If you’ve heard of NaNoWriMo, then you know that 20,000 words isn’t that impressive. In actuality, someone writing 1,666 words a day should have 25,000 words in 15 days. But, as my students are fond of saying, I have a million things to do, so 20,000 is a goal post I’m willing to celebrate.
This is the as yet unnamed novel-in-progress, my first crime thriller, set in the Arabian Gulf, featuring an ensemble cast. This snippet takes us into Manu point of view. He is a young man from Nepal, who arrives in-country, hoping to earn enough to help halt his ailing mother’s decline.
Tell me your likes/dislikes about the genre – so much to learn and write.
“You! Where you go?” The man in the robe was back, making a straight line for Manu.
“Toilet,” Manu said. He didn’t stop walking, lest he embarrass himself in front of all the eyes, now watching.
The man in the robe grumbled but matched Manu’s pace. He entered the bathroom, amazed at how clean it was, compared to the latrines he used in Nepal.
When he re-emerged, the man in the robe was waiting for him. He looked up from his phone and indicated with the radio antennae he was to rejoin his group. Manu walked, as slowly as he could, taking in the glittery countertops on the other side of the visa line. There were perfumes, chocolates, and toys.
“Okay, now,” the FBJ representative was shooing them all like schoolboys towards a roped column in front of the visa desk. “One by one,” he said. “One by one.”
They stepped forward. Manu looked at the young man who was stamping their documents. He took each passport from the ledge above his desk, flicking through the pages, his eyes passing over the face in front of him in an instant, before the heavy stamp descended.
The FBJ rep scuttled them through the baggage area, where the men wandered through a heap of rice paper bags and taped boxes, trying to identify their own.
Manu turned not understanding.
“Your bag?” The rep asked, eyeing Manu with suspicion.
“I lost it,” he said.
The rep shook his head but handed Manu a piece of paper. “Sign,” he said.
Manu looked at it, wishing he had stayed in school longer, as Amita had insisted. He couldn’t make out much anyway, the contract was in Arabic. But there, above the signature, he could make out numbers, since they often used the same ones in Nepal for license plates.
“This says 1,000,” Manu said. “What’s this? The salary? They promised me 1500.”
The rep clicked his tongue, peering at Manu as if seeing him for the first time. “You don’t want this job? You can go back.”
The other men were signing their contracts, passing the one pen among them.
“I want to work,” Manu protested. “But for the amount they said.”
The rep began walking, the column of men following him as they left the brightly lit airport into the warm night. They walked the length of the parking lot, to a dark corner, where a bus waited for them, lumbering in the dark.
Manu climbed the steps, promising himself he would speak to the rep later.
“Sign,” the man said, putting an arm across Manu’s chest. The contact and the pen were pressed at him.
Manu signed. His legs quivered after so much time standing. He collapsed into a seat, his shirt sticking to him. Unlike the airplane or the airport, the bus had no air conditioning. Humidity rolled through the open window and up and down the aisle like a beast with moist breath. They creaked their way through the city, mostly at sleep, and largely in the dark. The bus followed roads that snaked away from the bright lights of the perimeter, until they entered a neighborhood with dusty streets, and grey bricks made of concrete. There was laundry hanging on drooping lines and smashed vehicles waiting outside of garages. Men were walking around in collared shirts, and lungis, the cotton loincloths of the Indian subcontinent.
When they shuddered to a stop outside a chain link fence, running around a group of squat, brown buildings, spotlights illuminating the guard station at the front gate, the pit of dread in Manu’s stomach grew.
Semite refers to a group of related languages in Asia, now commonly referred to as the Holy Land in the Middle East. Arabic is one of those languages. Arabs are Semites.
Which should all give us pause when we see images like the one tweeted by the Israeli embassy in Ireland last week. They did take it down but the images speak for themselves but perhaps not in the way the embassy intended. Is Islamophobia now acceptable?
The news is rife with atrocities in Syria, Iraq, and Palestine, among other places. We clamor against death tolls and rightly so. But the public can grow weary of these images, preferring to turn back to their more comfortable programming.
I am particularly touched by the Gaza crisis because I’m watching how it has polarized friends around the world through social media. Perhaps people misunderstand the Palestinian cause because of the myths about this historical conflict. Perhaps because they don’t know any Palestinians either personally or culturally.
Artists, writers, musicians, friends: each have a role in building our world view of a people group. Sadly for most places in the Arab world, the people are represented by their politicians.
