“One of the most daring female writers of the Middle East” (San Francisco Chronicle) gives us an extraordinary work of nonfiction: an account of her mother’s remarkable life, at the core of which is a tale of undying love.

In a masterly act of literary transformation, Hanan al-Shaykh re-creates the dramatic life of her mother, Kamila, in Kamila’s own voice. We enter 1930s Beirut through the eyes of the unschooled but irrepressibly spirited nine-year-old child who arrives there from a small village in southern Lebanon. We see her drawn to the excitements of the city, to the thrill of the cinema, and, most powerfully, to Mohammed, the young man who will be the love of her life.

Despite a forced marriage at the age of thirteen to a much older man, despite the two daughters she bears him (one of them the author), despite the scandal and embarrassment she brings to her family, Kamila continues to see Mohammed. Finally, after nearly a decade, her husband gives her a divorce, but she must leave her children behind

The Locust and the Bird is both a tribute to a strong-willed and independent woman and a heartfelt critique of a mother whose decisions were unorthodox and often controversial. As the narrative unfolds through the years (Kamila died in 2001) we follow this passionate, strong, demanding, and captivating woman as she survives the tragedies and celebrates the triumphs of a life lived to the very fullest.

“Al-Shaykh’s poignant family history, narrated in the voice of her mother, Kamila, transports us to Beirut in the nineteen-thirties. At eleven, the beautiful and strong-willed Kamila is illiterate, her family penniless. She falls in love with the handsome Muhammad, but at fourteen is married off to an older man. . . . Later, Kamila runs away with Muhammad, abandoning her daughters. Al-Shaykh writes in the prologue that this book is largely an attempt to come to terms with that decision. Through telling her mother’s story, she learns to appreciate the sacrifices demanded of so many Arab women in their bid for freedom.” —The New Yorker

“I’ve never said this about a book I’ve reviewed, but The Locust and the Bird is one of the best pieces of literature I’ve ever read. The writing is flawless, the story is completely captivating, and the fact that it’s all true is remarkable. . . . Kamila [is] a multidimensional heroine. . . . For all of us, this story can be one of healing—of seeing our parents for the children they once were and for the obstacles they had to overcome.” —Shannon Luders-Manuel, Bookreporter.com

“Courageously addresses both the themes of geographical separation and the jagged motifs of mother-daughter conflict . . . I have never read a memoir which so clearly demonstrates art’s power to help us survive. Kamila’s tale . . . gains extra poignancy from being dictated to her daughter. The daughter, giving birth to her mother, learns to love her.
—Michele Roberts, The Independent (London)

“It is an extraordinarily brave act for a writer to undertake to inhabit, fully and sympathetically, the life her mother lived.”
—J.M. Coetzee, author of Disgrace

“A riveting, deeply compelling character study that combines real dramatic tension with historical and political relevance. Charming, egotistical, funny, vain, and spellbinding, al-Shaykh’s mother defies her religion, family, and tradition to create a life on her own terms. A fabulously addictive read.”
—Diana Abu-Jaber, author of Crescent

“Frank and uncompromising . . . Kamila’s trials are the trials of all women who have sought to be free; her choices some of the toughest yet made in the name of independence. To have [her story] retold so beautifully is a great tribute to her.”
—Sarah Vine, The Times (London)

“Al-Shaykh is one of the most courageous writers of the Arab world. This story of her irrepressible mother might help explain the origins of al-Shaykh’s singular ability to trailblaze.”
—Rabin Alameddine, author of The Hakawati

“A powerful book on the dangers of romantic love in mid-20th century Arab society.” —Will Hodgkinson, The Guardian (London)

“The author beautifully captures her mother’s impish character, her ability to turn every occasion into a laugh. Her inability to manage money is ever present, as is her warmth and her humanity. The book follows Kamila’s life story, but the real depth of the story is in the understanding and love that develops between mother and daughter. The initial suspicion between them evaporates and a deep love develops.” –The Irish Examiner

