scene, and its role as a bridge between past and present.
Alexandria also holds an
important place in world literature, often depicted as a city of mystery,
hedonism, and intellectual awakening. Its cosmopolitan character and rich
history have inspired countless literary works, both ancient and modern. In the
modern literary imagination, Alexandria was immortalized through Lawrence
Durrell's Alexandria Quartet. In these works, Durrell captures the
complexities Egypt and Alexandria faced between the two world wars. E.M.
Forster’s Alexandria: A History and a Guide offers a snapshot of the
city at the turn of the 20th century, blending history with personal
observations. André Aciman's Out of Egypt reflects on the city’s
cosmopolitanism and multicultural society, while the famous Greek poet
Constantine Cavafy, in his layered and evocative poems, explores Alexandria’s
timeless appeal as a meeting place of cultures. Additionally, the works of Arab
writers such as Naguib Mahfouz, Edward al-Qarat, and Youssef Zeidan delve into
its religious, philosophical, and cultural conflicts from non-Western
perspectives. Through these literary works, Alexandria emerges as a symbol of
cultural richness, fusion, and artistry that transcends borders.
Egyptian novelist Ibrahim
Abdel Meguid further solidifies Alexandria's position in contemporary Arab
literature as a historical and cultural hub. His Alexandria Trilogy—comprising
No One Sleeps in Alexandria, Birds of Amber, and Clouds Over
Alexandria—is particularly notable. In an interview with Mogha Hassib for Arab
Lit Quarterly, Abdel Meguid described the inspiration behind the trilogy.
After completing No One Sleeps in Alexandria, he reflected on three key
historical phases that shaped the city. The first phase was marked by
cosmopolitanism and secular tolerance, even during the turmoil of World War II.
The second phase followed the Suez Canal crisis of 1956, when the departure of
expatriates drastically altered the city’s global character. This shift was
exacerbated by President Gamal Abdel Nasser's policies of nationalization and
socialism. Having been born in 1946 and raised in Alexandria, Abdel Meguid
witnessed the city’s transformation from a global society into a more insular
Egyptian city.
The second part of the
trilogy, Birds of Amber, captures this transitional stage, when memories
of the old metropolis remained vivid. The third phase, depicted in Clouds
Over Alexandria, reflects the impact of President Sadat’s alliance with
Wahhabi and Salafi fundamentalism in the 1970s, which, according to Abdel
Meguid, caused the city to lose both its global and Egyptian spirit, leaving it
exposed to a "desert culture." Abdel Meguid considers Alexandria
itself the protagonist of all three novels, which can each be read as
standalone works.
The Mosaic of Human
Relations
In No One Sleeps in
Alexandria, set against the socio-political ravages of World War II, human
relationships reflecting the complexities of love, faith, friendship, and loss
endure despite conflicts, forming the foundation of the narrative. These
relationships mirror the struggles and resilience of the city itself,
interweaving personal connections with broader social themes.
At the heart of the novel
is the profound friendship between Magd al-Din, a devout Muslim, and Dimyan, a
Christian. Their bond transcends boundaries, serving as a microcosm of
Alexandria’s diverse yet interconnected society. This relationship is not merely
evidence of secular tolerance but represents a deep human connection rooted in
shared experiences and mutual respect. A parallel to this is the warm bond
between Zahra, a village woman bewildered by the unfamiliar city, and the
elderly Sitt Mariam, the mother of Camila and Yvonne.
The novel’s backdrop is
the troubled state of war, as Magd and Zahra move to the hybrid vastness of
Alexandria, leaving behind the terrors of their farming village, plagued by a
long history of vendetta that haunted the family. The human connections that
withstand these conflicts sustain society in a web of interdependence. The city
itself, depicted as a living entity, becomes both a setting and a refuge.
Community relations during crises, such as airstrikes and resource scarcity,
reveal not only the solidarity that emerges in adversity but also Alexandria’s
role as a physical and emotional sanctuary.
The relationship between
Rushdie and Camila embodies youthful, idealized love that defies social and
religious constraints. Marked by moments of intense beauty as well as
challenges, their love symbolizes a romantic idealism. Camila’s ultimate
decision to join a convent reflects the weight of societal expectations.
