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susanbrooks's review against another edition
3.0
A love story between an English woman and an Egyptian man in the early 1900's was interesting. Competing story lines and political history not so much.
zam_ochoa's review against another edition
4.0
Realmente es 3.5 o tal vez un 3.8
Las historias, los personajes (en especial Anna), el ambiente en el que se desarrolla y cómo se enlaza una historia con la otra me gustaron bastante, además de que tiene varios datos históricos interesantes, lo único que no me encantó es que son múltiples narradores y a veces era un poco confuso para mi, el saber quién estaba narrando en esa parte. En general, es una buena lectura y la disfrute, aunque no tanto como hubiera deseado.
Las historias, los personajes (en especial Anna), el ambiente en el que se desarrolla y cómo se enlaza una historia con la otra me gustaron bastante, además de que tiene varios datos históricos interesantes, lo único que no me encantó es que son múltiples narradores y a veces era un poco confuso para mi, el saber quién estaba narrando en esa parte. En general, es una buena lectura y la disfrute, aunque no tanto como hubiera deseado.
_kmao_'s review against another edition
adventurous
hopeful
inspiring
lighthearted
reflective
relaxing
medium-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? No
4.5
epgr's review against another edition
3.0
This is one of my favorite books. Mostly it's about an Englishwoman in Egypt at the beginning of the 20th century who falls in love with an Egyptian, and their descendants. I've read a couple other books by Soueif, but this is by far the best written.
imbelhs's review against another edition
4.0
The story starts with Isabel, an American journalist, finding a trunk full of diaries and letters. These documents belonged to her English great-grandmother, Anna Winterbourne. Since some of them are written in Arabic, Isabel asks for the help of an Egyptian woman, Amal. And through translation, they retrace the history of their family as they discover that they are related. Isabel is Amal’s distant cousin. Thus, The Map of Love paints the portrait of a family that extends from Egypt to England, France to the United States, exploring themes of identity, alterity and national belonging.
The novel juxtaposes two love stories: the one between Anna and Sharif in the 19th century, and the one between Isabel and Omar at the turn of the 21st century. Both love stories are inseparable from the political context of the time. Sharif is fighting the British occupation while Omar is engaged in the Palestinian cause. This book tells the story of a family over several generations while offering an elaborate critique of imperialism and Orientalism. The writing is amazing too: In Egypt, the successive colonial occupations influenced the use of language itself. Characters speak English, French, Arabic, sometimes at the same time, code-switching easily.
As for Orientalism, The Map of Love, at first glance, is an Arab story fitting western expectation of exotism. We can find the usual Orientalist clichés of the harem, the desert, mysticism.... However, what is interesting is the way that the author manipulates them so as to subvert them.
One of the main points that Soueif challenges in her book is the ahistoric and monolithic view of the Middle East which remains pervasive in media. She explores the heterogeneity of Egyptian society, where languages, religions and ethnicities coexist, where political, social, and cultural opinions diverge. We discover Egypt mainly through Anna as she struggles to recognize the country she heard of back home, as she compares it to the paintings and tales of harems and deserts: I sit here in my room at Shepheard’s Hotel possessed by the strangest feeling that still I am not in Egypt.
Another brilliant aspect: Soueif explores the role of women in Egyptian society, particularly in the struggle for independence. Women were actively working to build a modern Egypt, participating in social and political life. The status of Arab women, whether submissive or sensual, is central to the Orientalist discourse. Western feminists often denounce Islamic culture and religion as antithetical to feminism, thinking that Muslim women cannot be feminist, without first going through westernization. Indeed, while Western feminists are able to criticize, subvert and redefine their heritage and environment, Muslim women "can" only do the same by rejecting their culture. Soueif shows that feminism is not a Western product, and most of all, women all around the globe don't have the same one feminist agenda (goals and aspirations) because they don't experience the same one oppression. Soueif's female characters have to navigate between patriarchy and imperialism.