“This is a tale of many reckonings. . . . It is an adventure tale, a confession, a tragic romance. It is also an exposé of what happens to a vulnerable young Muslim woman, shaped by strict conventions, religious and social. It is the story of what ensues when that headstrong female attempts to buck the accepted mores, becoming outrageous, vociferous, scandalously in thrall to love and freedom, and fighting fiercely for her independence. It is a rhapsody to the courage of living one’s dreams, a rhapsody, too, to the courage of dealing with the flak that is endured as a result. . . . The book is that rarity - a memoir told in the round but through one set of eyes, so that we understand, increasingly, everyone’s motives, their saving graces, while ever more deeply seeing the flawed yet magical world through the sensibility of its subject. . . . There are among other things marvellous insights into history and change in the Middle East through Kamila’s lifetime; that, and the music of survival through defiance, writ large and small.” —Tom Adair, The Scotsman

“Astonishing. . . . Spectacular. . . . [The Locust and the Bird] is Hanan al-Shaykh’s masterpiece. Kamila is Hanan’s most extraordinary character.” —Charles R. Larson, The Jakarta Post

“Hanan puts aside her old resentments to tell her mother’s remarkable and poignant story, and gradually comes to understand all her mother has been through, and how she survived.” —Booklist

“I’ve never said this about a book I’ve reviewed, but The Locust and the Bird is one of the best pieces of literature I’ve ever read. The writing is flawless, the story is completely captivating, and the fact that it’s all true is remarkable. . . . Kamila [is] a multidimensional heroine. . . . For all of us, this story can be one of healing—of seeing our parents for the children they once were and for the obstacles they had to overcome.” —Shannon Luders-Manuel, Bookreporter.com

“A tale of female independence. . . . Deeply reflective and moving. . . . Al-Shaykh climbs into the body of her mother, skillfully re-creating the voice of a talented and charismatic storyteller. . . . Our unconventional mothers may make choices that damage our hearts, but as al-Shaykh shows us, those same choices can ultimately save us from a fate such as theirs. We can honor them by holding the nuances of their lives up to the light. We can become what they could not become. In doing so, we set them free.” —Susanne Pari, San Francisco Chronicle

“The writer masterfully blends Arabic parable and Western resolve to enter her illiterate mother’s mind and heart, writing what [her mother] could not. The Locust and the Bird conquers the distance between mother and daughter, revealing the tragedies that can ensue when cultural machismo forces brave women into impossible choices.” —Jayne Anne Phillips, More

“A vital novel about the lives of Arabic families. . . . [It] burns with truth on so many levels, it would be sad indeed if this book did not make its way into many, many handbags. . . . The language is lustrous, and the translation so smooth I had trouble believing it was originally written in Arabic. . . . Forgiveness—not anger—saturates this book like a perfume; every character is desperately, vulnerably human. Al-Shaykh’s triumph is that she retrieves her mother’s wisdom—a wondrous lesson for grown daughters everywhere. [The Locust and the Bird] has a warmth that crosses cultures and feels like a pure, shining blast of sun.” —Laurel Maury, Los Angeles Times

"While I was reading Hanan's book, my regret as an author was not to have known Kamila, Hanan’s mother, the extravagant narrator of this book. What a Woman!!! What a storyteller!!! When I finished the book I had one major thought: this the kind of story one needs to be a real Lebanese in order to turn it into a movie. That was my other regret as a movie maker. But most of all I felt extremely lucky to spend time with someone so intelligent, full of humor and love." —Marjane Satrapi
1932: Ever Since I Can Remember

It all began on the day that my brother Kamil and I chased after  Father, with Mother's curses ringing in our ears. I hoped and prayed  God would take vengeance on him. He'd fallen in love with another  woman, deserted us, and married her.

Mother had been to court in Nabatiyeh to seek child-support  payments, but it did no good. Kamil and I were hunting for him so  that he would buy us food. We ran over the rocky ground to the next  village where he lived. We searched in the market at Nabatiyeh,  asking people where we might find him. The sound of his voice and his  loud laugh finally led us to him; he was too short to spot in a  crowd, much shorter than Mother. Following her instructions, we asked  him to buy us sugar and meat. He agreed immediately, telling us to  follow him. We tagged along, our eyes glued to his back, terrified of  losing him among the piled-up sacks of burghul and lentils, camels,  donkeys, sheep and chickens, hawkers and vendors peddling their  wares. At times he disappeared and we'd panic, thinking we had lost  him for ever; then he'd reappear and our spirits would soar. Finally  he gave up trying to lose us. He told us that he had no money and  could buy us nothing. He described how to find our uncle's cobbler's  stall near by and then he vanished.