However, her choice represents not despair but a search for peace beyond the
physical, while Rushdie finds solace through poetry and creativity. He would
pursue his passion for French language and literature, befitting the polyglot
city that was Alexandria.
Dimyan’s irresistible
attraction to Bikri, a mysterious Bedouin girl, inversely mirrors the
Rushdie-Camila dynamic of a Muslim boy and Christian girl. Dimyan struggles
with his uncontrollable passion for a girl not even his daughter’s age. He
consoles himself with a fatalistic belief that losing her is his predestined
pain. Bikri, who came from god-knows-where and vanishes in the same fashion, is
a symbol of mystery and otherness and represents the allure of the unknown.
This relationship further explores the novel’s central themes of love and
cultural boundaries.
Another deterministic
tragedy in the novel is Bahi’s life and his tumultuous relationships. According
to his doting mother, Bahiya, he was born with a halo, burdened from birth with
the fate of becoming an irresistible temptation to women, akin to the Biblical
Joseph. This predestined allure sowed the seeds of vendetta that embroiled the
male descendants of two dominant village families. Only three survived the
violence: one member from each family, who were hafids (those who knew
the Quran by rote), and Bahi himself, spared because he was not man enough for vengeance. Magd al-Din,
Bahi’s elder brother, describes him as a victim of his unchangeable fate,
comparing him to Job. “Some
people have been preordained to endure great pain. Job was one, and now Bahi.” Bahi’s tragic allure left women
devastated. The most enigmatic of these is Vageeda, an aristocrat who followed
him anonymously for over a decade, ultimately dying a vagabond at his grave in
Alexandria. Her story epitomizes the heartbreak surrounding Bahi, whose grave
is famously haunted by women, prompting the cemetery keeper to remark, “This
is the first deceased whose relatives are all women.”
Magd al-Din and Zahra are
compelled to leave their village and seek refuge with Bahi in Alexandria due to
the mayor’s machinations. Exploiting the terror about the re-eruption of the vendetta,
the mayor seizes their property. In contrast to the turbulent relationships
depicted throughout the novel, the bond between Magd and Zahra offers a story
of mutual trust and stability that transcends time and space. While Rushdie and
Camila’s passionate yet tumultuous love reflects the idealism and rebellion of
youth, Magd and Zahra’s relationship embodies traditional values of patience
and tolerance. Their resilience mirrors Alexandria’s endurance, and the city
awakens to serenity after the war’s horrors: "Alexandria became a city of
silver with veins of gold."
However, the novel does
not shy away from depicting the misogyny that mars human relationships,
particularly in its portrayal of rural life. From unprovoked brutal acts of atrocities and mutilation
carried out as part of tribal behavior of asserting male supremacy in the most
violent ways, these include ridiculous honor-killings based on flimsy rumors.
In one such case, a beautiful, innocent young wife is beaten to death, simply
because a neighbor, frustrated by her rejection, opted to spread stories of her
infidelity. Her husband didn’t even consider giving her an opportunity of
explanation. Even Alexandria, despite
its progressive facade, is not free from misogyny. The Mahmoudia Canal bears
grim testimony of pervasive violence against the vulnerable. We read that the
bodies floating in the Canal are always those of women and children.
Colonization and
Cultural Hybridity
The forces of
colonization and cultural hybridity play a decisive role in shaping the
dynamics of relationships in No One Sleeps in Alexandria. As a city
historically moulded by diverse influences, Alexandria became a true melting
pot during World War II. Soldiers, immigrants, and refugees from various
countries converged upon its streets, adding to its already rich and layered
cultural fabric. The lingering imprints of early French occupation and
subsequent British rule are deeply woven into the city's identity, influencing
the lives and interactions of its inhabitants.
Among the soldiers that
Magd al-Din and Dimyan encounter, there are men from across the world, many
hailing from colonized nations under harsh living conditions. These soldiers, mostly
uneducated, face an uncertain fate as they march toward a war with no promise
of return. Arguments, quarrels, and disputes are common, fuelled by racial,
caste, religious, and other prejudices. Yet, amidst these tensions, the novel
subtly highlights the possibility of cultural fusions, illustrating moments of
shared humanity that transcend divides.
