The perils of youth in ‘Theft’

Nobel laureate Abdulrazak Gurnah's latest coming of age novel, Theft, is a penetrative portrayal of postcolonial Tanzania, represented through the interconnected lives of several characters. With his encompassing writing, Gurnah invites the readers to delve into the world Karim, Fauzia, and Badar inhabit. Gurnah's evocative prose transports the readers through the bustling streets of Zanzibar and Dar es Salaam, providing an intricate insight into the ever changing political and social landscape of Africa.

The novel opens with a jarring and powerful line: "Raya's marriage happened in a panic," signifying the impact of the marriage on the narrative. Her arranged marriage to a divorced older man with a respectable reputation reflects the reality of countless women living under the tyranny of the patriarchy. Raya's parents were more concerned with getting her married to a "respectable" man than allowing their daughter to experience love. Their decision is less about Raya's wellbeing and more about shielding her from the dishonour of being pursued by Rafik, "a member of the Umma party" who terrified the "browbeaten citizens." 

The trauma Raya endures at the hands of her husband represents the experience of women trapped in the cycle of domestic abuse. Gurnah's nonchalant tone in portraying Raya's suffering makes the readers pause and  reflect: is domestic violence so normalised that it can be written about so matter-of-factly?

Raya eventually escapes her abusive husband, returning to her parents' home with her three-year-old son, Karim. Raya's indifference towards her child, the relief she feels when her mother takes over Karim's care, also illustrates the complex burdens of imposed motherhood. Even though Raya feels affection towards her child, she cannot force herself to be involved in his life. Raya's emotional neglect and his father's absence deeply impacts Karim's personhood.

Growing up without getting to know his father, Karim is left with a sense of loss he cannot talk about. His mother's detachment leaves him feeling unwanted and abandoned. It is his grandmother and his older half brother, Ali, who showers him with love and attention. The bond between Ali and Karim is beautifully depicted. Ali's affection and kindness to Karim play a pivotal role in Karim's development, especially after Ali and his wife take him in following his grandmother's death during Karim's high school years. Karim's ambition leads him to enroll in university at Dar es Salaam, where he reconnects with Raya, now remarried to Haji and living in the city.

The perspective shift in different chapters may feel slightly jarring at first, but it allows a broader understanding of the story that unfolds. Gurnah's mastery over the prose is evident throughout, particularly in his depiction of Fauzia, a studious and dedicated young girl who grows up to become a school teacher. Fauiza's narrative further allows insight into the reality of growing up as a woman in 1980s Zanzibar. Although she has more opportunities than her mother, Khadija, the prospect of marriage continues to be a looming concern for her parents. Khadija worries no one will want to marry Fauzia due to her history with the "falling illness" as a child. Fauzia's blossoming relationship with Karim, now a promising government employee working in sustainable development, comes as a relief to Khadija. Her fear of her daughter remaining unmarried lifts after Karim and Fauzia marry. 

Alongside Karim and Fauzia's perspective, the novel also delves into the world Badar dwells in.  At 14, Badar, a kind and gentle boy whose mother died in childbirth and whose father abandoned him, is brought to Raya and Haji's house in Dar to work as a servant. Gurnah's poignant characterisation of Badar's experience, especially his arrival in the city—torn from his village, friends, school, and surrogate family—evokes deep empathy. The fear he feels in the dark room he is allowed to stay in is haunting. A layer of mystery surrounds Badar's connection to Haji and his father, Othman, and Gurnah skillfully builds tension until the truth is revealed.

When Badar is kicked out by Othman, it is Karim who steps  up to help him, which paints his character in a positive light. However, with the progression of the years, Karim's character evolves into a pompous, self-important individual full of anger and entitlement. Gurnah's realistic depiction of Karim's transition was striking, encasing the readers in disappointment. The irony of young Karim vowing he would "make sure his child knew it was desired", only to abandon his own child and betray Fauzia was one of the most emotionally evocative turns of the novel. 

While Theft effectively focuses on personal relationships, Gurnah skillfully incorporates the political and societal backdrop of postcolonial East Africa. All the characters inhabit a world molded by the legacy of colonialism and class inequality, which is reflected subtly throughout the novel.  

Though the ending of the novel feels rushed and not fleshed out compared to the rest of the narrative, the character development is compelling. Gurnah once again proves his ability to transport the readers into the complicated, often painful, lives of post colonial citizens. Theft is a timeless novel that paints a piercing portraiture of the complex inner lives of its characters. 

Kashfia Nahreen is a passionate reader and an aspiring writer who spends her days cuddling with her cats.