Arabian Nights and Days picks up where Arabian Nights left off, after the sultan Shahriyar renounces his former bloodthirsty ways and looks forward to a long married life with Shahrzad. Although she does not voice it to the sultan, Shahrzad does not meet this new attitude of Shahriyar's with unalloyed joy, since his renunciation of his past acts does not erase the bloody past. Also, his reign of terror has resulted in a city where the good, for the most part, are dead or have fled, and the remaining citizens (and their governors) have more than their fair share of corruption.

The story that follows is a struggle between the inhabitants of the town, human and genie alike, towards good or evil. Shahriyar, going beyond mere words, often goes out into the city in disguise at night, attempting to bring himself closer to goodness. Many of Shahrzad's stories find life in the town, and many characters from them reappear in different guise. The characters (and the readers) learn lessons of goodness, and strive (but do not always succeed) to follow them.

Mahfouz does not follow an easy path, and there are no easy answers or endings in this book. As always, his writing is beautiful and contains much to think about. There were several passages I read over again, to savor the words and the meaning behind them. This is a book I will turn to again, in hopes of understanding more. ( )

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Annotation
Published in Arabic in 1982, this imaginative and magical novel is a retelling of the tales of the Arabian Nights. Shaharazad, Maarouf the Cobbler, Aladdin, Sinbad, and even genies people the 17 different sections, set in an Islamic city during medieval times.

From the Publisher
A renowned Nobel Prize-winning novelist refashions the classic tales of Scheherazade in his own imaginative, spellbinding style. Here are genies and flying carpets, Aladdin and Sinbad, Ali Baba, and many other familiar stories, made new by the magical pen of the acknowledged dean of Arabic letters.

From The Critics
Publishers Weekly
Nobel laureate Mahfouz's collection of tales inspired by A Thousand and One Nights was originally published in Arabic in 1979. (Oct.)

Library Journal
Anyone with suspicions about the fairy tale tag "They lived happily ever after" will have them confirmed here. The latest translation of Mahfouz (winner of the 1988 Nobel Prize for Literature) is a clever, witty concoction that begins on the day following the Thousand and One Nights, when the vizier Dandan learns that his daughter, Shahrzad, has succeeded in saving her life by enthralling the sultan with wondrous tales. But Shahrzad is miserable and distrusts her husband, who, she suspects, is still capable of bloody doings. All is not well outside the palace either, where a medieval Islamic city teems with anxious souls. Many of them, like the devout Skeikh Abdullah al-Balkhi, strive to attain a high spiritual station, but few succeed, especially when genies and angels intervene, as they do often in this series of linked intrigues and adventures. Mahfouz succeeds splendidly with this fantasy, which should appeal to a wide readership. [Mahfouz is recovering from an October 14th Knife attack by alleged Islamic militants.-Ed.]-Starr E. Smith, Marymount Univ. Lib., Arlington, Va.


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Naguib Mahfouz's Arabian Nights and Days is a bitterly entertaining and compelling read. In medieval age, in some unknown Islamic town, genies pulled a series of escapades that created havoc. The clash between the genies and the townspeople was evocative of inveterate, age-old struggles of virtue, corruption, despotism, injustice, and other practices purged by conscience.
Seized by a pang of guilt that pricked his heart, Sultan Shahriyar repented of his atrocious massacre of virgins and other pious, god-fearing people. Shahrzad, daughter of vizier Dandan, sacrificed her happiness and remained with the sultan in order to stem the torrent of blood.

Merchant Sanaan al-Gamali had a nightmare in which a genie would otherwise punish him if he refused to kill the governor, who had brought about the genie through black magic and made the genie accomplish purposes not approved by conscience. In a state of delirium and crazed fantasies, Sanaan raped and murdered a girl. When Gamali finally summoned his courage, unsheathed the dagger, aimed at the governor's heart and stabbed with a strength drawn from determination and despair, the genie abandoned Gamali to his own fate.

Gamasa al-Bulti, the chief of police, was another man whom the genie chose to be the saving of the quarter from corruption. Gamasa was despondent at the ruin of Gamali's family, which now lived in ignominy. But the chief remained aloof to Gamali's widow for fear of ruining his own position and his standing with the sultan, who regarded the blow directed against his official as being aimed against him personally. The genie confronted Gamasa as one despicable person feeding off ignominy for he protected the elite (who was just as corrupted) by prosecuting the respectable people. In "repentance", Gamasa launched a lethal blow at the neck of the governor, who gave a horrified scream as his blood spurted like a fountain. Unlike the merchant, Gamasa was spared by the genie and was given a new identity Abdullah the porter who then continued the criminal killing spree.

The above tales are just a tasteful sampling of Mahfouz's tour-de-force as a raconteur. Arabian Nights and Days is made up of stories and adventures of 1001 Nights-like characters whose lives Mahfouz deftly and seamlessly woven together and converged at the Café of the Emirs. The café was the central hangout spot of town, where the elite met the ordinary, the rich mingled with the poor. It was where Sinbad parted with the town and returned with serendipitous treasures. It was where every father of a virgin daughter felt reassured relieved and rejoiced over the news of sultan's repentance. It was where the whisperings of people regarding Aladdin's innocence originated and eventually reached the sultan's ears.

The book does not manifest a plot; rather it drifts along and presents the etched characters and their tantalizing but bitter struggles. I have to employ some patience to scrupulously keep track of the exhaustive cast of characters and their intricate relationships (newly adopted identity, remarriage of widows, merry-go-round-like change/succession of governor and police chief). Underlying the thrilling tales are Mahfouz's persistent philosophical overtones and queries. What is the "true path" to salvation? To what extent is a person responsible for his wrongdoings? How does one gauge the extent of repentance, if one is persistently pricked by guilt? To what extent does conscience permit wrongdoings, if the wrongdoing is conducted for a good cause?

The Islamic town is somehow a satirical miniature of the incorrigible society, a world of outward piety and latent corruption. The acts and conduct of the characters bespeak man's weakness that betrays trust, treats generosity with disdain, and plunges recklessly into debauchery and criminal activities. From stealing, stupid pranks to murder; we see the pitiful fall of one of the most morally righteous man in the book. Does his conscience justify his actions?

I am not sure how much I am really absorbing the philosophical message Mahfouz brings about underlying the tale, other than to know I am reading a brilliant satire and a very richly-written novel. Arabian Nights and Days is a delightful departure from Mahfouz's formulaic melancholy works chronicling his times. ( )