Few communities experience the realities of expatriate
workers as intimately as the global diaspora in the Gulf region. Yet,
literature exploring the crises faced by Gulf expatriates remains relatively
limited. Omani novelist Badariya Al Badri’s The Last Crossing is a rare
exception, shedding light on the struggles of migrant workers who endure
hardship and silence beneath the region’s wealth. Touted as “the first Omani
novel to focus on the lives of expatriate workers,” it presents a nuanced and
layered portrayal of their experiences.
The novel follows Mukhtar, an Egyptian expatriate for whom
leaving his homeland is not just an exile but a personal tragedy—the loss of
Houria, his eternal love. Surrounding him are workers from various nations,
each carrying their own stories of hardship and displacement. Through their
lives, the novel unveils the hidden sorrows of the Gulf diaspora, particularly
those from impoverished countries and backgrounds. However, it resists
portraying a simplistic dichotomy between natives and expatriates or employers
and workers. Instead, relationships unfold in shades of complexity—marked by
moments of respect and camaraderie, but also deception, exploitation, and
betrayal. Even the leftists, gaining ground in the region, manipulate both
sides for their own ends. Fate, too, proves cruel, striking down the
insignificant without discrimination. The novel opens and closes on a tragic
note, reinforcing the inescapable vulnerability of these workers.
Behind every migrant worker is an unseen world—a longing
fiancée, a waiting mother, loved ones whose sleepless nights mirror their own.
Al Badri, as she has revealed, sought to capture this emotional undercurrent in
her work. Among Mukhtar’s companions, Indian and Yemeni expatriates form a
significant presence. As an Indian reader, I was particularly interested in how
Indian characters were portrayed. The novel does not shy away from the
realities of casteism and untouchability, addressing them with the same
intensity as it does the deep-rooted familial values that Indian workers cling
to even in adversity. Yet, it is an Indian middleman who first shatters the
dreams of Mukhtar and his friends, cheating both the kafeel (sponsor) and the
workers. It is also an Indian worker who preys on a vulnerable young woman,
exploiting her with empty promises.
The novel touches on several contemporary issues affecting
expatriate communities, including sectarian conflicts within Oman and beyond,
the devastation left by the Gulf War, Western prejudices toward the Middle
East, and the postcolonial discrimination that continues to shape Omani and
Arab experiences. It also addresses the refugee crisis, which has displaced
countless people due to warlord-driven conflicts and offers powerful commentary
on misogyny in Omani society.
Structurally, the novel evokes classics like An Occurrence
at Owl Creek Bridge, beginning with a haunting accident scene and culminating
in the finality of death. The psychological intensity of Houria-Mukhtar
relationship is particularly striking, echoing the sado-masochistic tension between
Catherine and Heathcliff in Wuthering Heights, especially in Houria’s
initial rejection of Mukhtar. Meanwhile, the plight of expatriates deprived of
identification documents and trapped in bureaucratic limbo recalls narratives
of illegal immigration, such as Rawi Hage’s Cockroach, where the loss of
identity extends beyond legal status into existential alienation. Translator
Catherine Van De Vate masterfully preserves the lyricism and cadence of the
Arabic original, ensuring its emotional depth remains intact.
Yet, despite its thematic uniqueness and literary merit, The
Last Crossing has not received the critical attention it deserves. The
reason may lie in the uncomfortable reality that mainstream literature, even
when centering marginalized voices, often conforms to Western tastes and
expectations. A year after its release, the novel remains available only on
Kindle Unlimited—another testament to the challenges faced by narratives that
defy convention.
