A conscious narration

Right from the onset let’s get cracking with today’s post.

Today’s WOW word comes to us courtesy of those with great composure. This word is none other than “aplomb.” Aplomb by definition means self-confidence or assurance, especially when in a demanding situation, it also sounds a lot like “a plum,” which is why I picked it for this post. An apt example of this would be, “Josh, in spite of having only ten minutes left before the deadline, submitted his university application with aplomb.”

Now moving onto the topic of this post. The question posed was, “Why does Mahfouz employ stream of consciousness narration in the novel and to what effect?” A literary tool that allows the read to be privy to the internal thoughts and process of the protagonist, stream of consciousness, is a literal display of what the protagonist is thinking in regards to any event or action written about in real time. Utilized heavily in Mahfouz’s novel, this is key to the style in which the novel is written, as it is not simply an attempt to accurately capture a culture or way of life but instead provide a commentary and personal interpretation of and on society. This access into the mind of the protagonist allows for an immersive experience that draws the reader more into the plot, allowing us to better grasp the conflicts presented to us as we see them on a more personal level. For example at the very onset when Said emerges from his 4 year sentence, the use of stream of consciousness allow the reader to truly understand how he feels and his personal descriptions of Nabawyiyya and  Ilish paint a vivid picture of the betrayal he faced and the provides insight for the reason he seeks revenge. This sudden change when he remembers his daughter,

“As the thought of her crossed his mind, the heat and the dust, the hatred and pain all

disappeared, leaving only love to glow across a soul as clear as a rain-washed sky.

I wonder how much the little one even knows about her father? Nothing, I suppose. No more than this road does, these passers-by or this molten air.”

The transition from indirect to direct internal monologue allows the reader to already gage the relationships the protagonist has as well as effectively setting up the story by characterizing Said so that the reader can be invested within his character at the very onset. We already from the first page have an understanding and feel the animosity he has towards Nabawyiyya and Ilish as well as the tragedy and pain he has faced as a result of being separated from his daughter Sana. This was all accomplished without any significant plot progression as if told in a purely linear narrative, all the reader would have seen is Said leaving prison.

This little break in plot progression allows for plot definition, providing depth and characterization in a way events and actions can’t. This ability, almost like figurative voyeurism (NOT LITERAL, that would be weird) to the intimate thoughts of the protagonist allows the reader to really engage with all the twists and turns that ensue.

Another great example of this would come from chapter 15, in which Mahfouz uses soliloquy to convey this idea of Said losing his mind and being overcome with his actions, slowly descending into lunacy. In this specific part he is seen speaking to a non-existent panel of judges who are nothing more than a figment of his imagination. The conversation he has with them and the style in which Mahfouz writes, “whoever kills me will be killing the millions. I am the hope, and the dream, the redemption of cowards,” help indirectly characterize this transition. The readers having been privy to this stream of consciousness from the very beginning till now are able to view its events through a first person lens. Therefore they don’t have to be told that Said is slowing coming undone but instead can see it for themselves through the stream of consciousness. This allows for effective writing as these turning points do not feel arbitrary but instead, no matter how surprising, justifiable based on the attention to detail and intentional writing prior to.

Used effectively, this can also detract from the authenticity of the text as it loses the value it once had of accurately representing a culture but instead loses itself in fiction. This in spite of making for a more engaging read could uncouple it from reality, potentially losing the point for which it was actually written. Other than that I feel the use of stream consciousness is extremely well done as it allows for keen reading that doesn’t really on extraneous exposition and supporting details but instead a flow and understanding that occurs in real time.