Qunfuz

This review was first published, slightly edited, at the Guardian.

“There is everything that ever happened, and then there is this morning.”

Rasa’s grandmother – Teta – has discovered him in bed with his boyfriend Taymour. It’s a potential disaster for Taymour, who tries to “play by the rules, one foot in and one foot out”, and for Rasa it precipitates a crisis of eib, or shame, the fear of what people will say and the necessity of lying it imposes.

Since boyhood he has obsessed with finding a word to define him: louti – sodomite, or khawal – effeminate, or gay, first heard on TV when George Michael came out, or even shaath – “queer, deviant, abject”.

But Teta’s spying and screaming is only one of Rasa’s problems.

His friend Maj has been arrested. Rasa isn’t sure if it’s because of his human rights work or on account of his sexuality. In a hidden nightclub called Guapa – the “pocket of hope” which gives Saleem Haddad’s wonderful debut its title – Maj often belly dances in full niqab and a print of Marilyn Monroe’s face. He calls this “war-on-terror neo-Orientalist gender-fucking”. “We are all performing,” Maj declares, referring back to eib, and to the demands of survival in a prying dictatorship.

The president’s gaze, no less than Teta’s, “unpacks your existence bit by bit until you are naked and helpless, your most secret thoughts out in the open for all to see.”

Rasa lives in a unnamed, composite Arab city clogged with traffic, policemen, cynical cab drivers, and new and old waves of refugees. People clutch cigarettes and Turkish coffee in their well-chewed fingers. The air smells of jasmine. The walls are adorned with posters of the president in various costumes.

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