Kamil yelled Father's name as loudly as he could above the vendors'  cries and the bleating of the animals.

'Listen, boy,' said a man selling sheepskins. 'That voice of yours is  about as much use as a fart in a workshop full of metal beaters!'

We made our way back to Mother. She was waiting with her brother at  his cobbler's stall. When she saw we were empty-handed, she frowned  and swore she'd go back to court. We arrived home with no meat, no  rice, no sugar. Mother made us tomato Kibbeh without meat. She  squeezed the tomatoes and the red juice oozed between her fingers.  Did the tomato pips feel pain and try to escape, I wondered? Didn't  Mother say that Father had crushed her heart?

Mother kneaded the Kibbeh.

'Look how red it is, and there's burghul in it, just like real  Kibbeh,' she said brightly.

Like real Kibbeh? Who was she fooling? Where was the raw meat to be  tenderised? Where was our wooden mortar and pestle, which I would  recognise out of a thousand? Real Kibbeh? Then why wasn't Mother  extracting those white, sinew-like bits of thread and making a pile  of them, leaving the meat looking like peeled figs?

The next day Mother took us to court and talked to a man called a  sheikh, who wore a turban shaped like a melon.

'My husband's refusing to support them,' she told him, pushing us  forward. 'How am I supposed to feed my children? By cutting off a  piece of my own hand? How am I supposed to clothe them? By flaying my  own skin?'

We listened as the man in the turban talked to Mother. He used one  phrase that stuck in my mind: 'The payment due to you will be sitting  right there, in the middle of your home.' I thought he meant it would  happen literally; I didn't realise it was a figure of speech. The  moment we got home I started pacing the floor, the way I'd seen older  people measure things, even graves. When I'd calculated the exact  middle of our home, I sat by the spot and waited for the lira to appear.

A neighbour came in to offer Mother advice.

'Let him have the children,' she said. 'Stop torturing yourself!'

'Get out of my sight!' Mother yelled, and chased her to the door.  'Before I throw you into the prickly pear bush!'

Needless to say, the money never appeared, not in the middle of the  house or anywhere else. One day, Kamil and I were playing with some  children at the front of the house. Mother was busy in the vegetable  plot picking some of the beans she'd planted and hunting for wild  endive and chard. Father arrived and asked us to go with him to the  market so he could buy us clothes, meat, sugar, molasses and  sweetmeats. We were so hungry and excited that we forgot to tell  Mother. Without even putting on our shoes, we rushed to Father and  ran along behind him.

As we walked he kept adding to his promises.

'I want to buy you some new shoes as well. They'll be so shiny you'll  see your faces in them!' he said.

He took us along a path between rocks, thorns and a few trees. But we  knew this wasn't the way to the market; the path led to the  neighbouring village, where he and his new wife lived.

'So she thinks she's smarter than me?' he told his new wife when we  arrived at their house. 'They can live here. Then there'll be no  expense and no headaches either.'

It was a long night. We tossed and turned, yearning for Mother. I  worried that she must be imagining a hyena had pissed on our legs,  enchanting us and stealing us away to its lair, where it would tear  the flesh from our bones. Or perhaps she thought that the earth had  opened up and swallowed us. But my brother assured me that the  children we'd been playing with would tell her that we'd gone with  Father. We fell asleep clutching each other, listening to each  other's heartbeats, missing the sound of our cows in the night.

In the morning, I found I could not read Father's wife's expression.  But at home, I had no trouble understanding Mother. I knew that I  loved her. I also knew that, because Mother didn't like Father's  wife, I wasn't obliged to like her either. I stared at her eyes,  trying to discover the secret of their green colour - they were the  first eyes I'd seen that weren't black. Did she put green kohl around  them? Mother had black eyes - she ground black stones and used the  grinds to line her eyes. We missed Mother so much that we couldn't  swallow our breakfast of molasses and sugar. We had to sip tea with  each mouthful.

My brother and I sat close to each other, staring and yawning,  waiting for evening. Time passed slowly. It was the summer holidays  and Father wasn't teaching in the second room of his house, so we  didn't even sit and watch the lessons. We had never asked if Mother  could send us to a teacher in Nabatiyeh; we knew that she couldn't  afford it.