Unlike people in Arab countries, the rest of us can’t as easily make distinctions between people and their leaders. My Iranian friends love me though I’m American. My Pakistani research assistants write down notes from our sessions though I’m Indian. The world thinks of Gaza as being ruled by Hamas because that’s the predominate talking point.
Instead of death tolls or media soundbites, how about we think for ourselves? Can we see people for what they are: humans like us who have passions, desires, needs?
Let me share with you an artist, Mona Hatoum, who I learned about during the exhibit Turbulence at Mathaf: Arab Museum of Modern Art. I live in the Middle East and this certainly allows me to gauge the messages the media feeds us about this part of the world. As a writer much of my recent work has been set here because I see it was part of my role to contribute to a wider group of stories about this place. I’m still an expat writing about a place that is not my origin but after nearly 10 years here I write with the other perspective in mind.
Do you have other suggestions of how we can combat media saturation?
The transformation of Facebook from a message board of romantic statuses into a pop culture newspaper has put us at odds with each other.
There was the 2012 Chik-fila imbroglio over their support of organizations that do not pay benefits to gay couples. And the run up to the 2008 and 2012 US presidential elections which brought mudslinging onto your handheld, causing many people swearing off Facebook until December. In both instances, people, formerly known as friends, were having debates, exchanges, and unfriending based on wall posts.
And now, this summer, during the most recent conflict in Gaza, has interrupted the deluge of wedding-engagement-holiday updates. Israel-Palestine has long been a polarizing issue – even before the advent of Facebook. Debate continues to rage on the nightly news as well as on personal media networks about Gaza, Hamas, Israel, and rights. As the physical conflict increases, so have reactions and interactions online. Living in the Middle East and being on vacation in the United States has meant I’m watching the conflicting opinions from both sides. I’m also realizing how little common ground there is online in the case of longstanding conflicts such as this one.
“My response to someone who told me they did not want to be friends anymore based on my posts on Gaza” popped on my timeline when I was contemplating the social fray that Gaza was e about the cost of sharing her opinion on Facebook. She went on to say: “Sharing those posts was and still is very important to me, because there is a humanitarian crisis going on now and I feel obligated to spread awareness regarding it. I am sorry if my posts have caused you to feel offended, but I have not shared them to offend you and am not ashamed of my beliefs and opinions.” The meditation on the boundary between expression and tolerance was probably lost on her friend who had probably stopped following her posts.
I’ve also been sharing about Gaza, and the disproportionate amount of violence being used, wondering if any of my US friends would object.
Another friend posted a 3 a.m. rumination about the conflict: “Tonight as I sit in silence my heart aches for the mothers and fathers that lost their children and will never again experience a “day”with their son or daughter. My heart aches for Palestine and Israel. How does killing a child justify anything?”
An immediate response to her post was telling: “What’s your heart aching for Israel for? Things are NOT equal to be saying this.”
She then replied within a few minutes: “It aches for the Israelies that want peace and want the killings to stop. They are not being heard. We are not being heard. It’s awful.”
I went to Gaza in 2012 as part of the Palestine Festival of Literature. I had the chance to see one of the most populated places on earth first hand: we helped have the first musical concert in a over ten years.
What I saw mostly was people trying to live normal lives with bullet ridden buildings all around them and a democratically elected government trying to maintain its power base.
If we can’t talk about the world in social media, then why be social at all? What do you think: is it better to keep it simple and to personal events or engage in current events online? Or do the rules of civility for in person conversations apply to online discourse? No politics, no religion, or anything of interest?
Nothing ranks as high on an expat’s list of fears as being deported. Maybe death of a loved one while you’re abroad. Not your own death, because like the average teenager, you think your charmed expat life is immortal. Those who have lived overseas know all too well both death and deportation are likely scenarios. Neither is polite to discuss in public.
I wrote about both in The Dohmestics, my most recent paperback release, based on observations as an expat for nearly a decade. The novel explores the lives of six women: three employers and three housemaids who live in the same compound, or walled neighborhood. I found out how difficult the employer-housemaid relationship was to describe in the process of trying to get interviews as background research. Even friends were reluctant to let me speak to their helpers.
Then fact and fiction collided when we were told that a nanny in the neighborhood’s sister was in the detention facility.
That’s how we learned there’s something worse than being deported. Detention.
The sister, also a nanny had runaway from her employer who had her working at several homes in the extended family with little sleep or food. Yes, for some reason, we use the word “runaway” to describe a grown woman who has no other recourse to end her employment. Runaway: a word that has been to describe willful teenagers and slaves, those beings treated as human chattel.
