The Tobacco Keeper Read online

  THE TOBACCO KEEPER

  ALI BADER

  Translated by Amira Nowaira

  Eat your chocolate, little girl;

  Eat your chocolate!

  Believe me, there are no metaphysics in the world beyond chocolate;

  Believe me, all the religions in the world do not teach more than the sweetshop.

  Eat, dirty girl, eat!

  Tobacco Shop by Fernando Pessoa

  Contents

  Part One

  I Lives, maps and special documents

  II Ghost-writing: an imaginary paradise or a journey into the unknown?

  III Journalists at the tobacconist’s

  IV The imperial city and the emerald bars

  V Boris, Samir and Farida Reuben’s letters

  Part Two

  VI The keeper of flocks

  VII The protected man in the tobacconist’s

  VIII Tobacco keeper

  Part Three

  IX Murder revealed, a life on the periphery and strange lands

  A Note on the Translator

  Part One

  I

  Lives, maps and special documents

  On 3 April 2006, less than one month after an armed group had kidnapped him near his home in Al-Mansour City, the body of the Iraqi composer Kamal Medhat was found near the Jumhuriya Bridge that crosses the River Tigris in Baghdad. Iraqi newspapers reported the fact of his death without going into detail. The real twist in the tale came when US Today News reported that Kamal Medhat was none other than Yousef Sami Saleh, of the Qujman family, who’d emigrated to Israel in 1950 during Operation Ezra and Nehemiah – that is, after the decision to strip the Jews of their Iraqi nationality and confiscate their property. He had married Farida Reuben, and their son Meir had been born in Iraq a year before he’d emigrated.

  Yousef had found life in Tel Aviv unbearable and, in 1953, he’d escaped to Iran via Moscow, using a forged passport in the name of Haidar Salman. In Tehran, he’d married Tahira, daughter of a wealthy merchant named Ismail al-Tabtabaei, and she had given birth to their son Hussein. In 1958, he had returned with his family to Baghdad, where he’d remained until 1980 when, as an Iranian national, he was expelled to Tehran. His wife Tahira had died during the journey. His son Hussein had been held in prison for more than three years and upon his release he too had been deported to Tehran, where he had tried in vain to find his father.

  Haidar Salman had lived as a refugee in Tehran for about a year. Then, at the end of 1981, he’d managed to escape to Damascus with a doctored Iraqi passport in the name of Kamal Medhat. Although he’d remained in Damascus for less than a year, he’d married a wealthy Iraqi woman by the name of Nadia al-Amary. Using his forged passport he’d returned to Iraq early in 1982. In Baghdad his wife had given birth to a son, Omar. It was also at this time, in the eighties, that Kamal Medhat had become the most famous composer in the Middle East.

  That summarizes the American newspaper report that was published five days after the discovery of the dead body in Baghdad.

  Two days after the publication of the report, US Today News contacted me and asked me to travel to Baghdad to write a thousand-word article on Kamal Medhat. The piece would not, however, appear under my name, but under the by-line of John Barr, one of the paper’s senior correspondents. This is termed ghost-writing or shadowing, in which a reporter travels to a danger zone to write about a hot topic but whose report is attributed to one of the paper’s big-shots. The local reporter gets a fee for his trouble and nothing else. The Press Cooperation Agency and AC Media & News also wanted a full-length biography of Kamal Medhat. They offered to cover all my travel expenses to the cities he’d lived in, provided that the book was based on documentary evidence and genuine interviews. They supplied me with a great many documents, newspapers and letters, and arranged for me to interview a number of his acquaintances in various places around the world. They also organised my trips to the cities where he’d lived: in Baghdad I stayed for over a month at the Agency’s bureau in the Green Zone. I then visited Tehran and tracked down the places he’d lived there. In Damscus I spent two months covering the final phase of his exile.

  A portrait of Kamal Medhat

  To make my work on this enigmatic character easier, and to form a portrait of Kamal Medhat, I drew together a number of threads.