All this to say, Soueif proposes decolonization through deconstruction.
Beautifully done.
The novel juxtaposes two love stories: the one between Anna and Sharif in the 19th century, and the one between Isabel and Omar at the turn of the 21st century. Both love stories are inseparable from the political context of the time. Sharif is fighting the British occupation while Omar is engaged in the Palestinian cause. This book tells the story of a family over several generations while offering an elaborate critique of imperialism and Orientalism. The writing is amazing too: In Egypt, the successive colonial occupations influenced the use of language itself. Characters speak English, French, Arabic, sometimes at the same time, code-switching easily.
As for Orientalism, The Map of Love, at first glance, is an Arab story fitting western expectation of exotism. We can find the usual Orientalist clichés of the harem, the desert, mysticism.... However, what is interesting is the way that the author manipulates them so as to subvert them.
One of the main points that Soueif challenges in her book is the ahistoric and monolithic view of the Middle East which remains pervasive in media. She explores the heterogeneity of Egyptian society, where languages, religions and ethnicities coexist, where political, social, and cultural opinions diverge. We discover Egypt mainly through Anna as she struggles to recognize the country she heard of back home, as she compares it to the paintings and tales of harems and deserts: I sit here in my room at Shepheard’s Hotel possessed by the strangest feeling that still I am not in Egypt.
Another brilliant aspect: Soueif explores the role of women in Egyptian society, particularly in the struggle for independence. Women were actively working to build a modern Egypt, participating in social and political life. The status of Arab women, whether submissive or sensual, is central to the Orientalist discourse. Western feminists often denounce Islamic culture and religion as antithetical to feminism, thinking that Muslim women cannot be feminist, without first going through westernization. Indeed, while Western feminists are able to criticize, subvert and redefine their heritage and environment, Muslim women "can" only do the same by rejecting their culture. Soueif shows that feminism is not a Western product, and most of all, women all around the globe don't have the same one feminist agenda (goals and aspirations) because they don't experience the same one oppression. Soueif's female characters have to navigate between patriarchy and imperialism.
All this to say, Soueif proposes decolonization through deconstruction.
Beautifully done.
steller0707's review against another edition
4.0
The Map of Love By Adaf Soueif
Beautifully written love story set against both contemporary Egypt and the early 20th century tumultuous British occupation. There is much detail about Egyptian history and the culture of the Arabic society, related in letters and dialogue. While it might be advantageous to have a background in this era, the broad outline is apparent and accessible.
At the heart is a family history and a love story, the intertwining of two cultures- the lovely British Lady Anna and the upperclass Egyptian lawyer Sharif Basha al-Baroudi who can only converse together in French.
The beautifully described scenery, the family home, the color and feel of the women's silk gowns were vivid. Indeed, when Amal writes, after reading Lady Anna's 1901 journal entry about her betrothal . . .
"Looking up from Anna’s journal I am, for a moment, surprised to find myself in my own bedroom, her trunk standing neatly by the wall, my bed, the top sheet folded back, waiting for me to ease myself in. I had been so utterly in that scene, in the hall of the old house, in my great-grandmother’s haramlek. My heart had beaten in time with Anna’s ..."
- I felt exactly how she felt, so immersed was I in the story. The events that affect this family had deep roots that continue to be felt in this troubled region of the world today.
Beautifully written love story set against both contemporary Egypt and the early 20th century tumultuous British occupation. There is much detail about Egyptian history and the culture of the Arabic society, related in letters and dialogue. While it might be advantageous to have a background in this era, the broad outline is apparent and accessible.
At the heart is a family history and a love story, the intertwining of two cultures- the lovely British Lady Anna and the upperclass Egyptian lawyer Sharif Basha al-Baroudi who can only converse together in French.
The beautifully described scenery, the family home, the color and feel of the women's silk gowns were vivid. Indeed, when Amal writes, after reading Lady Anna's 1901 journal entry about her betrothal . . .
