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Overview
In exile from Tanzania, Salim Juma is given a gunny sack by his beloved, but strange, great-aunt. The bag takes him back to his childhood, when he was first mesmerised by the peculiar mementos inside. He soon begins to piece together the stories hidden within, only to discover the truth behind a fateful series of events that changed his family forever.
The stories that follow stretch across four generations of Salim's family, tracing their footsteps and unravelling their loves, betrayals, and incredible misadventures.
The Gunny Sack is an extraordinary chronicle into the experiences of Indian migrants in Africa as they struggled under changing power structures, from German invasions to British colonialism.
Product Details
| ISBN-13: | 9781837930425 |
|---|---|
| Publisher: | Bloomsbury Publishing |
| Publication date: | 01/01/2024 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 368 |
| File size: | 3 MB |
About the Author
He studied theoretical nuclear physics at MIT and the University of Pennsylvania before becoming a postdoctoral fellow at the Atomic Energy of Canada. From 1980 to 1989, he was a research associate at the University of Toronto. During this period he co-founded and edited a literary magazine, The Toronto Review of Contemporary Writing Abroad, and began writing stories.
In 1989, with the publication of his first novel, The Gunny Sack, he was invited to spend a season at the International Writing Program of the University of Iowa. He is currently the author of nine novels, two collections of short stories, and three non-fiction works. He is a two-time winner of the Giller Prize and a member of the Order of Canada. In 2016, he received the Canada Council Molson Prize for the Arts for his outstanding career achievements.
He now lives in Toronto with his wife and two sons, and visits Africa and India often.
To find out more visit: www.mgvassanji.com
Read an Excerpt
SHEHRBANOO
Memory, Ji Bai would say, is this old sack here, this poor dear that nobody has any use for any more. Stroking the sagging brown shape with affection she would drag it closer, to sit at her feet like a favourite child. In would plunge her hand through the gaping hole of a mouth, and she would rummage inside. Now you feel this thing here, you fondle that one, you bring out this naughty little nut and everything else in it rearranges itself. Out would come from the dusty depths some knickknack of yesteryear: a bead necklace shorn of its polish; a rolled-up torn photograph; a cowrie shell; a brass incense holder; a Swahili cap so softened by age that it folded neatly into a small square; a broken rosary tied up crudely to save the remaining beads; a bloodstained muslin shirt; a little book. There were three books in that old gunny that never left her bedside, four-by-six-inch, green, tablet-like, the front cover folding over into a flap fastened with a tiny padlock! On the cover of each, neatly carved, two faded inscriptions in gold, wriggling in opposite directions: one in an Arabic-looking hand, the other indecipherable, supposedly in a secret script. “He who opens it will suffer the consequences,” she, who did not read, would gravely pronounce to her awed listener.
We buried Ji Bai a few weeks ago on a cold November afternoon . . .
From near and far, young and old, they came to see her go, in this small overseas community. Not that many here knew her or had even heard of her; she was only passing through, a traveller. But they would go away the wiser, about her and themselves and the common links between them. Such are the merits of a funeral. The converted supermarket was half full. The old, the exiled old, sitting on chairs on one side, visible but unobtrusive, outwardly implacable and unperturbed, watching the funeral ceremony proceeding with clockwork precision in the hands of the Westernised funeral committee. What thoughts behind those stony masks? The rest of the congregation, the younger members, sat on the floor, facing the ceremony. With practised precision, with appropriate gravity of speech and bearing, the head of the committee led formations of select relatives and friends to partake in the more intimate rituals. She lay inside a raised open coffin, a younger, doll-like Ji Bai, face flushed pink but hideous and grim. What have they done to you, Ji Bai? Someone had taken the pains to iron out every wrinkle on her face, to clean out the grey, to stretch the skin taut like a cellophane wrapper. Once, when time was plenty and the hourglass slow, every man, woman and child present would come and kneel before the dead and beg forgiveness and pay their last respects. Now, in collective homage the congregation filed past the pink face in the coffin; the women took their seats, the men formed two closely spaced rows. A sob stifled, a wail choked (practised wailers, some of these), the coffin was closed.
“Stand back,” said the leader, gruffly. “Stand back!”
“Praise the Prophet!” The coffin was slowly if shakily lifted on to the shoulders of the male relatives and the committee members. Then it took purchase and at shoulder height bobbed away easily like a boat in a slight current, between the two rows of males, as anyone who could gave it a shoulder or even a slight shove on its way to be rolled into the black funeral car outside. An older, experienced voice, rich with feeling, took away the chant:
There is none but Him
There is none but Him
There is none but Him
—and Muhammad is His Prophet . . .
(Once, a rickety yellow and green truck with men sitting on both sides of the coffin at the back chanting the shahada, at the sight of which pedestrians would stop and fold their hands in respect.)
Afterwards, I watched from a distance the last clod of earth thrown perfunctorily on the grave, the last of the congregation — how can I call them mourners? — leave. Someone made a gesture in my direction but then thought the better of it. I was left alone. Trees rustled in the wind, dead leaves scraped the ground. In the distance another burial was in progress, this one more opulent, its mourners in black, with bigger and better wreaths, bigger and better cars. Traffic zipped along the highway. What cold comfort, Ji Bai, I thought. Even worms couldn’t survive in such a grave. I had a vision of her small frail body under six feet of cold earth that would soon freeze. I could see the body shrink, under icy pressure, the skin dry and peel off and fly away like a kite, the skeleton rattle and fold and rearrange itself to form a neat square heap like the firewood that was once sold outside her store in Dar.
