A Thousand Veils Discussion Group discussion

I would like to start our discussion with the prologue. Even though not everyone may yet have a copy of the book, the first few chapters can be read online on Google Books (http://books.google.com/books?id=vS1z...).

Prologues set the stage for what comes next. The past is prologue to the present. So, the prologue to A Thousand Veils begins with a raging sandstorm, a foreboding harbinger of the world of conflict Fatima is about to enter. Conflict with the forces of evil, especially with Mukhabarat, but also with the values and mores of the non-Muslim West. And conflict within herself, at what her fateful decision to flee will mean to her child and to others she loves.

Did you find that the prologue drew you into the action of the novel? Was the imagery of the sandstorm effective? Were you curious to learn more about what happens to Fatima when she leaves her apartment? Do you have any other questions or comments about the prologue?

The prologue, which is all I have read so far, has definitely drawn me in! The description and imagery of the sandstorm reminded me of the several I've experienced in Egypt. I love finding my own experiences, no matter how small, reflected in stories. That connection peaks my interest in most stories set in the Middle East, but there was plenty else in A Thousand Veils that made me want to keep reading. The reference of the sandstorm as a veiling and the statement that no one, no matter who they are, can hide from the dust are tempting hints of themes to be explored.

I am eager to know why Fatima has been prepared for several years for the day she must leave her home. What has happened in her life to bring her to this point? And will she make it to Canada? Will she see her daughter again?

As I read, I did find myself wondering about the true story behind this fictional one. What is the author's experience? How accurate is this portrayal of this woman's life and feelings? Was this based on a compilation of real women or just a single woman? So, I returned to the author's profile page and read about Mr. Murphy's background in international law and work with refugees. I'm curious about these questions and also your writing process, D.J. Did you have to do a lot of research to gather background information for this story? Was it easy to locate information? Was this your first writing project or have you always written?

Bernadette wrote: "The prologue, which is all I have read so far, has definitely drawn me in! The description and imagery of the sandstorm reminded me of the several I've experienced in Egypt. I love finding my own e..."

Bernadette,

As a long-time avid reader, I've always wanted to write a novel and believed that I could. At Harvard I excelled in creative writing, was urged to take it up in course work, but pursued science and history instead. In my first year of law practice on Wall Street I began a novel, a sort of international intrigue with a central character called Charles, but after writing two chapters, I had to drop the idea under the pressures and stress of my day job. Meantime, I gained lots of grist in the course of my work for big corporations like Goldman and Citibank (ever heard of them?) and occasional pro bono refugee cases. In 1998 I secured asylum for a refugee from the Middle East whose case really touched my heart. My wife suggested that I retire and fictionalize that case and others I had handled. At 52 I stepped away from a successful law practice and began to write anew.

The personage of Fatima was the biggest challenge because even though I could draw on the characters of several women I represented, I needed to get inside the head of a modern Muslim poet and intellectual. I had to write her poetry and make it sound as if it had been given birth by such a woman. So, guided by a professor at Colorado State University, I read many, many books--lots of Nawal el Saadawi, among many others--before sitting down to write. When I submitted the manuscript to my editor in NYC (Danelle McCafferty), she wrote back to me, "Don't change a hair on Fatima's beautiful head." My experience and research had paid off!

Thank you for recommending your book D.J. I really enjoyed it.
The prologue was perfect. It definitely drew me in. I could tell there would be lots of action, and now I certainly had questions that I needed to find the answers to. The detail was great too, I felt as if I were there experiencing the sandstorm myself.
I'll look forward to hearing more!

I love these descriptions of the sandstorm:

"The hot swirling wind whipping itself into a mad frenzy"

"Suffocating chokehold"

"A yellow dog that no stick, no curse, could chase away."

These descriptions convey such a sinister feel.

I also liked how you expressed the incredible agony Fatima felt to have to leave her daughter. Latifa was so very much a part of Fatima that being separated from her was like being "the blind beggar at the souk [who:] missed her sight."

