Aswan gold

By Lubna Abdel-Aziz

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Yet another Egyptian personality has reached the zenith of international recognition, filling his countrymen with an overwhelming sense of pride. In the last few decades we have thrilled again and again at the likes of Nobel laureates, the late President Anwar Sadat, author Naguib Mahfouz, and scientist Ahmad Zuweil, as well as cardiac surgeon Sir Magdy Yacoub, actor Omar Sharif, archaeologist Zahi Hawass, and on and on. In recent weeks the success of novelist Alaa El-Aswany has reached new heights, with extended articles in the New York Times, Time Magazine and other leading publications following the launch of the English version of his latest best-seller Chicago.

Alaa El-Aswany combines sensitivity and reality

Considered by many, heir apparent to Naguib Mahfouz, Aswany savagely tears out the tapestry of the seeming uniformity of Egyptian society revealing the festering corruption behind the false façade. A dentist by profession, Aswany's many newspaper articles are critical of the religious trends of Wahabism embraced by Egyptian youth, of the deprivation of human rights, and the inevitable injustices of political oppression. This has made him a controversial figure on the political scene. It is however, the mercilessly honest portrayal of the residents of the Yacoubian building that catapulted him to the ranks of the world's most famous figures. A sensational best- seller Yacoubian has been translated into 33 languages so far, and was adapted for the screen in a mega production in 2006, followed by a serialized television presentation of 34 episodes in 2007. Aswany was never a resident of the well-known Cairo building but his father, himself a renowned writer and lawyer, had his offices there for many years, inspiring young Alaa to observe and reserve the sights and sounds of the elegant building.

So outstanding was the success of this captivating page- turner, many disbelievers proclaimed it a fluke and could not be repeated by an amateur dentist. Aswany proved them wrong with the publication of Chicago in January 2007. Aswany gathered a variety of characters representing the different classes, beliefs and convictions of most Egyptians on the campus of the University of Illinois, where he trained as a dentist in the 80s. Chicago was another brutal scrutiny of the dejection and despair eating away at Egypt's social structure. Even as they pursue life miles away from home, his characters carry with them their home grown baggage and burden of hopelessness. He intimately portrays his main characters, the sweethearts Tarek and Shaimaa, the communist tormented Nagui, professor Salah who still dreams of Zeinab his lost love, and the abusive Lieutenant Safwat Shukri, obsessed with power and lust.

As he weaves his yarn crossing the seas, his lamentations and acrimonious disputes are vividly displayed in a picturesque panorama of language and reality. His graphic descriptions are so lifelike you can feel their pain in your heart as their cravings sear your very soul. His narrative induces a kind of intellectual intoxication which awakens all your senses, then lulls you into a deep sleep. Chicago presents a fresh approach in both subject and structure. Aswany articulates his frustrations with a stagnant political system, fearless in his disapproval of the slow -pace or no-pace of progress and reform.

The success of Yacoubian has made Aswany a man of means, so why does he still practice his dentistry at his downtown clinic? He believes it keeps him in touch with reality and the social mix of his patients, help him draw the distinctive features of his characters. To read Aswany one conjures the image of angry unrest and intense passionate indignation of life around him. To see Aswany however, is an entirely different experience. Effusively charming and gentle, Aswany is mild-mannered and soft- spoken. His smile is broad and sincere, full of sunshine and optimism. He has an opinion about everything and a kind word for everyone, but open one of his sore wounds, or discuss one of his political articles and his bitterly scornful tirade is unstoppable. He whips with fire and fury at the dispassionate and detached. He reminds us of the threatening decay that eats up at the fabric of our society. Through it all his broad smile is ever-present and he maintains that he is forever an optimist.

Born in 1957, 50 year-old Aswany always had literature on his mind but deliberately chose to study medicine, for literature could never afford him a decent living. A cultivated man he is touched by the political mood that hangs around him like a grey mist, while leaving others indifferent. Despite a deep sense of hopelessness, he is capable of beautiful dreams. His pensive eyes are sorrowful until he laughs, which he does from the heart. He knows a glorious life awaits his countrymen. He simply knows not when.

Deeply involved in the small opposition party Kefaya, calling for radical changes in our social system, Aswany grieves for those half-educated individuals who cannot go forward or backward.

While reluctant to talk about his work or future plans, he did reveal that Chicago will also be adapted for the screen and he will continue with his dental practice. Aswany is a frequent guest at social events, adored by both sexes, who hover around him like bees to honey. He takes it all in with grace and gratitude.

Perhaps those who made the comparison with our Nobel Laureate Naguib Mahfouz were not far off the mark. These are different times and are adeptly treated differently by Aswany, but they are still a slice of Egyptiana with all the tragedy, comedy and irony any society possesses.

Aswany will not allow our conscience to fall into apathy even though his writings do not always end on a happy note. His characters, with their dreams and frustrations, give our lives a sense of purpose. The purpose of a live conscience and hard work is to make a better country for all. We can hardly wait for more gold from Aswany's pen which flows freely, like the riches of Aswan, whose name he carries. Both dazzle and enchant their myriad admirers.

He writes nothing whose writings are not read.
-- MARTIAL (1st Century AD)