Fiction – hardcover; Scribe; 102 pages; 2019. Translated from the Dutch by Sam Garrett.
This is the kind of slim book that you think won’t take very long to read, but I found Tommy Wieringa’s short, sharp novella, The Death of Murat Idrissi, so shocking in places I could only read it in intermittent bursts. I’ve been mentally processing it ever since.
It was longlisted for this year’s International Booker Prize, which is how it came to my attention, but it was this review on Dolce Bellezza that made me really want to read it. When I found it in the library I couldn’t resist borrowing it.
A fable for our times, it tells the story of two young women from the Netherlands, on holiday in Morocco, who agree — somewhat reluctantly, it has to be said — to help smuggle a young man across the border into Europe. The man’s name is Murat Idrissi and, sadly, he dies en route — hence the title of the book.
The women, abandoned by the men who set up the arrangement, have to figure out what to do with the body. They have next to no money — for food, for fuel, for overnight accommodation — and must make a perilous journey from the Spanish coast to their home in Amsterdam in their (expensive) hire car without alerting the authorities to their predicament.
A compelling read
This is a compelling read, gruesome in places, but Wieringa prevents the narrative from sliding into farce by the clever use of flashbacks, showing how the women got involved in the smuggling operation, detailing the fun aspects of their holiday beforehand and then contrasting this with Murat’s life of poverty. It’s easy to see how the guilt of a Western upbringing may have lead them to this situation.
But there’s an additional “twist” — for want of a better word — because the women, Ilham and Thouraya, are the children of African immigrants themselves and have spent their lives being regarded as Other. Visiting Morocco on holiday was supposed to be a way of discovering their roots, but they’re shocked — perhaps naively so — to find that their usual freedom as young Europeans isn’t available here. There are “rules” for women, and even if they’re European born, they still look like the locals.
This confusion over identity is a key component of the novella and Wieringa asks some important questions about what makes us who we are: is it our skin colour, our country of birth, our belief system, our education, our cultural traditions, our language, our parentage?
She stares out of the window. The trees flash by. It’s the world of her mother, a world she can’t accept. It depresses her, the quick prayers whenever death is mentioned, when there are portents. All those dos and don’ts. The countless fears her mother covers up with invocations. The things you’re not allowed to say, not allowed to think, not allowed to do. Her mother is a farmwoman — she went to the airport on the back of a donkey, as Thouraya puts it; she has a certain control over the new language. She is fairly independent, but there is no use trying to combat her primitive ideas — her reply is always that her daughter is rude, and that rude girls end up badly.
It’s written in prose that mixes long, elegant sentences with short, fragmentary ones, and the descriptions — of the landscapes, of the sights seen on the road — are vivid and beautiful:
They take the new toll road to Tangier; there’s almost no traffic. The sun comes up in a wash of peach-coloured light. They pass greenhouses and plantations, the fields full of sweet, round watermelons, ready for the harvest. The melons rest nakedly beside their furrows, like eggs the earth has pressed out.
Not much is resolved in the ending, which means I’ve been thinking about Ilham and Thouraya ever since I reached the final page. What happened to them when they got back to Amsterdam? What stories have they told themselves about this incident? How have they reconciled it in their minds? And what of Murat’s family back home in Morocco? Do they know he’s dead, or do they think he’s just been too busy to get in touch?
It would make a terrific book club read for that reason — although there’s much more to discuss than that open-ended final chapter.
As you can probably tell, I thought The Death of Murat Idrissi was a really powerful book. Free from judgement and free from sentiment, it’s about the haves and the have nots and the risks people are prepared to take to bridge the gulf between them. It will stay with me for a long time.