The Book of Khalid Read online

  THE BOOK OF KHALID

  AMEEN RIHANI was born in 1876 in Freike, in what is now Lebanon. He was one of six children, and his father was a silk manufacturer. At age 11 Rihani moved to New York, where his father and uncle became merchants. He worked for them for nine years, while teaching himself English by reading major European and American writers. In 1897 he was sent back to Lebanon to recover from illness, and there became familiar with the Arabic poets. His translation of Abul-Ala Al-Ma’arri would be Rihani’s first English publication, in 1903. Soon thereafter he commenced a six-year period of living in isolation in the Lebanese mountains, during which he published extensively in Arabic—including fiction, non-fiction, drama, and notably introducing free verse to Arabic poetry. He wrote The Book of Khalid, the first Arab-American novel, during this period, in English. Returning to New York, in 1916 he married Bertha Case, an American artist. He became active politically, counseling Theodore Roosevelt on Palestine and representing Arab interests at the Hague. His late books Around the Coasts of Arabia (1930) and Arabian Peak and Desert (1931) were extremely successful in the US and Europe and provided a new perspective of the Arab world for Western audiences. Rihani died in his hometown, Freike, on September 13th 1940, at the age of 64, from complications following a bicycle accident.

  KAHLIL GIBRAN (1883–1931) was born in Lebanon but emigrated with his family to Boston in 1895 and was educated in Beirut and in Paris. In 1923 he published The Prophet, one of the best-selling books of the century.

  TODD FINE is the founder and director of Project Khalid, a campaign to celebrate The Book of Khalid’s centennial and to advance Rihani’s reputation as an important Arab-American figure.

  THE NEVERSINK LIBRARY

  I was by no means the only reader of books on board the Neversink. Several other sailors were diligent readers, though their studies did not lie in the way of belles-lettres. Their favourite authors were such as you may find at the book-stalls around Fulton Market; they were slightly physiological in their nature. My book experiences on board of the frigate proved an example of a fact which every book-lover must have experienced before me, namely, that though public libraries have an imposing air, and doubtless contain invaluable volumes, yet, somehow, the books that prove most agreeable, grateful, and companionable, are those we pick up by chance here and there; those which seem put into our hands by Providence; those which pretend to little, but abound in much. —HERMAN MELVILLE, WHITE JACKET

  THE BOOK OF KHALID

  Originally published by Dodd, Mead and Company, New York, 1911

  © 2012 Melville House Publishing

  Afterword © 2012 Todd Fine

  Design by Christopher King

  First Melville House printing: April 2012

  Melville House Publishing

  145 Plymouth Street

  Brooklyn, NY 11201

  www.mhpbooks.com

  eISBN: 978-1-61219-088-4

  Library of Congress Cataloging-in-Publication Data

  Rihani, Ameen Fares, 1876-1940.

  The book of Khalid / Ameen Rihani; foreword by Todd Fine.

  p. cm.

  Originally published: New York : Dodd, Mead and Company, 1911.