We made up our minds to run away just before sunset. There was no  forethought; it was just the idea of another night in bed without  Mother sleeping between us, a hand stretched out to touch each child,  that made us leave. We waited on the porch until Father's wife put  down a dish of lentils by the stone bread-oven. As soon as she  disappeared inside to knead her dough, my brother grabbed the dish of  lentils and poured the contents into his djellabah, gasping at the  heat. Then we ran barefoot, back the way we'd come, over the brown  and red stones, over the sparse vegetation, never stopping to worry  about thorns or the scalding lentils. We kept running - not hand in  hand as my mother used to instruct us. 'Promise me, you won't let  anybody separate your hands, even angels,' she would say. I didn't  even stop when I spotted, amid the rocks, a bush bearing a tomato the  colour of anemones. Only when the fig trees and the big pond came  into view did we slow down and begin to relax. When we spotted a grey  rock called the camel (because it looked like one) we were certain we  were on the way home. Thorns got inside my dress; they pricked my  skin and hurt like hornet stings, but I wanted to see Mother and eat  some of those lentils so badly that I ran even faster, as though I  was swallowing the ground itself.

Darkness fell suddenly, as if the camel had blocked out the sun. We  were terrified that Ali Atrash was going to jump out at us. Ali  Atrash was the local madman; he walked with a wooden box tied so  tightly against his chest that it seemed almost a part of him. When  he breathed or cried out, the box jerked up and down. People said  he'd once had a stash of gold coins, but awoke one morning to find  them gone from the wooden box in which he hid them. When suspicion  fell on his own brother, Ali Atrash went out of his mind. From that  day on, he was scared of young children throwing stones at him. But  they did it because they feared his madness. He would yell at them,  nonsensical things like, 'Gold from the earth, gold from the earth!'

I tried to reassure my brother, telling him that Ali Atrash wouldn't  harm us because he knew we were the children of a woman the locals  called Little Miss Bashful. She had always treated him kindly, taken  his hand when she met him, brought him to her house, sat him down on  the threshold, bent over his shoeless feet and pulled out the thorns  with her eyebrow tweezers, and given him food and drink.

Could he see us in the dark, we wondered? We each held our breath  until we saw our house in the distance and knew for sure we were  home. But before our joy could be fulfilled, we spied a figure  wandering back and forth. I was sure it was Ali Atrash, but instead  it was Mother waiting for us. When she saw us, she cried out and  burst into tears. We whooped with pleasure.

'We've come home, Mother!' yelled Kamil. 'We've brought some lentils.  I want you to have them.'

Mother began to sing, as if she was keening, and wrung her hands. She  ran towards us, and we to her, until she wrapped us in her arms,  weeping, kissing us and inhaling our scent.

'The bastard kidnapped you,' she kept saying. 'May God snatch him  away too!'

She took us inside, and my brother scooped the lentils on to a plate.  Mother had prepared some green beans and we ate with gusto. Then the  three of us settled on the mattress. Mother sat, blowing on my  brother's scalded thighs and my bleeding feet.

'Mother,' I asked, 'how did you know we would run away and come home?'

'I'm your mother, aren't I?'

I lay there, listening to the cows mooing in the back yard. I  reminded myself that they snorted whether or not I was home, without  knowing what was going on. Their huge eyes stared into the darkness  as they lay down for the night. I stared hard through the darkness  too, anxious to reassure myself that I was with Mother in the house  and not with Father and his wife. This house would always stay where  it was; I could see the bureau, the mirror, the living room, and the  window.

I only felt sleepy when Mother finally lay down between me and my  brother. The wind whistled and brushed the trees. The mooing soothed  me to sleep, as if the cows were singing me a lullaby.
© Mick Lindberg
Hanan al-Shaykh, an award-winning journalist, novelist, and playwright, is the author of the short-story collections I Sweep the Sun Off Rooftops and One Thousand and One Nights; the novels The Story of Zahra, Women of Sand and Myrrh, Beirut Blues, and Only in London; and a memoir about her mother, The Locust and the Bird. She was raised in Beirut, educated in Cairo, and lives in London. View titles by Hanan al-Shaykh

About

“One of the most daring female writers of the Middle East” (San Francisco Chronicle) gives us an extraordinary work of nonfiction: an account of her mother’s remarkable life, at the core of which is a tale of undying love.