D.J. wrote: "Bernadette wrote: "The prologue, which is all I have read so far, has definitely drawn me in! The description and imagery of the sandstorm reminded me of the several I've experienced in Egypt. I lo..."

Yes, I noticed all of the books on your shelf related to Muslim women! (I've added many to my "To Read" shelf.) Do you have a favorite? One that inspired you more than others?

As a nonfiction author, I find the creation of stories and characters fascinating - not something I could ever tackle! Was the prologue the first part you wrote or did you compose it later? Why did you choose to have a female as the main character? Were most of your refugee cases women?

It's difficult to pick a favorite. Nawal el Saadawi's Memoirs from the Women's Prison made a big impression. I could imagine her scribbling little notes and secreting them in cracks in the prison walls, as she writes in her account. I was struck by her fearlessness, her resolve, and her self-possession. Others would have fallen to pieces under the pressure of incarceration. When Sadat was assassinated, she flew as an eagle from her cage, triumphant. I liked that.

Apropos my earlier comment about my need for serious and solid research, Professor Ahmed's Women and Gender in Islam was immensely useful in this regard. She made me understand the significance of the veil in the context of Islam. And of course I was able to bring much of that into play in the novel. Accessible even to the nonspecialist, her book was absorbing and enlightening.

I added the sandstorm toward the end of the writing, after Danelle said that the prologue needed to situate the book more dramatically in a time and place. I had experienced a bad sandstorm once, in traveling from Jedda to Riyadh, Saudi Arabia (on one of my 22 trips to that country). We were in a small plane, a Hawker Sidley as I recall, and we took off as the storm hit. The dust and grit clogged the propeller, and we very nearly crashed. So, I could write part of the book from experience and not a small dose of emotion.

Why a woman became the main character is hard to explain. I started writing the novel with Charles as the main character, since, as you may have guessed, Charles is my Doppelganger (double). Once upon a time, I was Charles. I lived the life that he lives as depicted in the novel. Write what you know, as everyone says, and ergo I did. Not surprisingly, the early chapters of the novel, in draft form, featured Charles, his clients, his deals, etc. But as the novel took shape, the character of Fatima took on a larger and larger prominence. (Note that later in the novel it's she who seems to win all the arguments with Charles!) And Charles began to take on the role of supporting actor. The novel turned into a novel really about Fatima. And whether it was because I was too close to the character of Charles, or was fascinated by the character of Fatima, I think I did a better job with her character. If I may engage in a bit of self-criticism, Charles turned out a bit wooden and flat (though I confess I knew a number of Wall Streeters who were every bit so and more), and in any event less compelling than Fatima. The coup de grace for Charles, though, came when, toward the end of the writing process, Danelle weighed in with a suggestion that the novel actually begin with the chapters about Fatima, her flight from Baghdad, her early life, her marriage to Abdul, etc. I'm glad I made the change as Fatima as a character does speak to readers a lot more than Charles, I think.

I actually did have several female refugee clients who similarly impressed me with their drive, determination, and courage, which I drew upon in creating the character of Fatima. But I must note that her character also incorporate elements of courage and resolve that I observed in my male clients. In the end, though, Fatima is unique, her own personage, and in a larger but real sense, a fiction given flight entirely by my imagination.

Thanks for the reminder to find the prolouge online!

I was a little hesitant with the first few paragraphs - it reminded me of the 40's noir type things with all the mystery! But once it got to the character of Fatima, I was much more interested - she sounds like someone whose story will be interesting.

I was totally drawn in by your prologue. The sand storm left me feeling dry and thirsty. I could picture "The hot swirling wind whipping itself into a mad frenzy". I want to find out what happens to Fatima, does she see her daughter again, does she escape. She already seems to me to be a strong women to be doing what she is - leaving her daughter behind - with the threat of danger at every turn - I hope her journey has a happy ending - but I am already afraid that that may not happen.