The Last Pomegranate Tree

by Ali Bachtyar, Kareem Abdulrahman

Genres: Historical Fiction; Literary Fiction

Synopsis

An extraordinary chronicle of war and an occult story of love between a father and his son from one of Iraq’s most celebrated contemporary writers

“Whenever he told lies, the birds would fly away. It had been that way since he was a child. Whenever he told a lie, something strange would happen.”
 
So begins Bachtyar Ali’s The Last Pomegranate, a phantasmagoric warren of fact, fabrication, and mystical allegory, set in the aftermath of Saddam Hussein’s rule and Iraq’s Kurdish conflict.
 
Muzafar-i Subhdam, a peshmerga fighter, has spent the last twenty-one years imprisoned in a desert yearning for his son, Saryas, who was only a few days old when Muzafar was captured. Upon his release, Muzafar begins a frantic search, only to learn that Saryas was one of three identical boys who became enmeshed in each other’s lives as war mutilated the region.
 
An inlet to the recesses of a terrifying historical moment, and a philosophical journey of formidable depths, The Last Pomegranate interrogates the origins and reverberations of atrocity. It also probes, with a graceful intelligence, unforgettable acts of mercy.

 

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Release date: January 24, 2023

Publisher: Archipelago

Print pages: 321

Sample

1

From early that first morning, I knew he was keeping me locked in. He told me that a fatal disease, a plague of some sort, had spread outside. Whenever he told lies, the birds would fly away. It had been that way since he was a child. Whenever he told a lie, something strange would happen. Either a sudden downpour would begin, trees would fall down, or a flock of birds would soar above our heads.

I was being held prisoner inside a large green mansion within a sequestered forest. He brought me a stack of books and told me to read them.

“Let me out” was all I said in response.

“There is disease and corruption everywhere, Muzafar-i Subhdam,” he said. “Stay here in this beautiful world. This is the mansion I built for myself. For myself and my angels. For myself and my devils. Stay here and be patient. What’s mine is yours. There’s a disease out there, and you need to stay away from it. You understand?”

True, I was far away from the plague there.

It was how we’d been since we were kids, he leaving his duties to me, I leaving mine to him, to Yaqub-i Snawbar, the man whose glance towards the sky could make things happen: a cloud might suddenly appear, a star might shoot across the sky, a light might suddenly enter our hearts, or night fall before its due. The world felt different by his side. I often went on walks with him and felt as if I were under a spell. He could drag you along the roads for many days and nights and you wouldn’t even feel hungry.

I was his only childhood friend. Our fellow Peshmergas were all younger. Later on, one half would become his enemies and the other his servants. I don’t know when my story with Yaqub started. Twenty-one years of imprisonment had left me with nothing but a poor memory, had made me a willing slave. In those years, he was the only one who sent me letters. He would write on a small piece of paper, “When you come out, it will be a new era. You will live in the loveliest mansion in the world.” He sent that message year in, year out. He never signed his name. He’d either write “a friend who misses you” or draw a bird at the bottom, like in the old days. From one year to the next, I could tell from his handwriting that something was happening. In those twenty-one years, I received nothing from outside through which to interpret the world except for his messages; his short notes were my only window to the changes in the world. For twenty-one years, I received the same line from the outside world, but each time it had a different meaning for me.

My first night in the mansion was cold, quiet, and creepy. I had spent twenty-one years alone. I had been silent for twenty-one years. In all that time, I had made a huge effort not to forget language. During all those long years of incarceration, I had the time to create my own language, a language of poetry.

When I came out of prison, I could express anything, but in a way that others couldn’t always understand. When I came out, I smelled of the desert. Every desert has its own smell. Only those who have spent a long time in the desert can distinguish these smells.

The only time they took me out of prison was when they’d hoped to swap me for a state prisoner. But it never worked out. After ten days in another prison, I was taken back to the desert. For twenty-one years, I listened to the sand. My prison cell was far away from the entire world, a cell in the middle of a sea of sand, a tiny room besieged by sky.

For a while, I was deemed the country’s most dangerous prisoner. Cut off from the world, I was left at the far end of the country in a place where man is forsaken even by God, a place where life ends and death begins, a place like an empty planet. In those twenty-one years, I learned to talk to the sand. Don’t be surprised if I tell you the desert is full of voices humans will never quite understand. I listened to the desert for twenty-one years and gradually began to decipher the hieroglyphs of its various sounds. If you are in a prison cell for that long, you learn how to fill your life, how to keep yourself busy. The most important thing is not to think about time. Once you can stop thinking about the passage of time, you can stop thinking about place also. Dwelling constantly on other times and other places can kill a prisoner. Until the seventh year of my captivity, I counted the hours day after day. At first, you count exactly, second by second, but one day you wake up and see that everything has gotten mixed up. You don’t know if you’ve been there for a year or a century. You don’t know what the outside world looks like.