In a masterly act of literary transformation, Hanan al-Shaykh re-creates the dramatic life of her mother, Kamila, in Kamila’s own voice. We enter 1930s Beirut through the eyes of the unschooled but irrepressibly spirited nine-year-old child who arrives there from a small village in southern Lebanon. We see her drawn to the excitements of the city, to the thrill of the cinema, and, most powerfully, to Mohammed, the young man who will be the love of her life.

Despite a forced marriage at the age of thirteen to a much older man, despite the two daughters she bears him (one of them the author), despite the scandal and embarrassment she brings to her family, Kamila continues to see Mohammed. Finally, after nearly a decade, her husband gives her a divorce, but she must leave her children behind

The Locust and the Bird is both a tribute to a strong-willed and independent woman and a heartfelt critique of a mother whose decisions were unorthodox and often controversial. As the narrative unfolds through the years (Kamila died in 2001) we follow this passionate, strong, demanding, and captivating woman as she survives the tragedies and celebrates the triumphs of a life lived to the very fullest.

“Al-Shaykh’s poignant family history, narrated in the voice of her mother, Kamila, transports us to Beirut in the nineteen-thirties. At eleven, the beautiful and strong-willed Kamila is illiterate, her family penniless. She falls in love with the handsome Muhammad, but at fourteen is married off to an older man. . . . Later, Kamila runs away with Muhammad, abandoning her daughters. Al-Shaykh writes in the prologue that this book is largely an attempt to come to terms with that decision. Through telling her mother’s story, she learns to appreciate the sacrifices demanded of so many Arab women in their bid for freedom.” —The New Yorker

“I’ve never said this about a book I’ve reviewed, but The Locust and the Bird is one of the best pieces of literature I’ve ever read. The writing is flawless, the story is completely captivating, and the fact that it’s all true is remarkable. . . . Kamila [is] a multidimensional heroine. . . . For all of us, this story can be one of healing—of seeing our parents for the children they once were and for the obstacles they had to overcome.” —Shannon Luders-Manuel, Bookreporter.com

“Courageously addresses both the themes of geographical separation and the jagged motifs of mother-daughter conflict . . . I have never read a memoir which so clearly demonstrates art’s power to help us survive. Kamila’s tale . . . gains extra poignancy from being dictated to her daughter. The daughter, giving birth to her mother, learns to love her.
—Michele Roberts, The Independent (London)

“It is an extraordinarily brave act for a writer to undertake to inhabit, fully and sympathetically, the life her mother lived.”
—J.M. Coetzee, author of Disgrace

“A riveting, deeply compelling character study that combines real dramatic tension with historical and political relevance. Charming, egotistical, funny, vain, and spellbinding, al-Shaykh’s mother defies her religion, family, and tradition to create a life on her own terms. A fabulously addictive read.”
—Diana Abu-Jaber, author of Crescent

“Frank and uncompromising . . . Kamila’s trials are the trials of all women who have sought to be free; her choices some of the toughest yet made in the name of independence. To have [her story] retold so beautifully is a great tribute to her.”
—Sarah Vine, The Times (London)

“Al-Shaykh is one of the most courageous writers of the Arab world. This story of her irrepressible mother might help explain the origins of al-Shaykh’s singular ability to trailblaze.”
—Rabin Alameddine, author of The Hakawati

“A powerful book on the dangers of romantic love in mid-20th century Arab society.” —Will Hodgkinson, The Guardian (London)

“The author beautifully captures her mother’s impish character, her ability to turn every occasion into a laugh. Her inability to manage money is ever present, as is her warmth and her humanity. The book follows Kamila’s life story, but the real depth of the story is in the understanding and love that develops between mother and daughter. The initial suspicion between them evaporates and a deep love develops.” –The Irish Examiner

