Have you ever thought about what fiction is? Probably, such a question may seem surprising: and so everything is clear. Every person throughout his life has to repeatedly create the works he needs for specific purposes - statements, autobiographies, dictations - using not gypsum or clay, not musical notes, not paints, but just a word. At the same time, almost every person will be very surprised if he is told that he thereby created a work of fiction, which is very different from visual art, music and sculpture making. However, everyone understands that a student's essay or dictation is fundamentally different from novels, short stories, news that are created by professional writers. In the works of professionals there is the most important difference - excogitation. But, oddly enough, in a school literature course, you don’t realize the full power of fiction. So using our website in your free time discover fiction for yourself. The Book of Khalid by Ameen Fares Rihani (best contemporary novels .txt) 📖
- Author: Ameen Fares Rihani
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Here is another bubble of retrospective analysis to which we apply the needle. It is asserted as a basis for another astounding deduction that Khalid used to 22 sleep in the ruined Temple of Zeus. As if ruined temples had anything to do with the formation or deformation of the brain-cells or the soul-afflatus! The devil and such logic, we repeat, had once a charm for us. But this, in brief, is how it came about. Khalid hated the pedagogue to whom he had to pay a visit of courtesy every day, and loved his cousin Najma whom he was not permitted to see. And when he runs away from the bastinado, breaking in revenge the icon of the Holy Virgin, his father turns him away from home. Complaining not, whimpering not, he goes. And hearing the bulbuls calling in the direction of Najma’s house that evening, he repairs thither. But the crabbed, cruel uncle turns him away also, and bolts the door. Whereupon Khalid, who was then in the first of his teens, takes a big scabrous rock and sends it flying against that door. The crabbed uncle rushes out, blustering, cursing; the nephew takes up another of those scabrous missiles and sends it whizzing across his shoulder. The second one brushes his ear. The third sends the blood from his temple. And this, while beating a retreat and cursing his father and his uncle and their ancestors back to fifty generations. He is now safe in the poplar grove, and his uncle gives up the charge. With a broken noddle he returns home, and Khalid with a broken heart wends his way to the Acropolis, the only shelter in sight. In relating this story, Shakib mentions “the horrible old moon, who was wickedly smiling over the town that night.” A broken icon, a broken door, a broken pate,––a big price this, the crabbed uncle and the cruel father had 23 to pay for thwarting the will of little Khalid. “But he entered the Acropolis a conqueror,” says our Scribe; “he won the battle.” And he slept in the temple, in the portico thereof, as sound as a muleteer. And the swallows in the niches above heard him sleep.
In the morning he girds his loins with a firm resolution. No longer will he darken his father’s door. He becomes a muleteer and accomplishes the success of which we have spoken. His first beau idéal was to own the best horse in Baalbek; and to be able to ride to the camp of the Arabs and be mistaken for one of them, was his first great ambition. Which he realises sooner than he thought he would. For thrift, grit and perseverance, are a few of the rough grains in his character. But no sooner he is possessed of his ideal than he begins to loosen his hold upon it. He sold his mare to the tourist, and was glad he did not attain the same success in his first love. For he loved his mare, and he could not have loved his cousin Najma more. “The realisation is a terrible thing,” writes our Scribe, quoting his Master. But when this fine piece of wisdom was uttered, whether when he was sailing paper boats in Baalbek, or unfurling his sails in New York, we can not say.
And now, warming himself on the fire of his first ideal, Khalid will seek the shore and launch into unknown seas towards unknown lands. From the City of Baal to the City of Demiurgic Dollar is not in fact a far cry. It has been remarked that he always dreamt of adventures, of long journeys across the desert or across the sea. He never was satisfied with 24 the seen horizon, we are told, no matter how vast and beautiful. His soul always yearned for what was beyond, above or below, the visible line. And had not the European tourist alienated from him the love of his mare and corrupted his heart with the love of gold, we might have heard of him in Mecca, in India, or in Dahomey. But Shakib prevails upon him to turn his face toward the West. One day, following some tourists to the Cedars, they behold from Dahr’ul-Qadhib the sun setting in the Mediterranean and make up their minds to follow it too. “For the sundown,” writes Shakib, “was more appealing to us than the sunrise, ay, more beautiful. The one was so near, the other so far away. Yes, we beheld the Hesperian light that day, and praised Allah. It was the New World’s bonfire of hospitality: the sun called to us, and we obeyed.”