The most dangerous thing is knowing someone is waiting for you. Once you are sure that no one is waiting for you and the world has forgotten all about you, only then can you start thinking about yourself, although after twenty-one years of life in the desert, all you can think about is sand. Some nights the desert calls your name, but the biggest problem is not knowing how to answer. I saw the spirits of the desert, apparitions made of sand, created and scattered by the wind. It takes a long time to learn to talk to sand. In those twenty-one years, I came to see that there is an art to doing so. It means learning never to expect a reply, learning to talk and then to listen to your own echoes, to echoes that fade away and are buried beneath hundreds and thousands of others.

Once a month, I was let out into the desert. Accompanied by a guard, I would walk across the sand for several hundred meters. Those were the best days. I always looked forward to them for a whole week, so that when I stepped onto the sand, I was thrilled. For twenty-one years, the sand was my only friend. When I dipped my feet in it, I felt life, I felt the earth, I felt my unbounded being, condemned to die in that prison cell.

I gradually forgot about people. The universe was my only companion. Twenty-one years is a long time to think about the universe. I would wash myself with sand and I would be filled with life again. Eventually, a day comes when you think of nothing but the freedom bestowed upon you by the endless sea of sand. A few years into my prison term – I don’t know exactly when – I stopped thinking about politics. One night I was awoken by the moonlight. It had brightened my cell so much that I could see everything as if it were daylight. That light gave me the energy to think of nothing but the universe. I had died a long time ago. No one knew I was alive except for Yaqub-i Snawbar. Plus, no one was looking for me. I had come from nothing and to nothing I had returned.

Year by year, all my memories turned to sand.

I didn’t know where I was being held. The desert remained nameless to me. My captors had blindfolded me to take me there. We were on the road for many days in the back of a ZiL military truck. I could tell from the smell of the road that we had driven through the desert for a long time. They held me for twenty-one years in order to swap me, one day, for a senior figure.

One dark night, they released me. When you leave prison after twenty-one years, you can see nothing but sand. You can think of nothing but sand. When I was brought to this mansion, I neither understood anything nor wanted to. It was so dark everywhere that I didn’t have a clue what was going on. From the moment I left prison to the moment I opened my eyes in the mansion, I saw no light at all. One pair of hands passed me on to another in the dark, hands quieter than the night, quieter than the walls, quieter than an old prisoner’s closed cell door. A man took my wrist and put me on board another vehicle. He said nothing. I didn’t even hear him breathe. Until then I had heard only the cries of the sand. I didn’t know where they were taking me, nor did I care. Thinking about the universe makes you unafraid.

I was twenty-two when I was arrested. I was forty-three when I was released. One dark night, they came, blindfolded me, and took me out.

“Are you leading me to my execution?” I asked the guard.

“No, to set you free,” he said. I didn’t know what he meant by “free.” Nothing is more meaningless than talking about freedom after twenty-one years behind bars. My only real freedom was to be left alone to live in the desert. I was certain I wouldn’t understand anything about the world; I had a great fear of cities and people. After years of imprisonment, you can no longer distinguish between a human being and sand. Throughout my prison sentence, I had seen no one but my guards. And they were quieter and stranger than the desert. During those twenty-one years, they rarely exchanged even a few words with me. They seemed to have been born and bred in the desert, to have seen nothing but the desert all their lives.

---

—

We drove through some tough terrain before we got to the mansion. I could tell from all the bumps and jolts of the ride that we were heading for a mountainous region.

In the morning when I looked out the window, I was terrified of all the leaves. There were thousands of leaves stirring in the morning breeze, and the view overwhelmed me. I saw all sorts of winged monsters in the trees. Green monsters, monsters with eyes that shone like dewdrops. When I awoke that first morning, I saw nothing but windows and horrors. There were no sounds and no people, not even the trace of another human being. All the windows were shut too. I was all alone in a huge mansion, and all the gates were locked. Nor could I find any sign of a human being outside. I hadn’t realized I had been set free until I saw the brutal greenery of those leaves. But a bright ray of sunlight danced in the trees, just like the constant brilliant glare of the desert. After twenty-one years, it was the first time I had opened my eyes and not seen the desert, the old friend that had entered my soul. I knew he had brought me here. In the mansion I could see something that reminded me of him, of Yaqub-i Snawbar.