She left her employer one day, walking out while the family was upstairs. She worked for a series of other families in various conditions: sometimes sleeping on the floor on the kitchen because the maid’s room was used a storage. Waking up at 4:30 a.m. to iron and cook for her landlord who also charged her rent. Bouncing from family to family, a few years went by. An ailing mother, a maturing daughter: she wanted to go home.
She got an airline ticket – hard to come by at the tune of thousands of riyals – and went with her luggage to the embassy. They turned her over to CID or the criminal investigation department. She called, hysterical, because she was being held in a facility with hundreds of other women, some of whom had been there for a month, others for three.
The line was scratchy: they were default fasting because no one was being given food during Ramadan.
Despite being a women’s area, there were no sanitary supplies.
Anything you received, you had to get from someone on the outside.
We assembled a care package, the contents what you might take your daughter’s dorm room: peanut butter, bread, jam, Kotex, chocolate, laundry detergent.
More calls, from random numbers, from borrowed phones (hers had been confiscated) of other long timers. Rushed conversations to exchange file numbers and any updates.
She has a good chance of eventually going home. She has a ticket, no debt, no pending charges. Someone has to take interest in her to distinguish her case from the hundreds of others who are much, much worse. They are waiting on sponsors to pay fines for having a runaway (that word again), waiting for family to raise money to bring them home, waiting for a miracle to clear their debts.
“That’s the place people take their maids when they want to punish them,” a friend told me. “If they don’t want them any more, they leave them there.”
As you may recall, my first book was banned for being about Qatar and Qataris. I had no idea that love was a sensitive subject.
Maids, though, housemaids, I knew were controversial. They are the invisible army without the glamour (or indignation) of the 2022 World Cup stadiums to galvanize the international media to their cause. There is no country named in The Dohmestics because I hope it makes it into the hands of readers in Doha. But also because the treatment of these women, who sacrifice their lives for their children, fund unfaithful husbands, and prop up their home economies (personal and national), is commonly archaic across the Middle East – whether Lebanon, the GCC, or Egypt – and extends into Asia where high rise suicide jumpers in Singapore are so commonplace, they only make the news if they take a young child with them.
“I am not a housemaid,” I said enunciating the vowels for the embassy official who had missed my American dress, accent and husband. “I am here for a friend.”
Is the deportation facility in the novel? You’ll have to read it to find out. This is one instance when real life is worse than fiction.
Thanks to Kate Lord Browne for asking me to participate in this blog hop. KLB is the author of ‘The Beauty Chorus’ and ‘The Perfume Garden’, which was shortlisted for Romantic Novel of the Year. She also writes the Ahlan! magazine Book Club column, the first of its kind in the Middle East, and lives in the only true desert country in the world with her family.
Courtesy of this blog hop, you’ll get a window into world of writing via me and three other writers as we answer the same 4 questions.
1) What am I working on?
My mind, or shall I say computer, is a bit of a muddle right now because I’ve got 2 books that need heavy revisions and not enough hours in the day. One is a novel that’s set in the Arabian Gulf and explores the relationships between maids and their employers called The Dohmestics. This is my second title due out in paperback this summer. The other is a novel set in Laos in 1975, about war in Southeast Asia and immigrating to America, The Opposite of Hate. This is my next eBook. Looming deadlines are good motivators to get going as is controversy; the sequel for my banned novel, as yet unnamed, is lingering at 15000 words. Needless to say, it will be a busy summer of writing.
2) How does my work differ from others of its genre?
My work is a blend of history, culture, and place. The books stand out because they explore places that many readers may not know about: Laos or Qatar – examining spaces within these countries that wouldn’t be accessible to outsiders.
3) Why do I write what I do?
I write to take the reader places s/he couldn’t go on their own.
4) How does my writing process work?
Dear oh dear it’s not streamlined. I am usually writing a draft of one project, revising another one, and marketing all the published ones (8 to date). Generally I’m working triage, on whatever title is getting a facelift or scheduled for next for publication or promotion.
A friend, who is also Kuwaiti, came into my office, eyes wide, full of regret. She had been employing an undocumented cleaner. Someone she describes as one of many who “fall through the cracks of the outdated, extortionate, unjust Kafala (or sponsorship, work permit system used in this region including my Kuwait) ) system.” She grew up in a household with house help; she was not not unware of how it works. Yet when her cleaner did not show up several days in a row to work, my friend tried to do some investigating. Through a network of people connected to her cleaner, she was able to piece together a chain of events, locate the prison where she was being held, and eventually, secure her release.
