Frankenstein in Baghdad

by

Ahmed Saadawi

Frankenstein in Baghdad: Chapter 7 Summary & Analysis

Summary
Analysis
One morning, Faraj is angry to discover that members of an association concerned with the preservation of Baghdad’s historical houses are marking some of his properties with blue paint. This includes Elishva’s house, although she refuses to open the door to them. Even though the employees reassure Faraj that this is a customary operation, Faraj addresses them angrily, convinced that these people are trying to steal his properties.
Although Faraj is currently benefiting from the protection his contacts afford him and is experiencing a period of financial security, his situation, too, is unstable, because it depends on illegal appropriations. Faraj must therefore try to hold onto his acquired territory as much as he can, through intimidation and manipulation—just like other, more violent groups in the city.
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Later, Faraj discovers that these government employees have already visited Elishva to propose a deal to her: she could stay in her house without paying rent but would give her house away to the state after her death. Faraj is terrified that the old lady might accept this offer. However, he learns that she has refused to do so before her son, Daniel, who has temporarily left the house, comes home.
It is unclear why the state is so insistent on trying to acquire Elishva’s house. However, this situation highlights the contrast between current economic and political processes taking place around Elishva and the old lady’s aloofness: her lack of concern for issues that do not directly concern her memories of her family.
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Although some people initially believe that Elishva has gone mad, others argue that they have indeed seen the figure of a young man enter her house at night. Umm Salim declares that she knows the truth about Elishva. Her husband, Abu Salim, who spends his days sitting by the window, has seen a visitor enter Elishva’s house. He believes him to be a criminal who hides in the old lady’s house.
Abu Salim’s observation of Elishva’s house suggests that the neighborhood maintains a close eye on each other’s lives—for purposes that include protecting each other from harm. However isolated Elishva might feel, she actually benefits from the benevolent protection of her neighbors.
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One woman, whom Faraj once mercilessly evicted from her home, believes that Faraj must be responsible for this sinister turn of events. She trusts that he is the cause of all bad events taking place in the neighborhood. This woman also recounts a moment of tenderness that she witnessed between the mysterious young man—whom she believes to be a murderer—and Elishva. When the man saw Elishva speak Syriac to the picture of Saint George—and it certainly sounded as though two voices were interacting—he was moved by the dialogue. Elishva then turned toward him, called him “my boy” and fell into his arms, crying.
In the same way that Umm Salim believes in Elishva’s positive spiritual powers, this other neighbor believes Faraj to be responsible for all evil occurrences. Both beliefs—one aimed at identifying positive forces, the other focused on negative powers—reflect an impulse to attribute unexplainable, arbitrary occurrences, such as explosions of murderous violence, to a definite cause. This underlines the human difficulty to accept chaos as an ordinary aspect of life, as well as people’s tendency to appeal to external factors to explain the existence of evil.
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Although many people do not believe this version of the story, they still appreciate its emotional import. As a show of solidarity, they curse Faraj the realtor and, buoyed by this collective support, the woman who initially accused Faraj of wrongdoing feels her hatred dissipate.
The neighborhood’s solidarity toward this woman’s anger at Faraj shows that collective support can assuage even intensely negative emotions. Anger and hatred, the woman concludes, is not the only solution to past harm: one can also move on peacefully from such difficult events, with the help of friends’ support.
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In the meantime, it has been a week since Elishva has gone to church. She prefers to visit other religious institutions to complete her “Islamic” vows. During the week, she leaves henna paste or sprinkles water on the Saint Qardagh Church, the Anglican Church, the Syriac Orthodox church, the Jewish synagogue and the Orfali Mosque. Finally, she visits her usual Church of Saint Odisho, lighting incense to fulfill her vows. Elishva stays for Mass, eats with her fellow church-goers, says goodbye to everyone (including the policemen in charge of guarding the church), and waits for her daughters to call. Father Josiah told her they had asked for her during the week.