“This is a tale of many reckonings. . . . It is an adventure tale, a confession, a tragic romance. It is also an exposé of what happens to a vulnerable young Muslim woman, shaped by strict conventions, religious and social. It is the story of what ensues when that headstrong female attempts to buck the accepted mores, becoming outrageous, vociferous, scandalously in thrall to love and freedom, and fighting fiercely for her independence. It is a rhapsody to the courage of living one’s dreams, a rhapsody, too, to the courage of dealing with the flak that is endured as a result. . . . The book is that rarity - a memoir told in the round but through one set of eyes, so that we understand, increasingly, everyone’s motives, their saving graces, while ever more deeply seeing the flawed yet magical world through the sensibility of its subject. . . . There are among other things marvellous insights into history and change in the Middle East through Kamila’s lifetime; that, and the music of survival through defiance, writ large and small.” —Tom Adair, The Scotsman

“Astonishing. . . . Spectacular. . . . [The Locust and the Bird] is Hanan al-Shaykh’s masterpiece. Kamila is Hanan’s most extraordinary character.” —Charles R. Larson, The Jakarta Post

“Hanan puts aside her old resentments to tell her mother’s remarkable and poignant story, and gradually comes to understand all her mother has been through, and how she survived.” —Booklist

“I’ve never said this about a book I’ve reviewed, but The Locust and the Bird is one of the best pieces of literature I’ve ever read. The writing is flawless, the story is completely captivating, and the fact that it’s all true is remarkable. . . . Kamila [is] a multidimensional heroine. . . . For all of us, this story can be one of healing—of seeing our parents for the children they once were and for the obstacles they had to overcome.” —Shannon Luders-Manuel, Bookreporter.com

“A tale of female independence. . . . Deeply reflective and moving. . . . Al-Shaykh climbs into the body of her mother, skillfully re-creating the voice of a talented and charismatic storyteller. . . . Our unconventional mothers may make choices that damage our hearts, but as al-Shaykh shows us, those same choices can ultimately save us from a fate such as theirs. We can honor them by holding the nuances of their lives up to the light. We can become what they could not become. In doing so, we set them free.” —Susanne Pari, San Francisco Chronicle

“The writer masterfully blends Arabic parable and Western resolve to enter her illiterate mother’s mind and heart, writing what [her mother] could not. The Locust and the Bird conquers the distance between mother and daughter, revealing the tragedies that can ensue when cultural machismo forces brave women into impossible choices.” —Jayne Anne Phillips, More

“A vital novel about the lives of Arabic families. . . . [It] burns with truth on so many levels, it would be sad indeed if this book did not make its way into many, many handbags. . . . The language is lustrous, and the translation so smooth I had trouble believing it was originally written in Arabic. . . . Forgiveness—not anger—saturates this book like a perfume; every character is desperately, vulnerably human. Al-Shaykh’s triumph is that she retrieves her mother’s wisdom—a wondrous lesson for grown daughters everywhere. [The Locust and the Bird] has a warmth that crosses cultures and feels like a pure, shining blast of sun.” —Laurel Maury, Los Angeles Times

"While I was reading Hanan's book, my regret as an author was not to have known Kamila, Hanan’s mother, the extravagant narrator of this book. What a Woman!!! What a storyteller!!! When I finished the book I had one major thought: this the kind of story one needs to be a real Lebanese in order to turn it into a movie. That was my other regret as a movie maker. But most of all I felt extremely lucky to spend time with someone so intelligent, full of humor and love." —Marjane Satrapi

Excerpt

1932: Ever Since I Can Remember

It all began on the day that my brother Kamil and I chased after  Father, with Mother's curses ringing in our ears. I hoped and prayed  God would take vengeance on him. He'd fallen in love with another  woman, deserted us, and married her.

Mother had been to court in Nabatiyeh to seek child-support  payments, but it did no good. Kamil and I were hunting for him so  that he would buy us food. We ran over the rocky ground to the next  village where he lived. We searched in the market at Nabatiyeh,  asking people where we might find him. The sound of his voice and his  loud laugh finally led us to him; he was too short to spot in a  crowd, much shorter than Mother. Following her instructions, we asked  him to buy us sugar and meat. He agreed immediately, telling us to  follow him. We tagged along, our eyes glued to his back, terrified of  losing him among the piled-up sacks of burghul and lentils, camels,  donkeys, sheep and chickens, hawkers and vendors peddling their  wares. At times he disappeared and we'd panic, thinking we had lost  him for ever; then he'd reappear and our spirits would soar. Finally  he gave up trying to lose us. He told us that he had no money and  could buy us nothing. He described how to find our uncle's cobbler's  stall near by and then he vanished.