Here she describes her experience with the quagmire of having a part time worker in and out of her home.
“My cleaner came to this Qatar under the Kafala of a cleaning company. She paid them a huge fee to come to Qatar to earn a living. When she arrived, she went through all the procedures to complete her sponsorship papers, finger prints, blood tests, photographs etc. she was given a photocopy of an official looking large stamp in her passport and told this said she was legitimately a resident. She was then told to find her own work, but to check in every two years to pay another large sum of money to update and renew her sponsorship, which she did. Little did she know they’d taken her money, and reported her as a ‘runaway’ and never completed her sponsorship papers.
When her flat was raided by the police, she naively showed the police the photocopy of the visa in her passport that she was given by the company. The one that said she had legal sponsorship. She was still taken to prison. They took away her phone. She had no access to the number of the company, her purported sponsors. She asked the police to call her sponsors. They repeated her only concern should be that she’s being deported.
In the meantime, on the outside, I was trying to do everything I could to secure her stay in the country. I called her ‘sponsors’ office to see if they’d agree to transfer the sponsorship to me. They denied ever knowing her.”
Her experience is one that speaks to the volumes of people who are caught by the middle men; the brokers who promise sponsorship and vanish. As she observes: “In a transient place where employers and employees have a high turnover such as here….there so much quick money to be made from it. I see prisons full of cleaning ladies.”
My friend didn’t want me to write about this until she had guaranteed her cleaner safe passage home. Her impassioned arguments are not only to policy makers but to GCC citizens: “If we are ever to progress we need to review our work permit laws. If we can ever get away with saying the Kafala system is not slavery, we need to do away with labelling people as ‘Runaways’. The amount of money changing hands for the labour force is mind boggling and we don’t dare call it human trade? ”
When I was researching for my novel, The Dohmestics, scheduled for release in paperback this June, I heard all sides of the employer/employee conundrum. Those of housemaids who appreciated their employers and were saving up to send two, three, four, or five children to university. Those of maids who were given a bed sheet to sleep on the kitchen floor instead of their own room. Those of maids who were deported after coming home intoxicated. Or pregnant. On and on. What remains clear is that while everyone might discuss the migrant workers, the men in blue jumpsuits building the stadiums for the 2022 World Cup, the housemaid or her day laborer equivalent, the cleaner, is ephemeral and perhaps even more vulnerable because she is in the most private space in the Arab world: the home.
If you alienate the middle, where the moderates are, all you’ll have left is the extreme. We’ve seen this happening in American politics as the Republicans and Democrats hurl insults at each other like parents at a toddler football game. And it’s happening in contemporary society in Qatar in the way people view or sanction behavior.
Take for example the decision banning of my paperback Love Comes Later in March. People in Doha, D.C. and everywhere in between, keep asking me why. Why was it banned? There are a few speculations based on the feedback my distributor gave me: “Because it’s about Qatar and Qataris.” A novel in English, about Qatar, written by an expat. A book that was researched for 3 years, in which the author attempts to represent Qatari life, as accurately as possible for an outsider, without the objectionable sex, politics or atheism, is still unpalatable.
Love Comes Later pops up among a list of titles that include Teaching Abdulla the Terrorist and If the Sun Doesn’t Kill You, the Washing Machine Will. Or more recently The Best Ever Book of Qatari Jokes: Specially Re-purposed for You Know Who. The description reads: “if you don’t burst out laughing from at least one Qatari joke in this book, there’s something wrong with you. This book has so many Qatari jokes; you won’t know where to start. For example: Why do Qataris wear slip-on shoes? You need an IQ of at least 4 to tie a shoelace.”
Take for another, the story of my friend Fatma. She is a dutiful Qatari daughter; she choose a mainstream major as a university student which is when I first met her. She wrote an essay for the Qatar Narratives anthology which was included in the book that became Qatari Voices. Fatma is not a rebel: “Many girls my age feel that they were born at the wrong time and in the wrong place—a place sealed with traditions and at a time that lies in between. But I could not be happier. I have traditions that keep me secure, definite, and relieved at a time that is full of risky choices.”
Fatma is proud of being Qatari. She wears her hijab “properly” (you can’t see any of her hair, her veil comes to her forehead). She’s so thin, Kate Moss would likely cut Fatma to avoid any chance of competition. But you’d never know because her abayas are not shaped to her body but hang loosely. She also loves jazz.
We exchanged a few messages about going out to Jazz at Lincoln Center Doha, the club at the St. Regis hotel in Qatar.