  He was a tall, very thin man with long hair and a light beard. He wore plastic-rimmed glasses and dressed elegantly. His love affairs were many and his emotions mysterious. His encyclopaedic interests included modern art, poetry, literature and politics. He had a deep belief in metaphysics but had indeterminate political views. His readings in philosophy were wide-ranging, if selective.

  Kamal Medhat was also an outstanding violinist, winning several international awards. He could speak, and read, six languages: he picked up Hebrew and Arabic at home, studied English and French at school in Baghdad, learnt Russian while studying music at the Tchaikovsky Conservatory in Moscow, and Persian during his time in Tehran.

  That would be a reasonable portrait of the man. During my work on his biography, a few surprises changed the whole course of the project. In his house I found a book of poetry containing a poem in a foreign language, which he had annotated. It is important to mention the poem here, before elaborating on its impact.

  The truth is, when I visited Kamal Medhat’s house in Al-Mansour City during my investigation into his murder, I came across two books. The first was the memoir of the French violinist Stéphane Grappelli. The other was in English; it had a red cover and was lying on a small teak table in his room. It was a collection of poems called Tobacco Shop, by the Portuguese poet Fernando Pessoa. In the margins, Kamal Medhat had written a lot of notes and comments in pencil. As I was leaving the house, I took the book with me. Having no clue as to the importance of the book or its significance in his life, I did not browse through it right away, but put it in a drawer until the following day. In the morning I started to read it, together with his comments and glosses. What I discovered stunned me. I realized that the book contained many of his secrets. I needed to study it and understand it, because it held important keys to unravelling the mysteries of his life.

  In Tobacco Shop, Pessoa presents three different characters, involving three cases of assumed identity. Each one of the fictional characters represents a facet of Pessoa’s own personality, who are all given separate names, ages and different lives. Each has different convictions, ideas and traits. With each personality, Pessoa develops a deeper and broader sense of identity, but ultimately we are left with the true ambiguity of identity. The first character is the keeper of flocks, Alberto Caeiro, while the second is that of the protected man, Ricardo Reis. The third is the tobacconist, Álvaro de Campos. Suddenly we find ourselves confronted by a game à-trois or a 3D Cubist image of a single face.

  This is exactly what Kamal Medhat did. He, too, had three personalities, each with a distinct name, age, features, convictions and religion. Yousef Sami Saleh was an enlightened and liberal Jewish musician, born in Baghdad in 1926. When I looked him up in the Encyclopaedia of Iraqi Music, I discovered that he’d died in Israel in 1955. (Curiously, Kamal Medhat himself had written the articles on both Yousef Sami Saleh and Haidar Salman in this encyclopaedia.) When he went to Tehran, he assumed the personality of Haidar Salman, a musician from a middle-class Shia family, born two years before his original persona. Haidar Salman had links with the communist movement throughout the sixties. According to the Encyclopaedia of Iraqi Music, he had died in Tehran in 1981. When he moved from Damascus to Baghdad, he had assumed the third persona, that of the well-known musician Kamal Medhat, born in 1933 to a distinguished family of Sunni merchants from Mosul. During the eighties he’d had personal ties with th
e regime in Baghdad and had become close to President Saddam Hussein. Kamal Medhat’s entire life therefore proves without a shred of doubt that the notion of an essential ‘identity’ is false. His life demonstrates the possibility of exchanging identities through a series of narrative games. An identity turns into a story that one can inhabit and impersonate. In this way the artist laughs tongue-in-cheek at the deadly struggle of identities through a game of pseudonyms, fake personalities and false masks.

  In the midst of the sectarian warfare underway in Baghdad prior to his death, Kamal Medhat’s three sons visited him and revealed the collapse of ‘identity’. Meir, the Jew from Iraq who’d emigrated from Israel to the United States, who’d joined the Marines and returned to Iraq as a US Army officer, was the product of his first persona. Hussein, who, after settling in Tehran, had tied himself to his Shia identity and joined the Shia political movement, was the offspring of the second father. Omar, a Sunni trying to bolster his identity in the face of the tragic ousting of the Sunnis from power in Iraq after 2003, was the outcome of the third persona. Each of them stood by a story that was constructed, fabricated and furnished with narrative and imaginary elements. Each of them lived a life they believed to be true.