Elishva visits a variety of religious institutions in order to give thanks for the appearance of the Whatsitsname, whom she is convinced is her son, Daniel. Her “Islamic” vows refer to her previously mentioned belief in God as a force capable of fulfilling her desires and respecting a series of conditions. Elishva’s openness to different religions’ presence in the city suggests a peaceful, cooperative attitude toward religious co-existence: she values the God that all of these religious institutions represent, regardless of differences in doctrine.
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Finally, the phone rings and Matilda tells Elishva that Hilda has been suffering psychologically and had to go to the hospital. Instead of showing concern, Elishva replies that Daniel has returned. Matilda ignores this information. Impatient, she tells Elishva that Hilda, whose son looks just like Daniel, is angry at her, and that they both want her to come to Melbourne.
Elishva’s lack of concern for Hilda does not necessarily reflect a lack of love but, rather, Elishva’s deluded state: she is unable to focus on anything besides the return of her son, Daniel. Matilda, by contrast, understands that her mother’s fantasy world will not protect her from the very real dangers in Baghdad, and that it would be safer for the old lady to leave the city.
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Angry at her daughters’ complaints, Elishva tells them not to worry about her or be sad. She warns Matilda not to call her again until she can speak to her calmly. Elishva hands the phone to Father Josiah. Matilda tells him that they will have to come to Baghdad to take her away by force. After the phone call ends, Elishva firmly tells Father Josiah that she no longer wants to answer her daughters’ calls. If he doesn’t respect this wish, Elishva threatens, she will attend the Saint Qardagh Church instead.
Elishva’s harsh behavior toward both Matilda and Father Josiah reveals her practical understanding of life, despite her belief in seemingly fantastical events such as her son’s return. Indeed, Elishva knows that she can manipulate Father Josiah into respecting her demands by threatening to leave his church. Elishva shows a practical awareness of church politics: she knows that Father Josiah needs people to attend his church, since he wants it to survive as an institution.
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In the meantime, Saidi frequently takes Mahmoud on outings and allows him to answer his phone when he is not in the building. Once, Mahmoud answers a call from a member of the parliament who accuses the magazine of publishing news that goes against their interest.
Mahmoud’s conversation with an angry politician reveals the potentially dangerous nature of his journalistic work, which can reveal uncomfortable truths about powerful groups, including the authorities currently in power.
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On another occasion, Mahmoud answers a call from the number 666, which he recalls as the symbol of a biblical “beast from the sea” in an American movie. When he picks up, he hears the voice of Nawal al-Wazir, who believes that she is speaking to Saidi. Her angry voice causes Mahmoud to hang up, and he concludes that the woman must indeed be romantically involved with his editor.
The association of Nawal’s phone number with a fictional monster gives the woman an air of danger. The ambiguity of her relationship with Saidi heightens both the mystery of her own life, but also the possibly secretive affairs of Mahmoud’s boss, who does not reveal anything about his private life.
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Later, Saidi enters the office and tells Mahmoud that what Brigadier Majid said was true, although he does not explain further. The two of them then leave on a couple of outings. At the end of the night, they reach a secret nightclub, where they are searched for weapons at the entrance. In the chaotic atmosphere of the nightclub, filled with loud music and voices, the two men drink Bloody Marys and whiskey.
As usual, Saidi’s unexplained comments create a sense of mystery, possibly aimed at increasing Mahmoud’s admiration for his employer’s secret networks of information and contact. The fact that Mahmoud and Saidi are searched for weapons suggests that Baghdadis are never spared the threat of terror and violence.
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Mahmoud reflects on his relationship with Saidi. Although Farid tells him he is too deferential toward the editor, Mahmoud believes that Saidi is the one who needs him. However, he is not sure why Saidi trusts him so much, and he wonders about Saidi’s true intentions. In the end, he decides to ask Saidi about what he meant concerning Brigadier Majid’s statements. Saidi smiles and says that the Brigadier was correct in telling him not to buy a printing press. The insecurity in the city, combined with the imminence of new elections, has caused too much uncertainty to launch new investments.
