In reading Celestial Bodies, I became cognizant of a particular quality that could be described as the sensibility of a grassland or a desert. I was prompted to recall the narratives of Abai Kunanbayev, a prominent Kazakh philosopher. Upon regarding the novel’s title, the constellations that I had seen in the nocturnal sky of the Wahabi desert unfurled in front of me.
The novel is not structured in a manner that follows a chronological sequence nor reverses the order of events; as its narrator shifts from one chapter to the next, the novel’s temporal structure hopscotches. This manipulation of time is most appropriate for illustrating the reality of Omani society, in which modern and pre-modern eras coexist (if we adhere to Western-style periodization).
Through the character Maya’s first daughter, who is named "London," Al Harthi weighs the aspirations inherent in the name—aspirations that are likely to be prevalent in non-Western countries that are recent adopters of modernization. It seems appropriate that London would pursue a medical career through a highly Western-oriented path. Moreover, she, as a woman-oriented towards Western values, challenges the traditional view of marriage and attempts to pursue an independent path in this regard, which ultimately ends in her breaking off her engagement followed by her deep regret. Through this strand of the novel, Al Harthi ruminates on the complexities of tradition. She establishes that tradition is seen as and often does manifest through unreasonable and oppressive means, as embodied most memorably by the irate, crimson eyes of Abdallah’s paternal figure, Suleiman the Colossus. Yet the author also seeks to acknowledge that tradition exists through millennia of structure and order and that to strive to go against this preexisting structure without considering its strengths, or indeed without deciding for oneself the wisest course of action, may well result in further unhappiness.
Then, through a hitherto unknown character that usurps the narrative, Al Harthi also considers tradition as an unyielding adherence towards moral religious law. The narrative of Marwan is one of considerable potency. Despite his aspiration to be sinless, he is unable to fully subdue his carnal desires and ultimately takes his own life, succumbing to his guilt. Though the aspiration towards moral perfection is a laudable one, it is worth questioning whether the sense of guilt experienced in the face of an unattainable goal is entirely justified. It can be argued that literature serves as a vessel for thoughtful scepticism about traditional worldviews, family structures, religious beliefs, and Western values. About the madness, desire, and humanity that lie within them all.
The novel Celestial Bodies presents a compelling case for reconsidering the conventional understanding that the transition to modernity represents a fundamental and universally beneficial transformation in human history. This prompts the question of whether such Western distinctions are indeed accurate and also calls into question the extent to which Western standards can be applied to countries of differing cultural spheres. Despite the considerable advancements of modern Western civilization, it is pertinent to inquire whether human barbarism has truly been subdued. Just as numerous intellectuals in the West have already expressed scepticism regarding this assertion, intellectuals of other cultural spheres have realized this themselves.
Had I not been stationed in Oman, I would not have considered reading this piece. Had I not encountered this author in Oman, I would not have even contemplated composing a review. This is God's blessing. I am presently listening to oud music on the South American continent and imagining the trajectory of Omani society.
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