In their baggy, lapping trousers and crimson caps, each carrying a bundle and a rug under his arm, Shakib and Khalid are smuggled through the port of Beirut at night, and safely rowed to the steamer. Indeed, we are in a country where one can not travel without a passport, or a password, or a little pass-money. And the boatmen and officials of the Ottoman Empire can better read a gold piece than a passport. So, Shakib and Khalid, not having the latter, slip in a few of the former, and are smuggled through. One more longing, lingering glance behind, and the dusky peaks of the Lebanons, beyond which their native City of Baal is sleeping in peace, recede from view. On the high sea of hope and joy they sail; “under the Favonian wind of enthusiasm, on the friendly billows of boyish dreams,” they roll. Ay, and they sing for joy. On and on, to the gold-swept shores of distant lands, to the generous cities and the bounteous fields of the West, to the Paradise of the World––to America.
We need not dwell too much with our Scribe, on the repulsive details of the story of the voyage. We ourselves have known a little of the suffering and misery which emigrants must undergo, before they reach that Western Paradise of the Oriental imagination. 26 How they are huddled like sheep on deck from Beirut to Marseilles; and like cattle transported under hatches across the Atlantic; and bullied and browbeaten by rough disdainful stewards; and made to pay for a leathery gobbet of beef and a slice of black flint-like bread: all this we know. But that New World paradise is well worth these passing privations.
The second day at sea, when the two Baalbekian lads are snug on deck, their rugs spread out not far from the stalls in which Syrian cattle are shipped to Egypt and Arab horses to Europe or America, they rummage in their bags––and behold, a treat! Shakib takes out his favourite poet Al-Mutanabbi, and Khalid, his favourite bottle, the choicest of the Ksarah distillery of the Jesuits. For this whilom donkey-boy will begin by drinking the wine of these good Fathers and then their––blood! His lute is also with him; and he will continue to practise the few lessons which the bulbuls of the poplar groves have taught him. No, he cares not for books. And so, he uncorks the bottle, hands it to Shakib his senior, then takes a nip himself, and, thrumming his lute strings, trolls a few doleful pieces of Arabic song. “In these,” he would say to Shakib, pointing to the bottle and the lute, “is real poetry, and not in that book with which you would kill me.” And Shakib, in stingless sarcasm, would insist that the music in Al-Mutanabbi’s lines is just a little more musical than Khalid’s thrumming. They quarrel about this. And in justice to both, we give the following from the Histoire Intime. 27
“When we left our native land,” Shakib writes, “my literary bent was not shared in the least by Khalid. I had gone through the higher studies which, in our hedge-schools and clerical institutions, do not reach a very remarkable height. Enough of French to understand the authors tabooed by our Jesuit professors,––the Voltaires, the Rousseaus, the Diderots; enough of Arabic to enable one to parse and analyse the verse of Al-Mutanabbi; enough of Church History to show us, not how the Church wielded the sword of persecution, but how she was persecuted herself by the pagans and barbarians of the earth;––of these and such like consists the edifying curriculum. Now, of this high phase of education, Khalid was thoroughly immune. But his intuitive sagacity was often remarkable, and his humour, sweet and pathetic. Once when I was reading aloud some of the Homeric effusions of Al-Mutanabbi, he said to me, as he was playing his lute, ‘In the heart of this,’ pointing to the lute, ‘and in the heart of me, there be more poetry than in that book with which you would kill me.’ And one day, after wandering clandestinely through the steamer, he comes to me with a gesture of surprise and this: ‘Do you know, there are passengers who sleep in bunks below, over and across each other? I saw them, billah! And I was told they pay more than we do for such a low passage––the fools! Think on it. I peeped into a little room, a dingy, smelling box, which had in it six berths placed across and above each other like the shelves of the reed manchons we build for our silk-worms at home. I wouldn’t sleep in one of them, 28 billah! even though they bribe me. This bovine fragrance, the sight of these fine horses, the rioting of the wind above us, should make us forget the brutality of the stewards. Indeed, I am as content, as comfortable here, as are their Excellencies in what is called the Salon. Surely, we are above them––at least, in the
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