"Looking up from Anna’s journal I am, for a moment, surprised to find myself in my own bedroom, her trunk standing neatly by the wall, my bed, the top sheet folded back, waiting for me to ease myself in. I had been so utterly in that scene, in the hall of the old house, in my great-grandmother’s haramlek. My heart had beaten in time with Anna’s ..."
- I felt exactly how she felt, so immersed was I in the story. The events that affect this family had deep roots that continue to be felt in this troubled region of the world today.
christar_123's review against another edition
3.0
In some ways, I enjoyed this book, because the author loves Egypt but still tried to present it in realistic way - it was less glossed over than I had expected it would be. I really disliked one of the main characters - Isabel - which made the modern-day part of the story less enjoyable. The idea, of a contemporary woman learning about her ancestors, was nothing that unique but the setting and the events made it more interesting. There were some nice parallels between the old and the new, and the way Soueif shows the long-lasting effects of colonialism was really good. The main criticism was with Isabel.
Spoiler
I had the feeling she was supposed to be this modern, brave, smart woman, but, honestly, she just seemed kind of stupid. I didn't like the underlying theme that she needed to have a child to feel complete or that she had to force herself into a relationship with a person who wasn't interested. She seemed shallow, and it made me kind of sad to read about her ancestors, who had worked so hard for Egypt, went through so much and then we have her now.fatamo's review against another edition
3.0
I was disappointed with the writer, because this book clearly had so much potential. In fact, it was fulfilled in almost every way a book can be successful, except for one: the writing.
Soueif clearly knows HOW to write a story. The breaking up of the narrative across different characters, using different media, even across different times, was executed perfectly. I never felt confused about the moving back and forth from the 19th to the 20th century. This probably is in no small part due to masterful editing, I can see that.
Soueif ran the risk of becoming overly symbolic, but she didn't. I think that often happens with Arab writers, but I don't think that was the case here. The plot was thrilling, it was exciting to know what would happen to Anna, seen through the eyes of her descendants, as she discovered a new culture. Her learning the Arabic language was a great way to shed some light on Arabic culture.
So what didn't I like?
The writing.
It's odd. My eyes were reading the words in English, but my brain was hearing them in Arabic. That was the only way it made sense to me. But this makes me angry, because the book is meant to be read by English speakers, and English speakers will not understand why the hell she is being so florid and delicate with the language.
It really felt like a translated text, and not a good one. I understand that Soueif had a conundrum here. She could either write in a way that was more fitting to the English language, but that would take away some of the spirit of the writing, and compromise her likely wish to convey Arab culture in its entirety, this including the language. Or she could write in a way that, if translated into Arabic, would make total sense, and therefore bring the English speaking reader as close as possible to speaking Arabic without actually doing so. She clearly opted for the latter.
I don't think that was a good choice though. Or at least it was one which was not well executed. There was too much going on about love and deep desire, the expressions that each person used throughout were so baroque in their detail. When these phrases are used in Arabic, it doesn't seem over the top. It seems beautiful and natural, and I really think its one of the most lovely and poetic languages. But when its translated so literally into English, it looks forced and just not nice.
I'm disappointed! This had the potential to be a fantastic book. I'm sure it's done a lot towards enhancing cultural understanding. It hit all the major themes that are prevalent in Arab life, especially in Egyptian life. Politics, colonialism, dealing with Arab identity with strong influence from another force, the struggle for independence on many levels, womens issues, what it means to be Egyptian. And of course love. Love freakin' everywhere.
I loved when she wrote about politics. The bits where she was discussing, through her characters, the political issues that were being faced in the story, I felt as though it were being written by another person. The dialogue came alive like it couldn't anywhere else in the book, the content was fascinating, the energy with which it was expressed was contagious. I would become at turns enraged and saddened, then hopeful, and enraged again. This only happens to me when I hear Arabs (who know what theyre talking about) discuss politics. She's very good at this, and I feel like she has a much clearer idea of this then of love.