Kamil yelled Father's name as loudly as he could above the vendors'  cries and the bleating of the animals.

'Listen, boy,' said a man selling sheepskins. 'That voice of yours is  about as much use as a fart in a workshop full of metal beaters!'

We made our way back to Mother. She was waiting with her brother at  his cobbler's stall. When she saw we were empty-handed, she frowned  and swore she'd go back to court. We arrived home with no meat, no  rice, no sugar. Mother made us tomato Kibbeh without meat. She  squeezed the tomatoes and the red juice oozed between her fingers.  Did the tomato pips feel pain and try to escape, I wondered? Didn't  Mother say that Father had crushed her heart?

Mother kneaded the Kibbeh.

'Look how red it is, and there's burghul in it, just like real  Kibbeh,' she said brightly.

Like real Kibbeh? Who was she fooling? Where was the raw meat to be  tenderised? Where was our wooden mortar and pestle, which I would  recognise out of a thousand? Real Kibbeh? Then why wasn't Mother  extracting those white, sinew-like bits of thread and making a pile  of them, leaving the meat looking like peeled figs?

The next day Mother took us to court and talked to a man called a  sheikh, who wore a turban shaped like a melon.

'My husband's refusing to support them,' she told him, pushing us  forward. 'How am I supposed to feed my children? By cutting off a  piece of my own hand? How am I supposed to clothe them? By flaying my  own skin?'

We listened as the man in the turban talked to Mother. He used one  phrase that stuck in my mind: 'The payment due to you will be sitting  right there, in the middle of your home.' I thought he meant it would  happen literally; I didn't realise it was a figure of speech. The  moment we got home I started pacing the floor, the way I'd seen older  people measure things, even graves. When I'd calculated the exact  middle of our home, I sat by the spot and waited for the lira to appear.

A neighbour came in to offer Mother advice.

'Let him have the children,' she said. 'Stop torturing yourself!'

'Get out of my sight!' Mother yelled, and chased her to the door.  'Before I throw you into the prickly pear bush!'

Needless to say, the money never appeared, not in the middle of the  house or anywhere else. One day, Kamil and I were playing with some  children at the front of the house. Mother was busy in the vegetable  plot picking some of the beans she'd planted and hunting for wild  endive and chard. Father arrived and asked us to go with him to the  market so he could buy us clothes, meat, sugar, molasses and  sweetmeats. We were so hungry and excited that we forgot to tell  Mother. Without even putting on our shoes, we rushed to Father and  ran along behind him.

As we walked he kept adding to his promises.

'I want to buy you some new shoes as well. They'll be so shiny you'll  see your faces in them!' he said.

He took us along a path between rocks, thorns and a few trees. But we  knew this wasn't the way to the market; the path led to the  neighbouring village, where he and his new wife lived.

'So she thinks she's smarter than me?' he told his new wife when we  arrived at their house. 'They can live here. Then there'll be no  expense and no headaches either.'

It was a long night. We tossed and turned, yearning for Mother. I  worried that she must be imagining a hyena had pissed on our legs,  enchanting us and stealing us away to its lair, where it would tear  the flesh from our bones. Or perhaps she thought that the earth had  opened up and swallowed us. But my brother assured me that the  children we'd been playing with would tell her that we'd gone with  Father. We fell asleep clutching each other, listening to each  other's heartbeats, missing the sound of our cows in the night.

In the morning, I found I could not read Father's wife's expression.  But at home, I had no trouble understanding Mother. I knew that I  loved her. I also knew that, because Mother didn't like Father's  wife, I wasn't obliged to like her either. I stared at her eyes,  trying to discover the secret of their green colour - they were the  first eyes I'd seen that weren't black. Did she put green kohl around  them? Mother had black eyes - she ground black stones and used the  grinds to line her eyes. We missed Mother so much that we couldn't  swallow our breakfast of molasses and sugar. We had to sip tea with  each mouthful.

My brother and I sat close to each other, staring and yawning,  waiting for evening. Time passed slowly. It was the summer holidays  and Father wasn't teaching in the second room of his house, so we  didn't even sit and watch the lessons. We had never asked if Mother  could send us to a teacher in Nabatiyeh; we knew that she couldn't  afford it.

