By Leila Aboulela
In 1950's Sudan, the strong Abuzeid dynasty has accrued a fortune via their buying and selling company. With Mahmoud Bey at its helm, they could do no improper. but if Mahmoud's son, Nur, the bright, good-looking inheritor to the enterprise empire, suffers a debilitating coincidence, the kin stands divided within the face of an doubtful destiny. As British rule nears its finish, the rustic is torn among modernizing affects and the decision of traditions past—a clash mirrored within the turning out to be tensions among Mahmoud's better halves: the more youthful, Nabilah, longs to come to Egypt and break out "backward-looking" Sudan; whereas Waheeba lives generally in the back of veils and closed doorways. it isn't until eventually Nur asserts himself outdoor the cultural limits of his mom and dad that his personal spirit and the frayed bonds of his kinfolk start to mend.
Moving from Sudanese alleys to cosmopolitan Cairo and a decimated postcolonial Britain, this sweeping story of hope, loss, melancholy, and reconciliation is among the so much comprehensive graphics ever written approximately Sudanese society on the time of independence.
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27 The words "put into practice" [réduit en exercice] are more interesting. "Reduced into an exercise," Prévost says literally. We encounter this word reduced (réduit) throughout the current study; if the eighteenth century favors an operation, it is reductionfrom great to small, from ideal to real, from emotional to sexual, from metaphysical to physical. This reduction has also been referred to as "analysis," quite literally a reduction to the simple, a decomposition of elements (from luo, is, ere, "to dissolve," and ana, a prefix indicating a return to the source).
25 I choose to speak of pleasure, not of desire, for two reasons: first, pleasure is the term encountered most often in libertine texts; second, desire connotes lack, and lack does not interest the libertine novelists. The psychological model they valorize is based on "moment": they are struck by the contradiction between our moral being, which defines itself in terms of duration, consequence, and continuity, and this other being, at once physical, moral, and imaginary, which compels us, in the "moment," to commit acts incompatible with all our moral values.
Pleasure cannot be controlled; it imposes itself through sensation. Pleasure is a driving force, since it is analogous to "movement," which drives matter. 15 Let us compare this materialist definition of pleasure with the earlier definition in Furetière's Dictionnaire universel (1690): "Pleasure: Joy that the soul or the body feels, when excited by some agreeable object. The contemplation of God, or of Truth, gives solid pleasures to spiritual people: by comparison, worldly pleasures are nothing.