As the introduction states, The Book of Saladin is a work of fiction based on historical figures and events. The novel takes place in medieval times with Saladin, the legendary Kurdish leader, as the main character alongside many other characters who once existed outside the pages of this novel. However, the intimate and intricate details of characters’ lives as described in the novel are weaved from the imagination of the author, Tariq Ali.
The genre of fictional history can be quite problematic especially when you choose to write a fictional biography of a character much revered in the Muslim world. For many readers, this could be the only encounter they ever have of this figure; thus, the hazy line between fact and fiction slowly fades somewhere in the back of a dusty memory. My concern in not only for the average reader, but also for the implications of vagueness that is created. Historic characters like Saladin have had far-reaching effects on the collective Muslim conscience. So when such perspective is tampered with, expect nothing but to unleash a wave of unease and turmoil.
The image that probably best describes this attempt at rewriting history is that of a fine piece of classical art marred by amateur graffiti. The aim of the author is probably to bring this larger-than-life figure closer to the modern reader. But there is a vast difference between humanizing a character by describing their pains and joys, and by incessantly demeaning them with trivial affairs. Ali could have done a much better job in bringing Saladin back to life as a person rather than a legend without plunging so low as to mention lengthy detailed accounts of tricks and rituals of eunuchs and the harem.
These mundane side stories do not add much to the plot but they do serve another purpose. They also create a shock factor when these images clash with the traditional view of Islam. It is quite obvious that Ali wants to shatter that uptight conservative image in favor of a much more liberal one, an image where Muslims and Jews coexist amicably, and wine and physical pleasures are applauded not frowned upon. I do not have a problem with that. Islam is open to a wide range of interpretations ranging between both extremes. But if you’re an author and you want to offer your own view, do that using your own fictional characters interacting with each other in your own setting. Please do not use legendary characters, whose actions have had long-lasting consequences, as your mouthpiece. So Mr. Ali, the next time your brush is itching for some graffiti, may I offer you a blank sheet of paper?
The genre of fictional history can be quite problematic especially when you choose to write a fictional biography of a character much revered in the Muslim world. For many readers, this could be the only encounter they ever have of this figure; thus, the hazy line between fact and fiction slowly fades somewhere in the back of a dusty memory. My concern in not only for the average reader, but also for the implications of vagueness that is created. Historic characters like Saladin have had far-reaching effects on the collective Muslim conscience. So when such perspective is tampered with, expect nothing but to unleash a wave of unease and turmoil.
The image that probably best describes this attempt at rewriting history is that of a fine piece of classical art marred by amateur graffiti. The aim of the author is probably to bring this larger-than-life figure closer to the modern reader. But there is a vast difference between humanizing a character by describing their pains and joys, and by incessantly demeaning them with trivial affairs. Ali could have done a much better job in bringing Saladin back to life as a person rather than a legend without plunging so low as to mention lengthy detailed accounts of tricks and rituals of eunuchs and the harem.
These mundane side stories do not add much to the plot but they do serve another purpose. They also create a shock factor when these images clash with the traditional view of Islam. It is quite obvious that Ali wants to shatter that uptight conservative image in favor of a much more liberal one, an image where Muslims and Jews coexist amicably, and wine and physical pleasures are applauded not frowned upon. I do not have a problem with that. Islam is open to a wide range of interpretations ranging between both extremes. But if you’re an author and you want to offer your own view, do that using your own fictional characters interacting with each other in your own setting. Please do not use legendary characters, whose actions have had long-lasting consequences, as your mouthpiece. So Mr. Ali, the next time your brush is itching for some graffiti, may I offer you a blank sheet of paper?