  Kamal Medhat’s life shows that identity is always closely allied to a narrative standpoint. A life is a story that is fabricated, formulated or narrated at a completely random moment, a localized historical instant when others turn into the ‘other’, into strangers, foreigners and even outcasts. The story of this artist shows that identity is a process of adaptation; no sooner has it located itself in one particular historical moment than it changes into a different moment. All these imaginary communities begin with a fabricated, invented narrative which denies that identities blend and overlap, but which at a certain point in time reveals such boundaries to be imaginary, constructed and fabricated, nothing but narrative concoctions. As a community loses its connection with its roots, it attempts to regain its lost horizons, which it may achieve only through storytelling and imagination.

  A brief biography

  The more I read of Pessoa’s book of poetry, the deeper grew my understanding of the intriguing personality of Kamal Medhat. Before travelling to Baghdad, I’d already collected a great deal of detailed information about his life. And before starting to write his biography, I’d prepared maps of the Middle Eastern cities that he’d passed through on his journey. So I devised a brief biography:

  3 November 1926: Yousef Sami Saleh was born into the middle-class Jewish-Iraqi Qujman family. In the year of his birth the Iraqi–British treaty was signed, as an amendment to the 1922 treaty, and was ratified by the Iraqi parliament on 18 January. The same year also saw the births of the most important modern Iraqi poet, Badr Shaker al-Sayyab, and the leading modern Iraqi novelist, Fouad al-Tikerly. Yousef Sami Saleh had lived on Al-Rashid Street in the Al-Torah quarter. One of Baghdad’s oldest quarters, this neighbourhood had been home to many Jewish families before the middle of the last century.

  1927: Oil, the liquid destined to play the lead role in shaping the country’s history and future, gushed from the first well in Iraq.

  1932: As the first independent Arab state, Iraq became the fifty-seventh member of the League of Nations. The end of the British Mandate was officially declared.

  1933: Yousef Sami Saleh learned to play the violin under an Armenian musician, a graduate of Moscow’s Tchaikovsky Conservatory. Also in that year, the first Iraqi Communist manifesto was published, written by Fahd, the historic leader of the Iraqi Communist Party.

  1936: Radio Baghdad broadcast its first programmes. Yousef Sami Saleh performed a piece by Mozart. That historic year also witnessed Lieutenant-General Bakr Sidqi’s coup against the government of Yassin al-Hashemi. It was the first military coup in Iraq and the entire Arab world.

  10 June 1941: Yousef Sami Saleh met renowned Russian violinist Michel Boricenco, in whose presence he gave his first solo violin performance. In a small hall at Baghdad’s English Club he performed Bach, Paganini and Ysaÿe. As a token of his admiration and appreciation, Boricenco presented him with a violin and bow of the highest quality. In May, the Iraqi–British war broke out, accompanied by a nationalist revolt inspired by Nazism. Wholesale chaos enveloped the country. The Jewish community suffered assault, looting, robbery and murder. Massouda Dalal, Yousef Sami Saleh’s aunt, was burnt alive before his very eyes and her property looted.

  21 October 1946: The ninth government of Nuri al-Said was formed. That year also coincided with the Egyptian singer Umm Kulthoum’s arrival in Baghdad in May, where she’d stayed at the Tigris Palace Hotel. She gave a few performances on the occasion of King Faisal II’s birthday. That same year saw the opening of Studio Baghdad, which marked the effective beginning of the history of Iraqi cinema.