They don’t let Qatari women in I messaged.
I’ve taken off my abaya and they do she replied.
You did? I asked sounding like a shocked grandmother. Taking off your abaya is something Qatari women do when they want to go incognito. Ironically it’s a way of hiding in plain sight: Qataris scan crowds for other Qataris, skipping over expats. I’ve known other friends who have done this to go out with people their families would disapprove of. In Fatma’s case, she wasn’t hiding from family in public, she was doing the necessary, as mandated by law, in order to do something else she loved: listen to live jazz music with female friends.
The week was long, and the nights short with the baby, so I lost track of the conversation and went to bed early. The next day she told me what happened. And her intention to write about it. “I, a Qatari woman, was banned from an event that celebrated the women of jazz. The obvious irony aside, I also was embarrassed when the guest relation’s manager politely, but firmly denied my entrance. What really embarrassed me though was the thought that as a citizen of Qatar, I was banned from enjoying this unique art form…in Qatar!”
The first few days, people rallied to her cause. Other women agreed the rule that no Qatari women are allowed in the club – Qatari men not in national dress are – was unfair and silly. Men supported her for speaking out. All of this conversation was in English, on Facebook, or the original blog that posted her piece, JustHere.qa.
Not everyone appreciated the irony that jazz appreciation, like so many other specialized new activities in Qatar, cannot be enjoyed by half the citizens in the country. As Fatma says: “Nonetheless, I tolerated that no ‘national dress’ rule, donned a colorful hijab, modest shirt and skirt and went for one purpose: to enjoy jazz as it’s meant to be heard – live. Now, it would seem that ‘national dress’ is no longer an issue. Women are the issue. Qatari women.”
Others joined the conversation in full force, her critics posting under nicknames.
Commentators on an Arabic site asked how dare a Qatari woman go to a club that serves alcohol and take off her abaya.
She was called “an infidel, atheist, slut, will never get married, should burn in hell, ignorant, outcast who belongs to here on papers only, a shame to her tribe.” She was told she “should leave.” One commentator deduced “this is what studying abroad does to women.”
Fatma completed her degree at the national university that has separate campuses for male and female students.
There are multiple layers of conversation here; about what is acceptable behavior for women, either in written or physical form, whether expat or Qatar. On both levels we see a society that has many ambivalent attitudes towards women’s place in the public sphere.
Yellow sun. Orange sun. What has she done? At first glance everything seems so ho-hum. Etel Adnan in All Her Dimensions is not an exhibit that grabs your attention like other work in the same building. You may hate or love performance Mona Hatoum, for example, or find Manal Al Dowayan’s project on Saudi teachers is too narrow, but at least they elicit a visceral reaction.
With Adnan, there’s nothing to offend or excite: no human shapes, no bifurcated animals, no female genitalia. All these have been present and offended members of the public in recent examples of public art in Qatar. Only endless empty landscapes: yellow, orange, red, and green. The primary colors appear again and again in unmediated, unrelenting, unapologetic repetition in effect creating a visual blindness. “Sweet,” you might murmur to a friend. “I don’t get you,” someone said hovering over a Josephesque tapestry.
Etel Adnan doesn’t mix her paints, you see. The oils come out of their tubes and onto the canvas. Her angles, her shapes, her instinct feels like my three year old on a Saturday morning: carefree, oblivious of the fact he should be interesting to warrant an entire floor of the Arab Museum of Modern Art.
On the surface her art is sweet, even feminine, acceptable to the public Islamic register. Her pleated, accordion fold leporello are playful; the Arabic poetry inscribed upon on them borrowed for Adnan, long an exile of the Arab world, has lost fluency in her mother tongue.
At the tune of 50,000 USD a canvas, these are worth much more than the thumb tacked paintings in my children’s playroom.
The price tag makes you take notice, if the landscapes or black and white sketches do not. You do some digging. Adnan’s strength, many argue, is as a writer who dabbles in painting. 89 years old, a lightening rod for her politics, she is a feminist Lebanese American writer, filmmaker and activist. Her private life, illegal in most Middle Eastern countries, is private in the exhibit itself; an interesting move to support alternative lifestyles while at the same time covering it.
A wall of quotes in English, Arabic, and French illuminates Adnan’s politics: “I tell myself that it would be better to let loose a million birds in the sky over Lebanon, so that these hunters could practice on then, and this carnage could be avoided.” Perhaps this is why the relentless, endless landscape: empty of humans who can wreck so much violence.
Regardless of the reason, you’ve spent this much time thinking about her. Which in itself says something.