I started walking through the rooms of the mansion. My body couldn’t get used to this new geography. It was a strange night that I would never forget. The desert still had me in its grip. I could barely believe I was free.

I don’t know what time they brought me from the car, but it felt like early morning. I can recognize early morning by its smell. Soil, wherever it is, has its own perfume. When I stepped onto the earth after twenty-one years, I was still living in a sea of sand and my country had slowly become an illusion. Although I could smell the morning air, although I could smell the perfume of the trees and the cool breeze of the surrounding valleys, all these scents were mixed in with a strong awareness of the endless power of sand. When I walked on the soil, I feared the ground’s precariousness, feared its giving way and sinking down. I saw nobody, sensed nobody.

When I opened my eyes, it was night. I knew I was inside a large house. It was dark, but a candle glimmered faintly in a corner. It was fresh; someone had lit it before my arrival and had just left.

I shouted into the mansion, “Hey, whoever lit the candle, where are you?” But all I heard back was a deep echo, an echo that traveled through the dark in layers and returned faintly. An echo that opened the door of another world for me. An echo whose ring was different from the sound of the sand. That night I saw nobody; there was nobody in the house. Someone had brought me here and left me. In the distance, I heard the sound of a vehicle pulling away.

---

—

The mansion was lavishly furnished. It was like a king’s country retreat, but there was no sign of any other human being. I was exhausted. I wanted to sleep – or to die. Through the big windows, I could see the silhouette of a dense forest. The sky, as if about to assault me, hovered above my head. There was something in its blackness that was different from the desert night. In the desert, night always has a bronze glow. The sky’s movement is similar to the sand’s, and the sand’s blackness resembles the darkness of embers that could be rekindled with a single puff of breath. That morning, however, the movement of the leaves scared me. For twenty-one years I had watched the world move a certain way; now I had gone from an orderly, familiar, law-governed universe to an entirely different one. I slept so as not to think. Rather than exploring the mansion, I lay down in the first corner I came across and slept. Something made me fear the beds. It was not just that I had been sleeping on the floor instead of in a proper bed for so long, but also that I was becoming suspicious of the place.

Before, I had known where I was, who I was, and why I was imprisoned in the desert, but that night I had no idea what I was doing in the mansion. The place was bigger than my imagination. My body was no longer used to moving from one room to another. All the things in the mansion were killing my solitude. I belonged in an undecorated world, a world where your only possession was your shadow, a world where the universe itself was an extension of man, where the sand and the sky were the only extensions of the soul. I thought that emptiness, desolation, and absence of ornamentation were tantamount to the most beautiful life. The sand helps us see man in his authentic image, as he is without any additions or artificial extensions. I was a stranger to everything, and everything frightened me immensely. At that moment, I was looking for an empty life, a life devoid of all shadows.

I don’t want you to think I’m telling you all this for no reason. Saryas-i Subhdam was only a few days old when I left him. I didn’t know then that after my first Saryas, a second and a third would enter my life. You shouldn’t think I hadn’t thought about Saryas during my time in prison. You shouldn’t think I was a bad father and thought only about the sand. But when you look at nothing but sand for twenty-one years, one day you wake up and everything is mixed up. You wake up and all the other images in your memory have disappeared. Oh, nothing eats away at our memories like sand. Every day, you realize you’ve forgotten part of the past again. But I never forgot Saryas-i Subhdam, oh, no. I forgot the whole world, but not Saryas-i Subhdam. He was the only thing that didn’t become sand, the only thing that remained evergreen in my mind. For many years, I would see him every morning. Every day, I would imagine him at different ages. I created thousands of faces for him, went through all the possibilities of what he might look like. Every day, I looked into the desert and thought about him.

I suppose the bizarre events surrounding Saryas-i Subhdam started during those strange desert mornings and evenings when I gave him more than one appearance. Year after year, I thought about him less because I no longer knew what I was thinking about: my thoughts had no form or direction. What stopped me worrying about the one person I had left behind was the thought of my own death. I was sure I had died during that lengthy period of time and that the whole world had forgotten about me. The thought that you have died and that others are living on without you, their lives taking their own courses and shapes, is extremely comforting. That nobody expects you to return is sheer bliss.

