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While exploring Cairo, Ib, an American, is taken up with by Armenian Gamal-Leon, who follows him by way of a practical joke during the Muslim Ramadan fast period, and humorous cultural misunderstandings ensue. 12,500 first printing.
- Sales Rank: #3042141 in Books
- Published on: 2002-02-01
- Released on: 2002-02-01
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .51" w x 5.50" l, .55 pounds
- Binding: Paperback
- 192 pages
Review
Glen Weldon, The Iowa Review, 1997: Kiteley depicts the shadowy streets, the genial diffidence of the people, but what sets his prose apart is the purchase it affords the reader on Ib's perceptions. In spare, economic language, he establishes Ib's uneasy mixture of familiarity and bemusement, his affection for--and frustration with--his world. We come to intuit the sense of hesitant isolation afflicting his life; he is at once home and not-home. Despite his years as a resident, he is forever a foreigner in a city of inscrutable mystery. The triumph of this novel [is] that these characters manage to brush up against some pretty large abstractions like foreignness and narrative truth without compromising their roundedness and vitality. This is not, luckily for the reader, merely a novel of ideas. Kiteley's people are simply too well wrought, too expertly achieved, to let themselves sit passively by, mouthing stories and theories and thought experiments. And that's important, because Ib's Cairo is, after all, a dire, intriguing place. Trusted guides vanish, only to reappear with different names. Strangers accuse each other of dark crimes. Personal histories come into doubt, truth is mutable. Thankfully, I Know Many Songs, But I Cannot Sing has at its wise heart a cadre of strong, believable characters who remain compelling against even so exotic, and wondrous, a setting.
Judith Caesar, North Dakota Review, Volume 64, No. 4, 1997: At first I Know Many Songs, But I Cannot Sing seems like an exotic, surreal, picaresque account of an American's night in a foreign city. The plot pulls the reader forward; we want to find out who these people are and how to place them. We want to know why they are acting as they are, and how they know what they know.But what follows is a novel of ideas that explores the multiplicity of identity and reality. The setting is not merely exotic because the novel concerns the the difficulties of understanding other cultures, other values, other realities. The events that seem mysterious and magical have a plausible explanation within these other realities. And yet Kiteley also explores the limits of human understanding, specifically one's ability to understand what is outside one's own direct experience.In its sheer density and complexity,I Know Many Songs, But I Cannot Sing resembles that classic post-modern novella, The Crying of Lot49. And yet Kiteley's themes are all his own.
Pablo Conrad, The Village Voice Literary Supplement, March 1996: Kiteley is not writing about enchantment.For all its frustrating disjunctions and apparent illogic, this novel is strangely concrete. His Cairo blossoms, not least in the heightened perceptions of food as the day's fast draws to a close: "two boys fly by shouldering hot metal pans of bubbling eggplant casserole... The smell that lingers in their path briefly blurs the scenery." Gamal engages[the narrator] Ib in a game of story-telling--joined later by others--narrating incidents and dreams that Ib copies down afterward. The longest isa quietly frightening account of the accidental poisoning of Gamal's four-year-old daughter Annahid, and shares the novel's title. Such intimacies draw Ib further and further into Gamal's circle; and at the novel's close they all gather outside the city, exhausted, just before sunrise. The gentleness and elements of love in their stories echoes Kiteley's evident concern with small details of relationships and personal interaction.However disconcerting at first, the effect is finally compelling. In the acknowledgments to this slim volume, the author notes he "wrote this book in part on postcards to dozens of friends and family members,"adding, "I appreciated everyone's forbearance." This strange, rewarding novel is steeped in that sort of intimacy.