A week later Aziz her grand nephew stumbled in to see me with a large blue vinyl suitcase.
“With the compliments of Ji Bai!” he announced cheerfully.
“What? A suitcase?”
A vinyl legacy from a vinyl-faced Ji Bai? No . . . The twinkle in his eyes recalled the mischief in Ji Bai’s, as with a flourish he proceeded to lay it on its side, and like a salesman swung it open as if to display its capacity and interior. A ball of kapok glided out and sailed away.
“The gunny sack,” he spoke, the same instant I saw it, brown and dusty, looking threatened and helpless in the brand-new interior. It was drawn loosely shut with a sisal string. “You used to sit before it so long, she thought it should be yours.”
“Isn’t it rightfully yours?” I asked.
“No. It’s yours. She wanted you to have it.”
“Come, come . . . what if she had died there? Would you have posted it?”
“But she died here.”
Young Aziz, he knew more than he let on. He was Ji Bai’s companion during the last few years of her life. She had said she would travel, and Aziz accompanied her, first to India then here. Wherever she went, her gunny went with her. Did she know she would die in this foreign place, then? With Ji Bai there was no telling.
He said, “If my family had had their way they would have burnt it long ago. It’s brought nothing but bad luck, they say. They want you to burn it, once and for all to bury the past.”
“And you — do you want me to burn it?”
“Look at it first — it’s what she wanted, after all. Then, maybe burn it. To tell you the truth, I almost burnt it instead of bringing it here.”
Reading Group Guide
1. How would you compare The Gunny Sack to other novels by M.G. Vassanji you have read? Does it handle similar or different themes, and in what ways? You might consider issues of identity, relations between races, exile, emigration…
2. How does The Gunny Sack compare to other writers’ treatment of East Africa in the twentieth century? You might consider V.S. Naipaul (for instance, his novel A Bend in the River), Ernest Hemingway, etc.
3. What is the significance of the novel’s epigraphs?
4. How did the author’s frequent use of Swahili and Gujarati words enhance or impede your experience of the novel?
5. How would you describe the character of the narrator, Salim Juma?
6. “The rainy season was at hand and before the hearing the ground had to be cleared of caterpillars.” How does M.G. Vassanji get across such a rich sense of place?
7. What were your criticisms of The Gunny Sack?
8. How do stories and memories interconnect and interweave in the novel? In what ways could this book itself be seen as a gunny sack?
9. What do the minor characters contribute to The Gunny Sack? There are many to choose from, but you might focus on Bibi Tarantibu, Edward bin Hadith, or Dhanji Govindji’s “two jewels,” Ji Bai and Moti.
10. Why does Salim Juma go into exile at the end of the novel?
11. Her voice was sharp and precisely defined, her syllables clipped, beside which our shapeless self-conscious phonemes proceeded higgledy-piggledy, running into each other in a mumble.
(There speaks a true colonial, the voice of a conquered one, says the gunny voice from the corner in its most radical tone.
Shush, Shehrbanoo. Wasn’t I conquered, didn’t she vanquish me? Tell me.)
Discuss colonial relations in The Gunny Sack.
12. What did you make of the historical and political parts of the novel? Do they mingle well with its more personal stories and histories?
13. What do you make of the fact that all the parts of the book are named after women?
Foreword
1. How would you compare The Gunny Sack to other novels by M.G. Vassanji you have read? Does it handle similar or different themes, and in what ways? You might consider issues of identity, relations between races, exile, emigration…
2. How does The Gunny Sack compare to other writers’ treatment of East Africa in the twentieth century? You might consider V.S. Naipaul (for instance, his novel A Bend in the River), Ernest Hemingway, etc.
3. What is the significance of the novel’s epigraphs?
4. How did the author’s frequent use of Swahili and Gujarati words enhance or impede your experience of the novel?
5. How would you describe the character of the narrator, Salim Juma?
6. “The rainy season was at hand and before the hearing the ground had to be cleared of caterpillars.” How does M.G. Vassanji get across such a rich sense of place?
7. What were your criticisms of The Gunny Sack?
8. How do stories and memories interconnect and interweave in the novel? In what ways could this book itself be seen as a gunny sack?
9. What do the minor characters contribute to The Gunny Sack? There are many to choose from, but you might focus on Bibi Tarantibu, Edward bin Hadith, or Dhanji Govindji’s “two jewels,” Ji Bai and Moti.
10. Why does Salim Juma go into exile at the end of the novel?
11. Her voice was sharp and precisely defined, her syllables clipped, beside which our shapeless self-conscious phonemes proceeded higgledy-piggledy, running into each other in a mumble.
(There speaks a true colonial, the voice of a conquered one, saysthe gunny voice from the corner in its most radical tone.
Shush, Shehrbanoo. Wasn’t I conquered, didn’t she vanquish me? Tell me.)
Discuss colonial relations in The Gunny Sack.
12. What did you make of the historical and political parts of the novel? Do they mingle well with its more personal stories and histories?
13. What do you make of the fact that all the parts of the book are named after women?