After the sixth year, I became absolutely convinced that, no matter what had happened, Saryas-i Subhdam had now grown accustomed to my death. Like prison, death is something to which you become accustomed. People must have first taken up a space for their absence to be felt later on. Like anything else – a vase on a table, the sound of a radio from an open window – they must first have a place before they disappear. But if there is nothing from the outset – if there is no sound, no physical presence – we don’t feel their absence and loss. At one moment I felt my life in the desert had reached perfection when I had no need of anyone else. Myself and the infinite emptiness of the universe – that was perfection.

I felt that the outside world had its own kind of perfection too. I hadn’t occupied an important place in the world: life was going on perfectly well without me; things had their own lives and meanings. I didn’t feel my absence had left a hole in anyone’s life. After twenty-one years, I was sure Saryas-i Subhdam was living his own life as well. I was sure Saryas-i Subhdam too, just like all the others, felt I was dead. Until the tenth year of my imprisonment, I had only one hope: to see Saryas-i Subhdam for a few minutes and then die. But then one morning, I woke up and abandoned that hope too. After ten years of separation, every reunion is another loss. Saryas and I had become an imaginary father and son.

One morning when I was looking at the sand, when I was looking at the aging of the desert, it dawned on me that I would never become a father. I knew I’d return like a block of sand, like someone who’d turn anything he touched into dust. Fatherhood is an embrace, but I was a fistful of black earth. On my return, I would only ever see life through images of the desert.

The night I was released, I didn’t know where Saryas-i Subhdam was. I didn’t know we would both eventually get lost in a desert that was neither mine nor his.

2

One evening a few years ago, Muhammad-i Dilshusha, Muhammad the Glass-Hearted, who is obsessed with discovering secrets, sets off for a meeting with an antique dealer. Not your usual sort of meeting where you casually drop in on someone either, but an important one that might unravel a mystery. It’s a rainy evening, full of unusual and fantastical cloud formations. Without thinking about the clouds, he walks calmly south from the city’s northern alleyways, singing. As well as the key ring he’s playing with, he has a glass pomegranate in his pocket. He tosses the key ring into the air and catches it. Attached are glass keys that open imaginary doors for the young man who that evening considers himself the happiest person in the world.

Everybody knows him. Everybody has heard the story of the glass-hearted teenager who saw his own death in a dream, a death he keeps recounting, day in, day out. A dream of dropping his heart, of it breaking and shattering just like the glass antiques he has on display in the cupboards and on the long, tall shelves at home.

It starts to rain. Muhammad the Glass-Hearted looks up at the sky and realizes he has never seen such menacing clouds, but, unperturbed, he plays with the keys to the imaginary doors and carries on singing. It’s a happy evening for Muhammad the Glass-Hearted; after all, he believes that one of his keys will only open doors when it’s raining.

I have never seen him, but I can imagine him walking south through the alleys as he plays with his key ring, tossing it from one hand to another, passing it under his thigh and snatching it out of the air. I see a joyful young man who laughs as he looks at the sky rather than being afraid of it, a young man who has only recently created a life for himself out of glass, a life that only he knows to be so fragile and brittle. But there he is, nonchalantly walking along, singing.

His room is full of unusual vases, teapots with Chinese designs, glasses with etchings of birds, chinaware adorned with strange pictures of dragons, tigers, and fiery-colored doves. His cupboard, bookshelf, desk, and chest of drawers are all made of glass. Sitting atop one of the cupboards is a blue glass globe showing all the countries of the world.

When Muhammad the Glass-Hearted leaves home, he is confident about his chances in life. As rain begins to pour down stronger and harder, he keeps right on playing with his keys while people around him run off under umbrellas. He doesn’t look at the sky or pay any attention to the rain, which steadily increases, eventually causing a massive flood. The streets and sidewalks now look deserted. People head into the tall buildings, looking down from the rooftops. They perch on the minarets, the blue domes, the hotel rooftops, the tops of the eucalyptus and pine trees. Only Muhammad the Glass-Hearted is being swept away by the water as the flood carries him from one neighborhood to another.

He’s floating as if aboard a small but invisible boat. He’s sitting cross-legged on the floodwater, looking on with a big smile. The flood is sweeping away cars, household items, chairs, whirling them all around Muhammad the Glass-Hearted, who is looking on. The floodwater is filled with unexpected items from the city: tires, piles of unread books, trays of food, household equipment, drowned women in their black cloaks, dead men whose hands still clutch their cash to keep it from getting wet. The water carries Muhammad the Glass-Hearted along with the objects, but he’s sitting on the water as if on a prayer mat, grinning at the onlookers watching from the rooftops of houses and the balconies of two-story shopping malls.