We made up our minds to run away just before sunset. There was no  forethought; it was just the idea of another night in bed without  Mother sleeping between us, a hand stretched out to touch each child,  that made us leave. We waited on the porch until Father's wife put  down a dish of lentils by the stone bread-oven. As soon as she  disappeared inside to knead her dough, my brother grabbed the dish of  lentils and poured the contents into his djellabah, gasping at the  heat. Then we ran barefoot, back the way we'd come, over the brown  and red stones, over the sparse vegetation, never stopping to worry  about thorns or the scalding lentils. We kept running - not hand in  hand as my mother used to instruct us. 'Promise me, you won't let  anybody separate your hands, even angels,' she would say. I didn't  even stop when I spotted, amid the rocks, a bush bearing a tomato the  colour of anemones. Only when the fig trees and the big pond came  into view did we slow down and begin to relax. When we spotted a grey  rock called the camel (because it looked like one) we were certain we  were on the way home. Thorns got inside my dress; they pricked my  skin and hurt like hornet stings, but I wanted to see Mother and eat  some of those lentils so badly that I ran even faster, as though I  was swallowing the ground itself.

Darkness fell suddenly, as if the camel had blocked out the sun. We  were terrified that Ali Atrash was going to jump out at us. Ali  Atrash was the local madman; he walked with a wooden box tied so  tightly against his chest that it seemed almost a part of him. When  he breathed or cried out, the box jerked up and down. People said  he'd once had a stash of gold coins, but awoke one morning to find  them gone from the wooden box in which he hid them. When suspicion  fell on his own brother, Ali Atrash went out of his mind. From that  day on, he was scared of young children throwing stones at him. But  they did it because they feared his madness. He would yell at them,  nonsensical things like, 'Gold from the earth, gold from the earth!'

I tried to reassure my brother, telling him that Ali Atrash wouldn't  harm us because he knew we were the children of a woman the locals  called Little Miss Bashful. She had always treated him kindly, taken  his hand when she met him, brought him to her house, sat him down on  the threshold, bent over his shoeless feet and pulled out the thorns  with her eyebrow tweezers, and given him food and drink.

Could he see us in the dark, we wondered? We each held our breath  until we saw our house in the distance and knew for sure we were  home. But before our joy could be fulfilled, we spied a figure  wandering back and forth. I was sure it was Ali Atrash, but instead  it was Mother waiting for us. When she saw us, she cried out and  burst into tears. We whooped with pleasure.

'We've come home, Mother!' yelled Kamil. 'We've brought some lentils.  I want you to have them.'

Mother began to sing, as if she was keening, and wrung her hands. She  ran towards us, and we to her, until she wrapped us in her arms,  weeping, kissing us and inhaling our scent.

'The bastard kidnapped you,' she kept saying. 'May God snatch him  away too!'

She took us inside, and my brother scooped the lentils on to a plate.  Mother had prepared some green beans and we ate with gusto. Then the  three of us settled on the mattress. Mother sat, blowing on my  brother's scalded thighs and my bleeding feet.

'Mother,' I asked, 'how did you know we would run away and come home?'

'I'm your mother, aren't I?'

I lay there, listening to the cows mooing in the back yard. I  reminded myself that they snorted whether or not I was home, without  knowing what was going on. Their huge eyes stared into the darkness  as they lay down for the night. I stared hard through the darkness  too, anxious to reassure myself that I was with Mother in the house  and not with Father and his wife. This house would always stay where  it was; I could see the bureau, the mirror, the living room, and the  window.

I only felt sleepy when Mother finally lay down between me and my  brother. The wind whistled and brushed the trees. The mooing soothed  me to sleep, as if the cows were singing me a lullaby.

Author

© Mick Lindberg
Hanan al-Shaykh, an award-winning journalist, novelist, and playwright, is the author of the short-story collections I Sweep the Sun Off Rooftops and One Thousand and One Nights; the novels The Story of Zahra, Women of Sand and Myrrh, Beirut Blues, and Only in London; and a memoir about her mother, The Locust and the Bird. She was raised in Beirut, educated in Cairo, and lives in London. View titles by Hanan al-Shaykh

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