  1. Arab Americans–Fiction. 2. Immigrants–New York (State)–New York–Fiction. I. Fine, Todd. II. Title.

  PS3535.I65B6 2012

  813’.52–dc23

  2011053354

  v3.1

  CONTENTS

  Cover

  About the Author

  Title Page

  Copyright

  Al-Fatihah

  BOOK THE FIRST: IN THE EXCHANGE To Man

  I. Proving the Trivial

  II. The City of Baal

  III. Via Dolorosa

  IV. On the Wharf of Enchantment

  V. The Cellar of the Soul

  VI. The Summer Afternoon of a Sham

  VII. In the Twilight of an Idea

  VIII. With the Huris

  BOOK THE SECOND: IN THE TEMPLE To Nature

  I. The Dowry of Democracy

  II. Subtranscendental

  III. The False Dawn

  IV. The Last Star

  V. Priesto-Parental

  VI. Flounces and Ruffles

  VII. The Howdaj of Falsehood

  VIII. The Kaaba of Solitude

  IX. Signs of the Hermit

  X. The Vineyard in the Kaaba

  BOOK THE THIRD: IN KULMAKAN To God

  I. The Disentaglement of the Me

  II. The Voice of the Dawn

  III. The Self Ecstatic

  IV. On the Open Highway

  V. Union and Progress

  VI. Revolutions Within and Without

  VII. A Dream of Empire

  VIII. Adumbrations

  IX. The Stoning and Flight

  X. The Desert

  Al-Khatimah

  AFTERWORD

  by Todd Fine

  AL-FATIHAH

  IN THE KHEDIVIAL LIBRARY OF CAIRO, AMONG the Papyri of the Scribe of Amen-Ra and the beautifully illuminated copies of the Korân, the modern Arabic Manuscript which forms the subject of this Book, was found. The present Editor was attracted to it by the dedication and the rough drawings on the cover; which, indeed, are as curious, if not as mystical, as ancient Egyptian symbols. One of these is supposed to represent a New York Skyscraper in the shape of a Pyramid, the other is a dancing group under which is written: “The Stockbrokers and the Dervishes.” And around these symbols, in Arabic circlewise, these words:—“And this is my Book, the Book of Khalid, which I dedicate to my Brother Man, my Mother Nature, and my Maker God.”

  Needless to say we asked at once the Custodian of the Library to give us access to this Book of Khalid, and after examining it, we hired an amanuensis to make a copy for us. Which copy we subsequently used as the warp of our material; the woof we shall speak of in the following chapter. No, there is nothing in this Work which we can call ours, except it be the Loom. But the weaving, we assure the Reader, was a mortal process; for the material is of such a mixture that here and there the raw silk of Syria is often spun with the cotton and wool of America. In other words, the Author dips his antique pen in a modern inkstand, and when the ink runs thick, he mixes it with a slabbering of slang. But we started to write an Introduction, not a Criticism. And lest we end by writing neither, we give here what is more to the point than anything we can say: namely, Al-Fatihah, or the Opening Word of Khalid himself.

  With supreme indifference to the classic Arabic proem, he begins by saying that his Book is neither a Memoir nor an Autobiography, neither a Journal nor a Confession.

  “Orientals,” says he, “seldom adventure into that region of fancy and fabrication so alluring to European and American writers; for, like the eyes of huris, our vanity is soft and demure. This then is a book of travels in an impalpable country, an enchanted country, from which we have all risen, and towards which we are still rising. It is, as it were, the chart and history of one little kingdom of the Soul,—the Soul of a philosopher, poet and criminal. I am all three, I swear, for I have lived both the wild and the social life. And I have thirsted in the desert, and I have thirsted in the city: the springs of the former were dry; the water in the latter was frozen in the pipes. That is why, to save my life, I had to be an incendiary at times, and at others a footpad. And whether on the streets of knowledge, or in the open courts of love, or in the parks of freedom, or in the cellars and garrets of thought and devotion, the only saki that would give me a drink without the asking was he who called himself Patience.…

  “And so, the Book of Khalid was written. It is the only one I wrote in this world, having made, as I said, a brief sojourn in its civilised parts. I leave it now where I wrote it, and I hope to write other
books in other worlds. Now understand, Allah keep and guide thee, I do not leave it here merely as a certificate of birth or death. I do not raise it up as an epitaph, a trade-sign, or any other emblem of vainglory or lucre; but truly as a propylon through which my race and those above and below my race, are invited to pass to that higher Temple of mind and spirit. For we are all tourists, in a certain sense, and this world is the most ancient of monuments. We go through life as those pugreed-solar-hatted-Europeans go through Egypt. We are pestered and plagued with guides and dragomans of every rank and shade;—social and political guides, moral and religious dragomans: a Tolstoy here, an Ibsen there, a Spencer above, a Nietzche below. And there thou art left in perpetual confusion and despair. Where wilt thou go? Whom wilt thou follow?

