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Tahmima Anam - The Good Muslim

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Tahmima Anam The Good Muslim
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    The Good Muslim
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The Good Muslim - image 1
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Tahmima Anam
THE GOOD MUSLIM
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Contents

1971
December

1984
February

1972
February

1984
February

1984
March

1972
March

1984
April

1984
May

1972
April

1984
June

1984
July

1972
May

1984
August

1973
March

1984
September

1973
July

1984
October

1974
January

1984
October

1984
November

1984
December

1985
February

1985
February

1977
November

1985
February

Epilogue
1992

PENGUIN BOOKS

THE GOOD MUSLIM

Tahmima Anam is an anthropologist and novelist. Her debut novel, A Golden Age, won the 2008 Commonwealth Writers Prize for Best First Book. In 2013, she was named one of Grantas Best Young British Novelists. She is a Contributing Opinion Writer for the New York Times and a judge for the 2016 Man Booker International Prize. Born in Dhaka, Bangladesh, she was educated at Mount Holyoke College and Harvard University, and now lives in Hackney, East London.

Also by Tahmima Anam

A Golden Age
The Bones of Grace

Praise for The Good Muslim

The Good Muslim is a timely drama about the unpredictable effects of religious zealotry and political violence as well as a keen examination of survival and forgivenessLos Angeles Times

In this book of searing beauty, Tahmima Anam shows us a family searching for ways to navigate through the aftermath of war; in the process she takes us on an unforgettable journey through a young nation trying to define itselfKamila Shamsie

Provides penetrating meditations on faith, war, linguistic and class hegemony, parenthood, sibling rivalry, and loveTimes Literary Supplement

Powerful and ambitious, The Good Muslim more than fulfils the promises of Tahmima Anams celebrated debut, A Golden AgeAamer Hussein, Guardian

The style is so easy, that of a masterful realist unafraid to capture chaos and crisis... This work confirms Anam as one of our most important novelistsSunday Telegraph

Tahmima Anams unflinching examination of the agonies of postcolonial nation-building sets the intimacy of personal life against a backdrop of national and religious conflict. Delicate, heart-wrenching and poetic, this is a novel of great poise and powerTash Aw, author of Map of the Invisible World

This is a quietly confident novel that shows no strain of critical expectation, and all the narrative and poetic skill of her debutIndependent

Praise for A Golden Age

Tahmima Anams startlingly accomplished and gripping novel describes not only the tumult of a great historical event... but also the small but heroic struggles of individuals living in the shadow of revolution and warPankaj Mishra

A striking debut novel... Anam deftly weaves the personal and the political, giving the terror of war spare, powerful treatmentNew Yorker

Anam has done a service to her country... No other writer has treated the subject with such clarity beforeTimes Literary Supplement

A Golden Age compellingly twists the personal and the historical, humming with handed-down wisdomLiterary Review

There is a powerful feeling of tension as we wait to see how [the] story of domestic loss will work its way into the narrative of civil war, and when it does the result is heart-shatteringKamila Shamsie, Guardian

I couldnt tear myself away from A Golden Age... the authenticity shines through Anams beautiful, simple proseMartha Kearney, Harpers Bazaar

An ambitious and powerful debutNew Statesman

The definitive 1971 novelDaily Star

for Roland Lamb

Prologue
1971
December

E ight days after the end of the war, Sohail Haque stands in a field of dying mustard. The petals of the mustard flower, dried to dust, tickle his nose and remind him of the scent of meat, which he has not tasted in several months. Underfoot, the grasses spit and cry; overhead, the heavy-lidded eye of a midwinter sun. He has been walking for days, following the grey ribbon of road that leads south, towards the city. In one abandoned village after another, he has eaten banana leaves and drunk from ponds, kissing their surfaces, filtering moss through his teeth. On the third day, a farmer told him that the war was over.

Now, on his way home, he turns the name of the country around on his tongue. Bangladesh.

In the distance, he sees a smudge against the flat.

A barracks. He circles the perimeter, his hand tight and moist around the handle of his rifle. No sound, no movement. He draws closer, walking low, his body at ease with the postures of soldiering, haunches ready to spring, eyes darting to the edges of the vista, the finger hooked, ready. But this building is abandoned.

The retreating army has left its traces. He smells tobacco on the furniture; he sees their uniforms hanging on the washing line. He finds their plates, stacked neatly in a corner, their shoes, pointing away from Mecca. He sees their prayer mats. He smells them, soap and chalk and shoe polish.

On the bathroom wall someone has written Punjab Meri Ma Punjab, my mother. How these soldiers must have hated Bengal, he thinks, hated the way their feet sank into the mud, the way the air closed around them like the hand of a criminal, the mosquitoes, the ceaseless pelt of rain, the food that left them weak, shitting, dehydrated.

Now Sohail wonders if he should have reserved a little pity for these men. He feels the tug of an earlier self, a still-soft self: geographer, not guerrilla. In this mood of clemency he decides to lie down on one of the bunks with a half-smoked cigarette. It is the softer self who leads him to explore the room behind the munitions store, who slides open the heavy metal door, who palms the wall, searching for a light switch who is met with a sight that will continue to suck the breath out of him for a lifetime to come.

Picture 4
Book One
All that is in the Heavens and on Earth
1984
February

I t would not have been possible to go home if Silvi hadnt died. Mayas thoughts rested for a moment on this fact as she settled herself on the wooden bench in the third-class carriage, balancing on her lap the sum of all her worldly possessions: a small rucksack containing two saris, a kameez, a pair of trainers, a doctors case with a stetho and, for her mother, a young mango tree. The tree had been difficult to wrap; it was heavier than it looked and bulged awkwardly where the roots were packed in soil. Tree wont live, the farmer who sold it to her said. Rajshahi tree, it belongs in Rajshahi.

An old lady with a tiffin carrier slid into the space beside her. She stared for a moment at Maya, then clamped the tiffin carrier between her knees, pulled out a string of prayer beads and began to mutter the Kalma under her breath.

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