The Bleeding
Of the Stone
Ibrahim Al-Koni
Translated by
May Jayyusi and
Christopher Tingley
(Interlink)As his father before him, Asouf is a herdsman living in the desert in a corner of Libya. He tends his goats, meets occasional caravans, lives in a world of hot, dry isolation.One day, two visitors arrive, Cain and Masoud, seeking the waddan, a wild sheep reputed to have magical powers. Cain carries a pistol, brags about all the gazelles he has slaughtered, ("I personally ate the last gazelle to the north"). He says, repeatedly, that he must have meat. He grew up eating raw meat, goes into withdrawal pangs without it.Asouf, the shy and simple naïf, doesn't know what to make of these two, but they know what to make of him: he has the secret of the location of the waddan --- which the glossary tells us is also called "moufflon,"a kind of wild mountain sheep, is the oldest animal in the Sahara. It became extinct in Europe as early as the 17th Century.Since Asouf holds the waddan to be sacred, he's not about to tell these two creeps about the secret mountain where it lives. So of course, they badger him, and finally tie him down in the desert sun, arms in the cross position, leaving him there until he is ready to 'fess up --- tell them where they might find their lunch.Cain Adam and Masoud go off and connect with John Parker, a graduate of the University of California --- where he had studied "Zoroastrian, Buddhist, and Islamic Sufi thought." Parker has gotten close to an old Sufi there in Libya, seems entranced by the parallels between Buddhism and Sufism --- but because of the old American poison, and despite his exotic pursuits, he turns out to be another Bad Sort.
Parker gets the two ruffians into an American military helicopter so they can take off for the desert, to maim and murder the last remaining wildlife. They encounter a gazelle, who, in the style of Chaunticleer and Pertolete, has been having a fairly serious discussion with the other gazelles about whether man is to be trusted or not. Says one --- with eyes like a human --- yes. Says another, absolutely not,
The one with the pretty eyes gets it in the gut from Cain's rifle, dies with her gazelle child looking on.
I asked heaven to curse them all for the pain they'd caused me, and, whenever I remembered my slain mother, I felt the poisoned arrow pierce my heart once more. My poor mother!
§ § § Meanwhile, Cain and Masouf take a truck back in the desert to find Asouf there where they've tied him down They discover that a day in the broiling sun still will not loosen his tongue. Cain the meat-nut begins
laughing again, more spittle began to drip in thin threads. And each time he broke into fresh shrieks of laughter, further shining threats would spew out.
He takes his knife and beheads our simple humble herdsman, and, in the last words of the novel,
Masoud leaped into the truck and switched on the engine. At the same moment great drops of rain began to beat on its windows, washing away, too, the blood of the man crucified on the face of the rock.
§ § § The phrase that reappears in the poop-pieces for new emerging writers is, "magical realism." That was, as you recall, the one that some reviewer laid on A Hundred Years of Solitude, and now, whenever they pop another obscure writer from another obscure country, it's our label --- ignoring the fact that Magical Realism has been around ever since the days of the Furies, Chaucer, Shakespeare's witches, Don Quixote, Scheherazade, and Dickens' spooks.
The Bleeding of the Stone has a fair dose of it, whatever it is, and, as desert lore, it is not without interest what with talking gazelles and ghostly waddan. But the symbolism is heavy-handed: "Cain Adam," the crucifixion of poor old Asouf, the Sufis and their chants. Then there's the gazelle itself,
You dreamed of stroking his graceful neck, touching his golden hair, looking into his sad, intelligent eyes, kissing him on the forehead and clutching him to your heart. In this beast was the magic of a woman and the innocence of a child, the resolution of a man and the nobility of a horseman, the shyness of a maiden, the gracefulness of a bird, and the secret of the broad expanses.
Ibrahim Al-Koni's nice people are too nice; his villains too villainous. One gets restless with this stacking of the literary cards. Asouf is pure simple folk, steeped in desert lore. You know he's going to be chewed up and spit out by this meat-nut and all those Americans with their helicopters and rifles. The rapine of the wilderness by them and their ilk, we all agree, is no joke; but, as with most angry writers, our author overwhelms us with spleen, and --- thereby --- engenders no little ennui.
--- Al Hefid