  “Or wilt thou tarry to see the work of redemption accomplished? For Society must be redeemed, and many are the redeemers. The Cross, however, is out of fashion, and so is the Dona Dulcinea motive. Howbeit, what an array of Masters and Knights have we, and what a variety! The work can be done, and speedily, if we could but choose. Wagner can do it with music; Bakunin, with dynamite; Karl Marx, with the levelling rod; Haeckel, with an injection of protoplasmic logic; the Pope, with a pinch of salt and chrism; and the Packer-Kings of America, with pork and beef. What wilt thou have? Whom wilt thou employ? Many are the applicants, many are the guides. But if they are all going the way of Juhannam, the Beef-packer I would choose. For verily, a gobbet of beef on the way were better than canned protoplasmic logic or bottled salt and chrism.…

  “No; travel not on a Cook’s ticket; avoid the guides. Take up thy staff and foot it slowly and leisurely; tarry wherever thy heart would tarry. There is no need of hurrying, O my Brother, whether eternal Juhannam or eternal Jannat await us yonder. Come; if thou hast not a staff, I have two. And what I have in my Scrip I will share with thee. But turn thy back to the guides; for verily we see more of them than of the ruins and monuments. Verily, we get more of the Dragomans than of the Show. Why then continue to move and remove at their command?—Take thy guidebook in hand and I will tell thee what is in it.

  “No; the time will come, I tell thee, when every one will be his own guide and dragoman. The time will come when it will not be necessary to write books for others, or to legislate for others, or to make religions for others: the time will come when every one will write his own Book in the Life he lives, and that Book will be his code and his creed;—that Life-Book will be the palace and cathedral of his Soul in all the Worlds.”

  BOOK THE FIRST

  IN THE EXCHANGE

  TO MAN

  No matter how good thou art, O my Brother, or how bad thou art, no matter how high or how low in the scale of being thou art, I still would believe in thee, and have faith in thee, and love thee. For do I not know what clings to thee, and what beckons to thee? The claws of the one and the wings of the other, have I not felt and seen? Look up, therefore, and behold this World-Temple, which, to us, shall be a resting-place, and not a goal. On the border-line of the Orient and Occident it is built, on the mountain-heights overlooking both. No false gods are worshipped in it,—no philosophic, theologic, or anthropomorphic gods. Yea, and the god of the priests and prophets is buried beneath the Fountain, which is the altar of the Temple, and from which flows the eternal spirit of our Maker—our Maker who blinketh when the Claws are deep in our flesh, and smileth when the Wings spring from our Wounds. Verily, we are the children of the God of Humour, and the Fountain in His Temple is ever flowing. Tarry, and refresh thyself, O my Brother, tarry, and refresh thyself.

  KHALID.

  CHAPTER I

  PROBING THE TRIVIAL

  THE MOST IMPORTANT IN THE HISTORY OF nations and individuals was once the most trivial, and vice versa. The plebeian, who is called to-day the man-in-the-street, can never see and understand the significance of the hidden seed of things, which in time must develop or die. A garter dropt in the ballroom of Royalty gives birth to an Order of Knighthood; a movement to reform the spelling of the English language, initiated by one of the presidents of a great Republic, becomes eventually an object of ridicule. Only two instances to illustrate our point, which is applicable also to time-honoured truths and moralities. But no matter how important or trivial these, he who would give utterance to them must do so in cap and bells, if he would be heard nowadays. Indeed, the play is always the thing; the frivolous is the most essential, if only as a disguise.—For look you, are we not too prosperous to consider seriously your ponderous preachment? And when you bring it to us in book form, do you expect us to take it into our homes and take you into our hearts to boot?—Which argument is convincing even to the man in the barn.

  But the Author of the Khedivial Library Manuscript can make his Genius dance the dance of the seven veils, if you but knew. It is to be regretted, however, that he has not mastered the most subtle of arts, the art of writing about one’s self. He seldom brushes his wings against the dust or lingers among the humble flowers close to the dust: he does not follow the masters in their entertaining trivialities and fatuities. We remember that even Gibbon interrupts the turgid flow of his spirit to tell us in his Autobiography that he really could, and often did, enjoy a game of cards in the evening. And Rousseau, in a suppurative passion, whispers to us in his Confessions that he even kissed the linen of Madame de Warens’ bed when he was alone in her room. And Spencer devotes whole pages in his dull and ponderous history of himself to narrate the all-important narration of his constant indisposition,—to assure us that his ill health more than once threatened the mighty task he had in hand. These, to be sure, are most important revelations. But Khalid here misses his cue. Inspiration does not seem to come to him in firefly-fashion.