The elections Saidi refers to are the 2005 parliamentary elections in Iraq, the first elections since the U.S. invasion of the country in 2003. These elections are considered important—and likely to elicit tensions among rival political groups—because they aim to provide the basis of a “new Iraq,” a post-Baathist administration. Brigadier Majid’s successful prediction suggests that, despite his work with astrologers, the Brigadier is aware of the most important political and economic developments taking place in the country.
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Emboldened by the alcohol, Mahmoud wants to ask more questions, but the loud music keeps him from making his voice heard. While observing his editor, Mahmoud realizes that he admires Saidi and hopes to become like him. However, Saidi then turns toward Mahmoud. He confesses that he wished he were in the young journalist’s position, but that it is now too late. Astounded, Mahmoud feels as though a dream has been fulfilled. He is too shy to tell his boss that, in fact, he, too, wishes he were Saidi: the only purpose in his own life is to become like him.
Like most of Saidi’s pronouncements, the editor’s comment is ambiguous: it’s unclear whether his goal is to flatter his employee Mahmoud, or whether he is sincere in wanting to be like him. This last possibility suggests that Saidi might wish he had less power—perhaps because he has gotten in trouble. Either way, this comment succeeds in fueling Mahmoud’s admiration for his boss, whose power and charisma he admires.
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In the meantime, Hadi learns that the old man with whom he was negotiating has sold his entire house, including the furniture, to someone else. Hadi has spent the past few days completely drunk, in order to forget about the Whatsitsname’s visit. After his talk with the old man, he sits down on the sidewalk and believes that he could be killed right then and there by a car bomb. He does not understand how he has succeeded in staying alive for so long, despite the fact that at least one car bomb per day explodes in the city. He believes that his destiny is to end up as a casualty on the news.
Hadi’s failed commercial enterprise highlights the precariousness of his business—whose lack of success could very well be correlated with his unkempt, unprofessional appearance. Although Hadi’s reflections on death reflect a despondent attitude, they also highlight a form of thinking that is perfectly realistic, based on the tragic events that occur in the city every day. His thoughts identify the way in which violent insecurity affects people’s minds, weighing as a constant burden on their spirit.
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When Hadi returns to his Bataween neighborhood, he discovers that Abu Anmar wants to talk to him. Abu Anmar, in fact, wants to sell him the furniture in his hotel. Although Hadi realizes that the only furniture that is still in good shape belongs to the four currently occupied rooms, he still accepts to sell the damaged furniture.
Abu Anmar’s business proposal arrives right after Hadi has been reflecting on economic failure and death. It brings to light a certain sense of neighborhood solidarity—Abu Anmar approaches Hadi because he is a well-known presence in the neighborhood—but also the unpredictability of fate, which takes positive and negative twists and turns for no discernable reason.
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Mahmoud then enters the hotel lobby, still drunk from his night with Saidi in the nightclub. He greets the two men and sits down to chat with Hadi. In order to forget about his physical discomfort, caused by his drunkenness, he asks Hadi about the Whatsitsname. Hadi, however, no longer wants to tell a story that has come true. He feels like a passive agent involved in serious events he cannot control. He is unsure whether his creation is “a prophet, a savior, or an evil leader.”
Hadi’s reluctance to tell a true story shows that his storytelling usually serves as a buffer between him and reality: as soon as stories begin to reflect the terrifying, oppressive reality of their everyday lives, Hadi no longer finds comfort in relating such narratives. Hadi’s uncertainty about the Whatsitsname’s function in society will remain a constant thread in the novel, as characters question the meaning of justice in their current circumstances.
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Although Mahmoud expects a light, entertaining story from Hadi, the junk dealer turns serious. He agrees to recount what has happened since his last iteration of the story, but only on the condition that Mahmoud reveal to him a secret in exchange for his, and that he buy him dinner and a bottle of ouzo, the local alcohol.
Hadi’s demand for a secret in exchange for his story underlines his businesslike approach to life: if he is going to entertain others, he, too, wants to be entertained. His request for dinner and ouzo also highlights his financial difficulties and his awareness that he must find creative ways to survive.
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