From Publishers Weekly
Again demonstrating the facility he showed in his well-received debut, Still Life with Insects, Kitely here offers another entrancing miniature, which pairs two dissimilar outcasts in contemporary Cairo. Ib, an expatriate American historian and translator of the Sufi mystic poet Rumi, finds his easygoing lifestyle disrupted by Gamal-Leon, an Armenian-born theater critic and drama teacher raised in Cairo. Gamal spies on the rattled American, follows him everywhere and plays practical jokes intended to challenge Ib's preconceptions of Egyptians and the Middle East. Their friendship is a duet of mutual cultural misunderstandings played out during the last weeks of Ramadan, the month-long Muslim holy period of daytime fasting and nighttime feasting. Kitely compellingly evokes the tensions of contemporary Egypt: its jarring juxtapositions of antiquity and Western pop culture; the million homeless refugees who camp out on the streets and in the parks of Cairo; the ubiquitous police informers who record ordinary citizens' conversations. His polyglot characters are complex. Ib is anguished at the recent death of his Dutch stepfather, whom Ib's mother divorced so that she could remarry Ib's father. Ib feuds with his sisters, who are jealous because he received his stepfather's entire inheritance. (Ib is a Danish name akin to Jacob, the biblical twin who persuaded his brother, Esau, to part with his inheritance.) Meanwhile, Gamal, an Armenian Christian, wrestles with his unhappy marriage to a Coptic Egyptian whose sister, a convert to Islam, married a Muslim terrorist now in jail. Kitely's motley circle of expatriates lends a cosmopolitan flavor to an exquisitely wrought mosaic.
Copyright 1995 Reed Business Information, Inc.
From Library Journal
A combination of a Kafka novel, Robert Altman movie, and psychedelic record album, this strange, dreamy little novel from the author of the well-regarded Still Life with Insects (Graywolf, 1993) takes on themes of inversion, foreignness, and communications breakdown. Set in Cairo during Ramadan (the Muslim festival during which participants fast during the day and feast by night), the tale unfolds as an American known only as Ib is joined more or less purposefully by an Armenian named Gamal-Leon (who eventually deconstructs his own name: a "quick-change artist, a slippery tongued mimic who does not know his own voice or face") to visit playhouses, executive office parties, a prison. All these activities are overcast with a significance not totally apparent. Kiteley offers an elusive, hypnotic, even hallucinogenic novel about being as well as the mysteries of being. Highly recommended for literature collections serving sophisticated readers.
Robert E. Brown, Onondaga Cty. P.L., Syracuse, N.Y.
Copyright 1996 Reed Business Information, Inc.
Most helpful customer reviews
9 of 9 people found the following review helpful.
Foreigness explored
By M. J. Smith
Brian Kiteley has written two excellent novels - why he is not better known escapes me. I Know Many Songs, but I Cannot Sing is a much more difficult read than Still Life with Insects but well worth the concentration required.
Kitely explored "foreigness" in a variety of forms in Cairo - the American (respectful and disrespectful), Coptic Christian, German Sufi's, Armenian, and a variety of 'native' Egyptians who either by mixed heritage or Western education also are 'foreign'. Kitely is superb in allowing the Egyptian world-view to be as real as the European world-view at the same time that he emphasizes the contraditions.
The story line is seemingly simple ... an Armenian actor begins following an American/European teacher as a practical joke; they become friends an spend a remarkable night in Ramadan going from house/shop/office/prison/street to another. One cultural is consistently being played off another to provide competing explanations of the events. Kitely is a master at using the small detail - standing less than a foot away comfortable for Egyptians but not Americans, crooked lanes keeping cities cool while European straight boulevards allow the wind to blow cool night air away ... With the ever shifting perspective of dream, premonition, police spying, story time, added knowledge, the reader has a sense of being 'foreign' to the novel - a touch of Kiteley's mastery of his form.
Neither of Kiteley's novels should be neglected, even if it requires searching the used book market.
2 of 2 people found the following review helpful.
A subtle, profound, and haunting story
By val killpack
I sat down in the early afternoon and cracked open the cover. Sometime later, in the darkness of night, not sure if I even ate dinner, I finished the last sentence. Whereas Still Life With Insects is haunting and beautiful and The River Gods interestingly innovative, this book has more narrative force, a driving, dreamlike, and shifting perspective, but a real movement of energy. The main characters have depth, as well as the setting, which seems to almost have its own narrative voice. The novel explores ideas of identity, nation/state, religion, memory, and language, maybe even probing ideas of narrative, itself, and none of it didactic or on the surface, which is a real feat in such a brief work. In fact, this book deserves a second reading which I warmly look forward to. I can see there are more layers to explore.
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