For Indian readers,
several instances in the novel stand out for their resonance and historical
relevance. Each chapter begins with a lyrical quotation, often from renowned
authors, and Rabindranath Tagore’s verses are prominently featured. In a
striking moment, the penultimate chapter, where Dimyan’s death unfolds, opens
with a rare instance of death-wish lyrics in Tagore’s oeuvre, adding a poignant
layer to the narrative. The novel also captures the global reverence for the figure
of Mahatma Gandhi during this period. Through soldiers' discussions, allusions
to Gandhi’s ideals and India’s independence movement emerge as recurring
motifs. In one scene, when someone among the soldiers mentions the possibility
of India’s Partition, a rationale is raised as to why they can’t focus on
achieving independence first. Independence should definitely take precedence
over divisions. Tensions arise when Orientalist stereotypes provoke
confrontations between Indian soldiers and others, illustrating the simmering
cultural and racial prejudices within the imperial war machine. However, these
moments of friction are counterbalanced by profound admiration for Indian
leaders, particularly Gandhi. Safi al-Naeem, a Sudanese soldier, eloquently
extols Gandhi’s influence, declaring:
“India is a large country… It has
about three hundred million people. True, they have many religions, but they
also have Gandhi… He’s the one who’s fighting the English. He’s fighting them
without weapons. He tells the Indians to fast, and they all fast, to stop
dealing with the English, and they all stop, not to trade with them, and they
all refrain, to stand on one foot for a whole month, and they do. They are like
one strong man. Gandhi doesn’t have any army, but he has a whole people.”
This admiration, though exaggerated in its poetic
over-readings, underscores the interconnectedness of global anti-colonial
struggles. The presence of Indian soldiers and references to Indian politics
and the freedom movement lend a unique dimension to the novel's exploration of
cultural hybridity. These moments further establish Alexandria as a crossroads
of civilizations, where ideas and cultures mix dynamically while retaining
their distinct identities.
The novel delves deeply
into how Egypt, and particularly Alexandria, negotiated the complexities of
colonial rule. The war introduced new cultural confrontations, intensifying
tensions among the city’s inhabitants. Alexandria was the battleground for
rival colonial powers, especially Italy and Britain, each vying for supremacy
over the Mediterranean’s most vital port.
Against this turbulent
backdrop, the resilience and adaptability of Alexandria’s people emerge as
central themes. The novel celebrates their ability to endure and thrive amidst
external pressures and internal strife. This resilience is the enduring value
that the author upholds in this opening installment of the Alexandria
Trilogy.
Confluence of Modernist Narrative
Techniques and the Historical Novel
The structure, themes,
and stylistic choices of No One Sleeps in Alexandria blend modernist
literary practices with the enduring elements of the historical novel. This
fusion allows the narrative to intertwine personal stories with historical
traumas, offering a profound observation of wartime Alexandria. The aesthetics
of modernism—fragmented narrative, psychological depth, and a complex interplay
between individual and societal interactions—are evident throughout the novel.
Rather than adhering to
traditional linear storytelling, the polyphonic narrative creates a mosaic of
characters, reflecting the systemic disintegration and turmoil of wartime
Alexandria. By rejecting the singular authorial voice characteristic of classical
novels, the narrative embraces pluralism, denying the notion of a singular
truth and instead amplifying the voices of the marginalized. Despite being
anchored in a specific historical period, the interweaving of past and present
underscores the narrative significance of time and memory.
The novel explores the
disruption of lives by the pull of tradition, accelerated by the forces of
colonial modernity, as well as the political, economic, and cultural conflicts
exacerbated by colonial rule. It juxtaposes personal lives with the larger forces
of history, exemplifying the interplay between the personal and the historical.
The psychological approach the author adopts delves into the internal worlds of
characters experiencing emotional and spiritual turmoil, often conveyed through
internal monologues—a hallmark of modernist classics.
The existential conflicts
faced by the protagonists—Bahi’s fatal charm and Dimyan’s impossible desire—are
emblematic of the crises of modernity. These struggles generate despair and
futility, threatening the characters’ very existence. These existential
undercurrents align the novel with modernist literature, as does its portrayal
of alienation. Whether among the soldiers, immigrants, and refugees who flock
to wartime Alexandria or the city’s restless residents on the verge of
displacement, all grapple with the sense of alienation brought on by colonial
domination and subsequent identity crises.