I hope Soueif moves more towards political stories or non-fiction, because I feel like that is where her strengths lies. I think Soueif loves her characters too much to let anything too terrible happen to them too. That's probably what made me end up hating everyone in it a little bit. Seriously, I did not care much for anyone in that book.
So:
1 star for the plot and the whole political aspect which I found thrilling.
1 star for the narrative which was well planned and nicely broken up not to appear boring or confusing (I think so).
1 star for the amazing editing work that must have gone into this.
Which leaves me with the verdict of 3 stars. I wish I could just give it a littttttle bit more, but everytime I think of that writing, I get frustrated all over again.
Soueif clearly knows HOW to write a story. The breaking up of the narrative across different characters, using different media, even across different times, was executed perfectly. I never felt confused about the moving back and forth from the 19th to the 20th century. This probably is in no small part due to masterful editing, I can see that.
Soueif ran the risk of becoming overly symbolic, but she didn't. I think that often happens with Arab writers, but I don't think that was the case here. The plot was thrilling, it was exciting to know what would happen to Anna, seen through the eyes of her descendants, as she discovered a new culture. Her learning the Arabic language was a great way to shed some light on Arabic culture.
So what didn't I like?
The writing.
It's odd. My eyes were reading the words in English, but my brain was hearing them in Arabic. That was the only way it made sense to me. But this makes me angry, because the book is meant to be read by English speakers, and English speakers will not understand why the hell she is being so florid and delicate with the language.
It really felt like a translated text, and not a good one. I understand that Soueif had a conundrum here. She could either write in a way that was more fitting to the English language, but that would take away some of the spirit of the writing, and compromise her likely wish to convey Arab culture in its entirety, this including the language. Or she could write in a way that, if translated into Arabic, would make total sense, and therefore bring the English speaking reader as close as possible to speaking Arabic without actually doing so. She clearly opted for the latter.
I don't think that was a good choice though. Or at least it was one which was not well executed. There was too much going on about love and deep desire, the expressions that each person used throughout were so baroque in their detail. When these phrases are used in Arabic, it doesn't seem over the top. It seems beautiful and natural, and I really think its one of the most lovely and poetic languages. But when its translated so literally into English, it looks forced and just not nice.
I'm disappointed! This had the potential to be a fantastic book. I'm sure it's done a lot towards enhancing cultural understanding. It hit all the major themes that are prevalent in Arab life, especially in Egyptian life. Politics, colonialism, dealing with Arab identity with strong influence from another force, the struggle for independence on many levels, womens issues, what it means to be Egyptian. And of course love. Love freakin' everywhere.
I loved when she wrote about politics. The bits where she was discussing, through her characters, the political issues that were being faced in the story, I felt as though it were being written by another person. The dialogue came alive like it couldn't anywhere else in the book, the content was fascinating, the energy with which it was expressed was contagious. I would become at turns enraged and saddened, then hopeful, and enraged again. This only happens to me when I hear Arabs (who know what theyre talking about) discuss politics. She's very good at this, and I feel like she has a much clearer idea of this then of love.
I hope Soueif moves more towards political stories or non-fiction, because I feel like that is where her strengths lies. I think Soueif loves her characters too much to let anything too terrible happen to them too. That's probably what made me end up hating everyone in it a little bit. Seriously, I did not care much for anyone in that book.
So:
1 star for the plot and the whole political aspect which I found thrilling.
1 star for the narrative which was well planned and nicely broken up not to appear boring or confusing (I think so).
1 star for the amazing editing work that must have gone into this.
Which leaves me with the verdict of 3 stars. I wish I could just give it a littttttle bit more, but everytime I think of that writing, I get frustrated all over again.
maggiemoore's review against another edition
3.0
This was a really good book and I would have given it four stars but some of the historical bits got a bit slow for me. I love reading about Egypt, especially history, and the other bits of this book were great fun.