  He would have done well, indeed, had he studied the method of the professional writers of Memoirs, especially those of France. For might he not then have discoursed delectably on The Romance of my Stick Pin, The Tragedy of my Sombrero, The Scandal of my Red Flannel, The Conquest of my Silk Socks, The Adventures of my Tuxedo, and such like? But Khalid is modest only in the things that pertain to the outward self. He wrote of other Romances and other Tragedies. And when his Genius is not dancing the dance of the seven veils, she is either flirting with the monks of the Lebanon hills or setting fire to something in New York. But this is not altogether satisfactory to the present Editor, who, unlike the Author of the Khedivial Library MS., must keep the reader in mind. ’Tis very well to endeavour to unfold a few of the mysteries of one’s palingenesis, but why conceal from us his origin? For is it not important, is it not the fashion at least, that one writing his own history should first expatiate on the humble origin of his ancestors and the distant obscure source of his genius? And having done this, should he not then tell us how he behaved in his boyhood; whether or not he made anklets of his mother’s dough for his little sister; whether he did not kindle the fire with his father’s Korân; whether he did not walk under the rainbow and try to reach the end of it on the hill-top; and whether he did not write verse when he was but five years of age. About these essentialities Khalid is silent. We only know from him that he is a descendant of the brave sea-daring Phoenicians—a title which might be claimed with justice even by the aborigines of Yucatan—and that he was born in the city of Baalbek, in the shadow of the great Heliopolis, a little way from the mountain-road to the Cedars of Lebanon. All else in this direction is obscure.

  And the K. L. MS. which we kept under our pillow for thirteen days and nights, was beginning to worry us. After all, might it not be a literary hoax, we thought, and might not this Khalid be a myth. And yet, he does not seem to have sought any material or worldly good from the writing of his Book. Why, then, should he resort to deception? Still, we doubted. And one evening we were detained by the sandomancer, or sand-diviner, who was sitting cross-legged on the sidewalk in front of the mosque. “I know your mind,” said he, before we had made up our mind to consult him. And mumbling his “abracadabra” over the sand spread on a cloth before him, he too
k up his bamboo-stick and wrote therein—Khalid! This was amazing. “And I know more,” said he. But after scouring the heaven, he shook his head regretfully and wrote in the sand the name of one of the hasheesh-dens of Cairo. “Go thither; and come to see me again to-morrow evening.” Saying which, he folded his sand-book of magic, pocketed his fee, and walked away.

  In that hasheesh-den,—the reekiest, dingiest of the row in the Red Quarter,—where the etiolated intellectualities of Cairo flock after midnight, the name of Khalid evokes much resounding wit, and sarcasm, and laughter.

  “You mean the new Muhdi,” said one, offering us his chobok of hasheesh; “smoke to his health and prosperity. Ha, ha, ha.”

  And the chorus of laughter, which is part and parcel of a hasheesh jag, was tremendous. Every one thereupon had something to say on the subject. The contagion could not be checked. And Khalid was called “the dervish of science” by one; “the rope-dancer of nature” by another.

  “Our Prophet lived in a cave in the wilderness of New York for five years,” remarked a third.

  “And he sold his camel yesterday and bought a bicycle instead.”

  “The Young Turks can not catch him now.”

  “Ah, but wait till England gets after our new Muhdi.”

  “Wait till his new phthisic-stricken wife dies.”

  “Whom will our Prophet marry, if among all the virgins of Egypt we can not find a consumptive for him?”

  “And when he pulls down the pyramids to build American Skyscrapers with their stones, where shall we bury then our Muhdi?”

  All of which, although mystifying to us, and depressing, was none the less reassuring. For Khalid, it seems, is not a myth. No; we can even see him, we are told, and touch him, and hear him speak.