He lifts his hands and waves to them, blowing them kisses. The waves propel him rapidly along, but he gets to his feet on the water, as if he’s about to give some kind of performance, and returns the greetings of people on both sides of the street. He laughs as the water sweeps him away. Throwing his keys up into the air and catching them, he glides down the alleyways, the water sweeping him through the streets. Everyone sees the miracle; everyone sees Muhammad the Glass-Hearted playing among the dead as he walks on top of cars being carried away by the water and, from there, jumps back onto its surface. He catches drifting apples and oranges as they float by on the floodwater, juggling them as if he were a circus performer. He picks up jewelry boxes swept away from goldsmith shops by the flood, throwing their shining contents to the people. The sight of him amid all that tragedy prompts laughter from the onlookers.

It’s pouring down, but he moves through the streets as if helped by an imaginary oar or driven in a boat steered by God himself. He moves through the main roads, through the qaysaris[*1] that are now completely submerged. He sails through the butchers’ sector of the bazaar, putting his arms around the floating carcasses, dancing with lambs that have been slaughtered and flayed. He passes through the shoe shops, and in the antique sellers’ sector, he catches a floating silver vase and lays it on his lap.

He gives himself over to the course of the flood. Slowly it sweeps him away from the bazaars, alleyways, and streets to quieter places. The waves, now calm, are taking him to increasingly closed-off areas, to narrow and winding alleys in the south where the tops of the building are submerged in water and from which no voice can be heard.

Finally, as the rain begins to let up and darkness falls, at the end of his long journey, the water pushes him outside the gate of a two-story house in a cul-de-sac. He wants to turn back but cannot; he wants to stand up and walk across the waves and abandon himself to the course of the flood in another alleyway but cannot. An unknown force from within the waves propels him toward that gate. He stops and sits on the water, seized by a deep fear. Night falls. Slowly the clouds disperse, the moon emerging quietly and shyly.

Suddenly, an unknown cry from inside Muhammad’s heart tells him, “This evening is the evening of love!” He reaches into his pocket and takes out his keys. One of them is the key of love, the key of his unrequited loves. He opens the gate with trepidation. When it springs open, the water carries him into the large courtyard of an old and stately home. As if circling an ancient temple, he circumnavigates the house and then does so again. He looks at the windows, listens to the profound silence of the walls. He circles one more time.

In one of the windows, two girls appear, both wearing white, both letting their long hair down into the water, and looking at him from above. One of them is Lawlaw-i Spi, the other her elder sister, Shadarya-i Spi. He passes by their window, borne by the water.

“Good evening. My name is Muhammad the Glass-Hearted. The flood has brought me here. Can you let me in your window?”

Lawlaw opens it, saying, “Please, come in.” Little does she know that by opening the window, she has flung open the gates to a great storm in her life. Muhammad goes in, and all he takes with him are the glass pomegranate in his pocket and the ring of keys. At first breath, Muhammad the Glass-Hearted is certain he is entangled in an intricate and complex love. He looks at the girls, their hair unfurling onto the carpet, tangling around objects, forming waves, then straightening out.

He is the son of one of the city’s famous men, Sulaiman the Great, who, since the success of the revolution, has been in charge of the city’s most dangerous secrets. In the past six years, he has never seen such beauties anywhere. He is the key maker for all the impossible doors, and his bundle of keys has opened them all. He is a master of uncovering secrets. But still, he has not seen such a sight before.

That evening sees the start of a story of unrequited love. Friendly and open-minded, the two sisters open the window of their lives to Muhammad the Glass-Hearted, because they can see that he is an innocent and jovial young man. But Lawlaw-i Spi tells him, right from that very first evening, “Don’t forget that you didn’t come in through the door.” That evening the two sisters look after him with great devotion, drying his hair and clothes and making him tea. “Consider us your own sisters. We are your sisters.”

Muhammad the Glass-Hearted protests, laughing, “No way. You’re not my sisters. I’ve come all the way through the storm to fall in love with one of you. The rain has sent me here to fall in love with Lawlaw.” There’s a strange ring in Muhammad’s voice, a softness that blends the dance of sadness with the cry of happiness. His eyes, too, are full of laughter and weeping, shyness and audacity, the echoes of the wind and the ringing of glass. As Shadarya-i Spi looks into the young man’s eyes, she knows the flood has brought him for an unknown reason and that, from this moment on, ...