Hisham Matar
Hisham Matar’s strikingly poetic debut novel In the Country of Men is a story of a family struggling for survival in late 20th century Libya under the oppressive regime of ‘the Guide’, described only as “madness”. It is not unknown to the Libyan society at large that in order for their survival, a degree of freedom must be relinquished to the state. In contrast, readers become increasingly aware that Baba, the protagonist’s (Suleiman) father, is a source of political rebellion and consequently threatens the safety of not only himself, but also of his family. However, it can also be noted that Baba is not always a source of danger. He at times is shown to also provide security and comfort within the family dynamic. Further, he alone does not
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Readers are introduced to Baba’s reckless behaviour early in the novel, as Suleiman recounts sighting his father in Martyr’s Square, supposedly away on “business”. The “small red towel” hung on the clothesline by Baba is indicative of a symbol of rebellion against the regime. Green is the colour used to symbolise ‘the Guide’ and his government, and therefore the colour red bears a stark contrast to it that can be interpreted as supporting the opposite of what the government stands for. Frequently likened to the “Sun” throughout the text, the government is shown to be an exhausting and ever-present heat to live under, and as such this highlights the severity of Baba’s actions. In a society where it is either “silence or exile, walk by the wall or leave”, participating in revolutionary action, no matter how noble the cause, will inevitably bring harm to all those involved – both directly and indirectly. This can be seen when Suleiman’s household is practically raided by members of the Revolutionary Committee in Baba’s absence, only a short time after Suleiman and Mama were followed by a Revolutionary Committee car. It becomes increasingly evident that this has been a damaging experience for nine-year-old Suleiman as he realises that he “was wet beneath [his] clothes.” Not only is it shown to have an adverse effect on Suleiman, but it also throws Mama into a bout of her “illness” as perceived through Suleiman’s innocent eyes, although the readership can recognise that her symptoms are alike to that of alcoholism and a hangover. The incident seems to riddle Mama to the core and render her a child, desperate for comfort in Baba’s absence. So much so that she “calls for her dead Baba to come back and help her…to save her… [as] she wept.” It is also during this fit that she
Readers are introduced to Baba’s reckless behaviour early in the novel, as Suleiman recounts sighting his father in Martyr’s Square, supposedly away on “business”. The “small red towel” hung on the clothesline by Baba is indicative of a symbol of rebellion against the regime. Green is the colour used to symbolise ‘the Guide’ and his government, and therefore the colour red bears a stark contrast to it that can be interpreted as supporting the opposite of what the government stands for. Frequently likened to the “Sun” throughout the text, the government is shown to be an exhausting and ever-present heat to live under, and as such this highlights the severity of Baba’s actions. In a society where it is either “silence or exile, walk by the wall or leave”, participating in revolutionary action, no matter how noble the cause, will inevitably bring harm to all those involved – both directly and indirectly. This can be seen when Suleiman’s household is practically raided by members of the Revolutionary Committee in Baba’s absence, only a short time after Suleiman and Mama were followed by a Revolutionary Committee car. It becomes increasingly evident that this has been a damaging experience for nine-year-old Suleiman as he realises that he “was wet beneath [his] clothes.” Not only is it shown to have an adverse effect on Suleiman, but it also throws Mama into a bout of her “illness” as perceived through Suleiman’s innocent eyes, although the readership can recognise that her symptoms are alike to that of alcoholism and a hangover. The incident seems to riddle Mama to the core and render her a child, desperate for comfort in Baba’s absence. So much so that she “calls for her dead Baba to come back and help her…to save her… [as] she wept.” It is also during this fit that she