Furthermore, the novel
critiques ‘Grand Narratives’ like colonialism, nationalism, and religion,
situating itself firmly within the modernist tradition. The poetic imagery
interwoven throughout the narrative transcends its romantic tone to reveal
hidden truths about larger narratives. For instance, when the author writes, “The
boats sailed or steamed into the canal on top of two hundred thousand life
stories, maybe more,” it alludes to the silenced tragedies of laborers who
perished during the construction of the Mahmoudiya Canal. History says that its
construction started at the beginning of 19th century on orders of Viceroy
Muhammad Ali and that is what awakened the city from centuries of indolence and
led it to prosperity. The novelist is reminding us that there is also a silent
history of countless helpless people buried in its making, and, for that
matter, any other urban culture. Thus, the novel pays tribute to the countless
lives sacrificed in its making, thereby emphasizing the untold costs of urban
culture.
Magd’s emotional denial
of Dimyan’s death, as he witnesses his friend consumed by fire during a
bombing, is heightened through evocative metaphors that elevate Dimyan’s
suffering to a Christ-like realm. Magd reflects, “Dimyan did not die; he was
not burned. God had lifted him up to heaven, and he had seen him, otherwise who
was ascending on the golden horse, moving away into space from the fire of the
dragon?” This moment, laden with religious and mythical imagery,
encapsulates the novel’s blending of personal grief with universal suffering.
Also, it lends utmost dignity to the otherwise meaningless death of a simple
ordinary war-victim who would never make it into ‘grand narratives’ per se.
The influence of religious traditions such as the
Bible and the Qur’an is evident in the novel’s metaphors and imagery. The
author’s language, often highly evocative and poignant, touches upon both the
legacies and misfortunes of Alexandria, offering a lyrical homage to the city.
The meticulous depiction
of Alexandria, capturing the daily lives of its poorest inhabitants alongside
its historical and global dimensions, speaks to the extensive research
underpinning the narrative. It vividly recounts events from Europe and the
Eastern Front during the war, as well as battles in the desert to prevent
Alexandria’s fall to Rommel. However, the novel does not merely chronicle major
historical events; it also sheds light on seemingly minor occurrences
overlooked by official histories, such as the struggles of migrant farmers and
laborers.
That said, some aspects
of the novel have been critiqued for potential anachronisms. For example, one
Amazon reader review notes that migrant farmers from northern Egypt during the
story’s period (1938–1942) might have referred to desert dwellers as ‘Arabs’
rather than ‘Bedouins.’ Such critiques, however, do little to detract from the
novel’s broader achievements. Ultimately, No One Sleeps in Alexandria
stands as a eulogy to Alexandria itself. Loving, emotional, and
quintessentially Egyptian, it serves as a biography of the city, immortalizing
its essence amidst the sweeping currents of history and modernity.
Sources:
- Mohga Hassib & Ibrahim Abdelmeguid. ‘Ibrahim Abdelmeguid: ‘The Hero Is the City’,
Arab Litt & ArabLitt Quarterly, January 31, 2014, https://arablit.org/2014/01/31/ibrahim-abdelmeguid-the-hero-is-the-city/
- Abdel-Messih,
M.-T. (2005). Alternatives to Modernism in Contemporary Egyptian Fiction:
Ibrahim Abdel-Maguid’s No One Sleeps in Alexandria. International
Fiction Review, 32(1). Retrieved from https://journals.lib.unb.ca/index.php/IFR/article/view/7799
- Reader Review in Amazon page: Adel
Darwish, ‘Love, Death, Friendship and war that brings Alexandira's
character to life’, Reviewed in the United Kingdom on 18 February 2019
- Nourhan Ashraf Muhammad. ‘''Comparing Lawrence
Durrell's Portrayal of the City as a Character in Justine to Ibrahim Abdel
Meguid's in No One Sleeps in Alexandria'', 16.04.2018. Comparative Literature Course paper Dept of English Literature,
Cairo University
