Sonallah Ibrahim | |
|---|---|
| صنع الله إبراهيم | |
 Sonallah Ibrahim, 2016 | |
| Born | (1937-08-03)3 August 1937 Cairo, Egypt |
| Died | 13 August 2025(2025-08-13) (aged 88) Cairo, Egypt |
| Occupation | writer |
Son'allah Ibrahim (Arabic:صنع الله إبراهيم,romanized: Ṣunʻ Allāh Ibrāhīm; 3 August 1937 – 13 August 2025) was an Egyptian novelist and short story writer and one of the "Sixties Generation"[clarification needed] who was known for hisleftist views which are expressed rather directly in his work.[1] His novels, especially later ones, incorporate many excerpts from newspapers, magazines and other political sources as a way to enlighten the people about a certain political or social issue. Because of his political opinions he was imprisoned during the 1960s; his imprisonment is featured in his first book,That Smell (تلك الرائحة), which was one of the first works ofEgyptian literature to feature a modernist view.
In harmony with his political beliefs, in 2003 he refused to accept a prestigious literary award worth£E100,000 from Egypt'sMinistry of Culture.
Sonallah Ibrahim was born inCairo on 3 August 1937.[2][3] His father was an upper-middle-class civil servant; his mother, from a poor background, had been a nurse hired to look after his father's paralysed first wife. Ibrahim enteredCairo University to study law in 1952.[4] There he joined the MarxistDemocratic Movement for National Liberation (DMNL). Despite the DMNL's support forNasser's coup, Nasser moved to repress Communists in the late 1950s.[5] Ibrahim, arrested in 1959, received a seven-year prison sentence from a military tribunal.[4] He was released in 1964 on the occasion ofNikita Khrushchev visiting Egypt for the opening of theAswan Dam.[5] In 1968 Ibrahim was one of the Egyptian intellectuals who contributed to theavant-garde literary magazineGalerie 68.[2]
Ibrahim died on 13 August 2025, at the age of 88, after suffering from pneumonia.[6]
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Hosam Aboul-Ela of theUniversity of Houston described Ibrahim as "a relentless internal critic of successive Egyptian regimes" and wrote that "Ibrahim might best be described as a sort of Egyptian cross betweenJonathan Swift andManuel Puig".[7]
His novels are typically told in the first person, in a cold objective tone resembling press reportage which mimics reality. His main theme seems to be the importance of resisting the influence of the political mega-powers which attempt to invade the third world economically through many ways including the transcontinental companies. As an example, "Sharaf" [=Honour] deals with the intrusion of American politics in Egypt and includes long passages frankly criticising the big drug companies and their policies in third world countries. His interests are not limited to the situation in Egypt; "Beirut..Beirut" is something like an overview of the Lebanese civil war of the '70s and '80s, and "Warda" reveals a little-known episode about the activities of leftists and communists in Yemen and Oman in the '60s and '70s. The title of one of his last novels is "Amricanly" which superficially means " American" or "in an American way" but is really a parody of another word "Othmanly" related to the notorious Dark Ages when Turkey ruled Egypt. The word "Amricanly" in another way is almost a transliteration of the phrase "My affairswere mine" in Arabic. His novel, "The Committee" is often described by critics askafkaesque. In it the protagonist seeks entry into a shadowy organization. He is routinely subject to their vetting process and Sonallah used his character to make numerous political observations in the form of speeches to the committee.[citation needed]
Several of Ibrahim's works also explore how repetition and fastidious attention to detail can be used to examine the themes of childhood innocence, boredom, and sexual frustration. InStealth, the narrator recounts his childhood memories living with his father in a small, modest apartment. By describing each part of a mundane action, such as hanging up a coat or cooking some eggs, the narrator conveys his childhood curiosity and naivete about the adult world around him. InIce, extensive repetition of intimate acts, with the same atomistic attention to detail, indicates the narrator's boredom and frustration with life as a foreign student in Soviet Russia.[citation needed]
As a translator
