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19 of 20 people found the following review helpful:
4.0 out of 5 stars
A soap opera? Only on the surface..., March 26, 2004
Focusing on the lives of the inhabitants of a humble--but not wholly destitute--neighborhood, Nobel laureate Naguib Mahfouz's 1947 novel could be (unfairly) dismissed as "Melrose Place" in Cairo. Yet this is no Grace Metalious soap opera; Western readers will instead find that "Midaq Alley" calls to mind the style of Christopher Isherwood, the plotting of Armistead Maupin, and the characters of Rohinton Mistry. And Trevor La Gassick's superb translation make this a surprisingly fluent, elegant, and humorous yarn.Although filmed in 1995 as "El Callejón de los milagros," a critically acclaimed Mexican film starring Selma Hayek, this novel has never quite reached the audience it deserves. Like "Tales of the City," "Midaq Alley" follows the interlinking stories of several characters who share little more than aspirations to affluence, romantic entanglements--and an address. The reader is introduced to more than a dozen characters, but the novel spotlights three: the cafe owner Kirsha, a married man who flirts with young men in front of discomfited patrons, neighbors, and friends (not to mention his incensed wife); the fickle, young, beautiful Hamida, who flits from man to man in search of wealth and comfort; and Abbas, who joins the British armed forces to earn enough money to win over Hamida. Yet other eccentrics from the alley are just as memorable: the horrid Zaita, who serves as tyrant over the local beggars he has "fashioned" by unusual means (and whose demeanor and methods are astonishingly similar to Mr. Beggarmaster from Mistry's "A Fine Balance," written 50 years later); Mrs. Saniya Afifi, a widow who undergoes cut-rate cosmetic dentistry to win over a new husband--and then is horrified by the hush-hush source of her new dentures; and the suave, slick, duplicitous Ibrahim Faraj, a stranger to the alley who spirits Hamida away from her home into a world of extravagance and debauchery she never imagined possible. In the background is World War II, which ironically presents inhabitants of the alleys with the prospect of advancement in the "outside" world--an opportunity that proves both short-lived and elusive. Scratch below the surface, and you'll find a morality tale about the ultimate displeasure that materialism brings to those who worship it. Yet Mahfouz avoids didacticism when presenting his themes, opting instead for a light-hearted objectivity that brings the residents of Midaq Alley to life.
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