Mohsin Hamid’s second novel, The Reluctant Fundamentalist (2007), gained the Pakistani writer a measure of well-earned global notoriety and indicated the scope of both his ambition and his ability. But, really, it was only a jumping-off point. Hamid has a great deal more to say than he has said in three short novels to date, or really than is possible to say in novels.
A writer’s occasional pieces are the flip side or reverse image of his or her fiction. As such, they hold a legitimate and even important place in his or her body of work, which can be defined as the statement that he or she spends a lifetime striving to make. Hamid’s novels are concise literary gems, self-consciously crafted in a manner reminiscent of Kazuo Ishiguro, and therein lies not only their durable merit but also their limitation. Hamid’s un-Ishiguro-like willingness, between novels, to put himself on the line by writing explicitly about current events brings to mind a truly great writer who for many decades wrote exquisite novels of global and lasting value with one hand and, with the other, stood always at the ready to leap into the breach with what one critic approvingly called “thin-skinned responsiveness”: Graham Greene.
Like Greene, Hamid rises to the occasion. At 44 he is still young, which bodes very well because his wonderfully-titled new collection Discontent and Its Civilizations suggests the potential for him to give us books of even greater importance, both literary and topical, for many years to come. And we will need him in those years, just as we need him now. For now this book is plenty important enough, and for David L. Ulin in the Los Angeles Times to praise it faintly as a “mash-up” lacking “weight” and “staying power” is to miss the point that rightly compelled its publication now. The times we’re living through are not conducive to staying above the fray, and indeed the relative slightness and datedness of some of the book’s pieces are also very much to the point; to read them collected in book form serves as an apt reminder of just how fast history is moving these days, how alert we must try to be.
The world’s peace party needs for its thought leaders to be as active and assertive as the bullies among both the terrorists and the imperial apologists. Mohsin Hamid’s reputation as a novelist grants him presumptive access to an American audience beyond the usual suspects of East Coast and academic “policy” types – those intellectuals who sell or rent their brains and command of language to the North American imperial state – and he puts that access to good use. I remember only too well my own lunch with a literary agent in New York circa 2004, soon after my book Alive and Well in Pakistan was published in London (that book could not have been published in New York). When I told him that I had written a book about Pakistan, the agent’s immediate question was: “What’s your argument?” As if writing about Pakistan required having an argument. The rejoinder that I lacked the presence of mind to offer at the time was: I’m not making an argument; I’m telling a story.
Pakistan deserves more telling of its stories, and far less hard-nosed, bloodless analysis. There is no half-baked notion in today’s world that’s more tiresome, indeed pernicious, than the notion that Pakistan exists primarily as a policy puzzle or problem for D.C.-based think-tank thinkers to think about. Pakistan – good, bad, and ugly – exists in its own right. I know this because, over two decades of traveling (and, for one five-month stint, living) there, that messy, damaged and complicated but fascinating country and its peoples have earned my love and respect.
Mohsin Hamid knows it more fundamentally because he is Pakistani, and he writes about it as a stubbornly hopeful liberal patriot. He loves his country; he is entitled to do so; and he is generous enough to take time out of his busy novel-writing schedule to explain to us the nature and meaning of that love. In today’s world Pakistani patriotism is a very important subject for us to understand. If Mohsin Hamid is kind enough to help us try to do so, the least we can do is to meet him halfway by hearing him out with curiosity and without prejudice.
The real problem, as Hamid rightly says, is that “both sides of the alliance between the U.S. and the Pakistani military share blame for the violence currently afflicting Pakistan.” An ancillary problem is that until we Americans are prepared to accept this correct premise, we will fail to understand well-informed explanations like this one Hamid offers:
By backing the Northern Alliance against the Taliban and then failing to include a meaningful representation of Pashtuns in a power-sharing deal in Kabul, the U.S. not only sided with India in the Indian-Pakistani proxy war in Afghanistan, it also elevated a coalition of Afghanistan’s smaller ethnicities above its largest ethnic group, the Pashtuns. Conflict was inevitable, and since twice as many Pashtuns live in Pakistan as in Afghanistan, it was also inevitable that this conflict would spill over the border.
Or this one:
The problem, for those who wish Pakistan to take more responsibility for itself, is that these conspiracy theories [cherished by many Pakistanis] are not necessarily false. Indeed, many have elements of truth. India likely is striving to exacerbate the violent discontent in Balochistan, Pakistan’s largest province, to the south of the tribal areas. (That discontent is rooted in the Pakistani state’s long-term mistreatment of the province’s local population.) Afghanistan has in fact refused to accept the territorial integrity of Pakistan. Saudi Arabia and Iran do back Sunni and Shia militant proxies in the country. The U.S. has used a vaccination campaign as cover for an intelligence operation on Pakistani soil.
It’s a shame, but a sign of the times, that I have felt compelled to give over the lion’s share of this review to topical subjects rather than literary ones, such as Hamid’s admiration for Toni Morrison, Haruki Murakami, and Antonio Tabucchi, the Italian author of the unjustly obscure anti-fascist novel Sostiene Pereira (“I have never agreed with the claim that art must be kept separate from politics,” remarks Hamid in his piece on Pereira).
The particular value of Discontent and Its Civilizations is the way its selection and arrangement highlight the way Mohsin Hamid’s occasional writing has concerned itself with both literary and topical subjects, and how those interpenetrate and overlap. That, combined with the remarkably cosmopolitan perspective he brings to his humane concerns, is the sweet spot that defines his special value as a writer in these times.