“I was grateful for the traffic jam, and wanted it to last.” Theroux’s final sentence, and how i feel about this book—it got me through the throes of my late third trimester (with Tehran and the Egyptian food festival) and golden sleepless postpartum days, and filled the insatiable Baghdad without a Map sized hole in my heart.
This book captures a very specific (and not often documented in book length form) moment in the Middle East—after the Iran-Iraq war but before Persian Gulf—which is usually lost as post-9/11 narratives are anachronistically read back into it. The Middle East has changed explosively in the years since publication, and what others describe as outdated in his work, I found to be a charming and perfectly preserved snapshot / time capsule. Plus, it's funny in a whip-smart way that has perished in the age of mass communication.
Theroux is of the last generation of great journalists—instinctively and enthusiastically rustling up beats, truly embedded in the culture he writes about. (The great penultimate moment for this breed was Yugoslavia, and we simply haven’t seen it since ~2008).
Tony Horwitz (RIP) is my perennial favorite of this genre and Theroux delivered the same immersive, funny, pathos-filled, historically informed dispatches. I am sad to see he hasn’t written more full length books in this genre. I def want to read his intel book even tho it has barely any reviews or online presence for some reason (?). And his Sadr book, although he admits he doesn’t reach any solid conclusions abt the case.
I am DESPERATE for more first-person journalistic narratives from the late golden age of American reporters. Maybe try Robert Kaplan next? I have two of his books on my shelf. I want personal experiences informed by history, not history shoehorned through personal experiences. Does anyone have any suggestions?
Many books that approach this genre fall into one of two mistakes: 1. write a dry history only peppered with personal anecdotes or 2. write a maudlin saga of “finding themselves” against a foreign backdrop. He does neither, but manages to be perfectly authentic. This book is really the meta story--the story behind the story of the Sadr book. He is authentically writing about his experience—his experience, bc he is perpetually curious, just happens to be the unquenchable search of knowledge and cultural immersion, getting to know Arabia and marveling at everything. He’s describing facts and realizations bc he’s excited to find them out, not out of some prescriptive duty of documentation, or some solipsistic urge toward showing off your self-actualization. Can relate. Elements of factual reporting and self-reflection of course exist, but they aren’t forced or artificial.
The whole narrative is oriented toward the THING (the object of study), not toward the self or toward the reader.
Theroux’s journey through Arabia chases the elusive guiding star of the disappeared Imam Moussa Sadr, through whom he explores intra-Arab and broader intra-Islamic relations at this specific junction of world forces. Particularly revealing was the contemporary description of Iran’s involvement in Lebanon (Hezbollah) and the plight of the Shiite minority throughout the Arab world.
I often felt out of my depth with the assumed baseline knowledge of a now-past Middle Eastern status quo, but gleaned more from context than anything I could have systematically taught myself.
Higher quality writing than anything you’ll find from most modern journalism, plus without the stultifying fear of bias that sanitizes and strips all reporting of its personal and experiential qualities. The best way to combat bias is not to surgically remove it, but to empathize with the writer (even with disagreement) in order to form a picture of the actual situation. More information can be directly telegraphed into the understanding via vibes than can be translated from vibes into language and then deciphered back into vibes. Living transmits meaning, and reading about living is a second best-- infinitely more powerful than colorless extractions of info.
In a dreamlike sequence, Theroux finally gets to meet his hero, author Abdelrahman Munif, whose heartfelt banned books got Theroux through his stultifying days and nights in artificial Arabia. Munif addresses the only topic that matters for contemporary Arabian literature, but the one which authors frustratingly avoid: OIL. Theroux, moved by Munif's candid depiction of this economic and cultural earthquake, translates Munif's three-part Cities of Salt for the English reader. The uncertainty endemic to oil kingdoms hovers like a dark cloud, and no one wants to discuss the origins nevermind the end.
The oil will dry up, and then what? We haven’t made it to this juncture yet, but I wonder what Theroux (or Munif) would think of the current hypercapitalist Arab world. A novel of Dubai would be a dystopian (utopian?) postscript. But he’d probably expect it—The deserts will keep coughing up shimmering mirages, borders will be redrawn, ancient religious wars will rage amid the encroaching skyscrapers, all the same players rolled onto the map in slightly different iterations until the end of time.