  1948: The Portsmouth Treaty was signed between Iraqi Prime Minister Salih Jabr and British Foreign Secretary Bevin. Students declared a general strike and peaceful demonstrations for three days. They shouted slogans calling for the dissolution of parliament and the Cabinet. In response, the Deputy Prime Minister issued a statement that infuriated the demonstrators, and then ordered the police to open fire on them. Many students were killed and injured on the bridge. The following day, during the delivery of the bodies, police vehicles stormed the Royal Hospital Building at Bab al-Muazzam, opening fire and killing more students from the Faculty of Pharmacy.

  The 1948 war began and the State of Israel was declared, the Arab nakba.

  In that same year, Yousef Sami Saleh was awarded the King Faisal Prize for the violin. He embarked on a series of concerts at the English Club, attended by the most distinguished families of Baghdad. His fingers had mastered the violin, especially Bach’s solo Sonata. In that same year, he married Farida Reuben.

  1949: The founding members of the Iraqi Communist Party, Yousef Salman (Fahd), Hussein Mohammad al-Shebibi (Hazem) and Zaki Baseem (Sarim) were publicly executed in the streets of Baghdad. At the end of that year, Meir, Yousef Sami Saleh’s only son by Farida Reuben, was born.

  21 March 1950: The Afghan King Mohammad Zahir Shah arrived in Baghdad on his way to Europe.

  Al-Rowwad, a grouping of a few plastic artists, was established in Baghdad. A law was passed depriving Jews of their Iraqi nationality. Yousef Sami Saleh left for Israel during Operation Ezra and Nehemiah, which allowed large numbers of Jewish families to emigrate. Their property and assets were confiscated.

  1952: Yousef Sami Saleh moved to Kibbutz Kfar in Tel Aviv.

  1953: He travelled to Moscow to attend a concert and to visit the Tchaikovsky Conservatory. There he met the well-known violinist Sergei Oistrakh, who helped him escape to Iran during the reign of Shah Reza Pahlavi. On the way, he stopped off in Prague where he met the famous violinist Karl Baruch and began a friendship that lasted until the latter’s death. That same year, he began a new life in Tehran under the name of Haidar Salman and was embraced by the wealthy Iraqi family of Ismail al-Tabtabaei, whose daughter Tahira he married. He gave a series of concerts at the Tehran Opera House and became acquainted with the most renowned Iranian musicians.

  1955: The inaugural meeting of the Baghdad Pact countries was held on 21–22 November in Baghdad. It comprised Iraq, Iran, Turkey, Pakistan and the United Kingdom. On 25 November, Israeli newspapers reported Yousef Sami Saleh’s death, based on a notice published by his former wife, Farida Reuben.

  1956: The Tripartite Aggression was launched against Egypt following the nationalization of the Suez Canal. Vocal demonstrations took place in Baghdad and in most Arab capitals.

  3 September 1957: Haidar Salman gave a solo performance of Henri Vieuxtemps’ Op. 4 in D Minor, which he played before the aristocrats of Iran with absolute genius and exquisite musicianship.

  14 July 1958: A military coup d’état, led by Abdel Karim Qasim, was declared in Baghdad. The monarchy was overthrown and a republic proclaimed. Qasim became both Prime Minister and Defence Minister. The Rihab Palace witnessed the massacre o
f the whole royal family, including women and children.

  Yousef Sami Saleh entered Iraq under the name of Haidar Salman, who had been born in Baghdad in 1924, who had studied music in Moscow and Tehran and whose family was made up of merchants from Al-Isterbadi market in Al-Kazemeya.

  In the same year his son Hussein was born.

  1959: Haidar Salman became acquainted with the great sculptor Jawad Salim and joined the cultural milieu, particularly the Baghdad Modern Art Society. During that same year, he gave several concerts in which he charmingly and masterfully performed Paganini and Bach.

  During that period, rumours circulated that he was having an affair with the well-known painter Nahida al-Said.

  1960: He started composing and departed for Moscow where he spent a year studying the arts of conducting and composition at the Tchaikovsky Conservatory.

  5 August 1961: He won an award bestowed by Elizabeth, the former Queen of Belgium, which he received at an event held by the queen to honour the winners.