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The inheritance of exile : stories from South Philly
2007
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In The Inheritance of Exile, Susan Muaddi Darraj expertly weaves a tapestry of the events and struggles in the lives of four Arab-American women. Hanan, Nadia, Reema, and Aliyah search for a meaningful sense of home, caught in the cultural gap that exists between the Middle East and the United States.
 
Daughters of Palestinian immigrants who have settled into the diverse southern section of Philadelphia, the four friends live among Vietnamese, Italians, Irish, and other ethnic groups. Each struggles to reconcile her Arab identity with her American one. Muaddi Darraj adds the perspectives of the girls’ mothers, presented in separate stories, which illuminate the often troubled relationship between first and second generations of immigrants. Her suite of finely detailed portraits of arresting characters, told in evocative, vivid language, is sure to intrigue those seeking enjoyment and insight.

“This sweet, sorrowful book is rich with insight. The Inheritance of Exile tells an authentic story of Arab-American life—these characters are true, expressive, and moving. A fully engaging, satisfying collection indeed.” —Diana Abu-Jaber, author of Origin, Crescent, and The Language of Baklava
 
“These dazzling stories of four Palestinian-American women and their families give us a rare portrait of the life of exiles in America. Susan Muaddi Darraj writes with care and intelligence, and her compassion for her flawed and complex characters reminds us of our own humanity.” —Laila Lalami, author of Hope and Other Dangerous Pursuits
 
The Inheritance of Exile is a remarkably engaging collection. With this effort, Muaddi Darraj announces her presence as a major voice in the genre of fiction. The collection sparkles with a lively sense of place, conflict, and description. So often, and so vividly, I felt as if I was reading the cultural items from my own memory.” —Steven Salaita, author of Arab American Literary Fictions, Cultures, and Politics
- (Chicago Distribution Center)

In The Inheritance of Exile, Susan Muaddi Darraj expertly weaves a tapestry of the events and struggles in the lives of four Arab-American women.

Hanan, Nadia, Reema, and Aliyah search for a meaningful sense of home, caught in the cultural gap that exists between the Middle East and the United States. Daughters of Palestinian immigrants who have settled into the diverse southern section of Philadelphia, the four friends live among Vietnamese, Italians, Irish, and other ethnic groups. Each struggles to reconcile her Arab identity with her American one. Muaddi Darraj adds the perspectives of the girls’ mothers, presented in separate stories, which illuminate the often troubled relationship between first and second generations of immigrants.

Her suite of finely detailed portraits of arresting characters, told in evocative, vivid language, is sure to intrigue those seeking enjoyment and insight.

- (The University of North Carolina Press)

“This story collection paints a portrait of four Arab-American women, the daughters of Palestinian immigrants living in South Philadelphia. Each woman struggles to reconcile her ethnic identity with her American one.” —Wellesley Townsman

The Inheritance of Exile expertly weaves a tapestry the lives of four second generation Arab-American women as they search for a meaningful sense of home and identity.

- (The University of North Carolina Press)

Author Biography

Susan Muaddi Darraj is associate professor of English at Harford Community College in Bel Air, Maryland. She is the editor of Scheherazade’s Legacy: Arab and Arab American Women on Writing. Her fiction, essays, and articles have appeared in several publications and anthologies. She is senior editor of The Baltimore Review.
- (Chicago Distribution Center)

Susan Muaddi Darraj is associate professor of English at Harford Community College in Bel Air, Maryland. She is also a lecturer in the Johns Hopkins University’s MA in Writing program. She is the editor of Scheherazade’s Legacy: Arab and Arab American Women on Writing. Her fiction, essays, and articles have appeared in several publications and anthologies.

- (The University of North Carolina Press)

First Chapter or Excerpt

Nobody believed what I said about Siti, not even my mother. Maybe she didn’t want to accept it, maybe it was too painful, like opening your eyes to the yellow glare of the midday sun, so she resisted.

“Nadia, your grandmother is dead,” my mother said, soothing me back to sleep. She knelt on the floor, hovering over my bed, stroking my hair along my back the way she used to when, as a child of twelve, I cried for my father. A drunk driver had hit him that year, but it took him three months to die in the hospital. “They’ll have to take me kicking and screaming,” he’d promise, lying still in his hospital bed, in too much pain to even clasp my hand. But he left without a sound.

Now my mother smoothed my hair again in long, com- forting strokes that ended in the middle of my back, before starting again at the top of my head, like a skier at the summit of a steep slope. Except that now I was twenty-one and seeing visions of my grandmother.

“But I saw her,” I repeated stubbornly, my shoulders still shaking. I’d awakened, screaming, minutes earlier, prompting my mother to burst in from her adjoining bedroom.

“What did she say?” she asked, patiently. Nervously.

“Nothing,” I sighed. I knew she wouldn’t believe me or, worse, would try to argue with me, begging me to “be logical.” “Go back to bed—we’re both tired. I’m fine now.”

My father had never spoken to me again after he died, though I willed him to. Many nights that year, I’d lie attentively in bed, conjur- ing up his image in my mind. Not as he looked in the coffin—pale and pasty, the mortician’s makeup job masking his smooth olive skin—but as he looked when he played baseball with me or as he sang songs during road trips to entertain Mama and me. Since I was always in the backseat, I could only glimpse his mustache and lips in the rearview mirror, sometimes his white teeth when he smiled, pleased at how well he’d delivered a particular verse. So his half-face is what I frequently imagined, though it never spoke to me, only gazed at me sadly, apologetically, lips pressed together.

On the other hand, my grandmother arrived in my dreams the same night that she died—she flew in quietly and settled into the brightest corner of my mind. She wore her pale blue housedress, its large pockets weighed down with her large bundle of keys, her packet of cigarettes, chapstick, quarters for the washing machine, and the eyeglasses that she refused to wear. They were unusable anyway, hav- ing been badly scratched by the constant companionship of sharp- edged keys. Her face was rolled into a quiet smile that would often unravel into a sneaky grin, reminding me of the times she allowed me a clandestine reprieve from my punishments as soon as my mother left our apartment. Siti’s hands smelled salty, like the brine of the grape leaves she was eternally stuffing and rolling at the kitchen table while listening to her tapes of Om Kulthoum in concert. “That woman had a voice, God bless her,” she would say, shaking her head in amazement, her fingers working quickly and steadily, stacking the completed grape leaves in piles before her, like an arsenal of snow- balls on a winter afternoon.

The first night she appeared, she said, “I’m sorry that I didn’t wait for you.”

“Mama’s still upset,” I replied. We had to hurry to the hospital when the nurse called, but Siti had died before we reached her room. I could tell immediately upon entering the cold room that we were too late, from her closed eyes and the way her mouth drooped open. Mama looked as if she’d been betrayed.

“You have to help her, habibti,” Siti said, touching my lips with her fingers. I could taste the salt on her skin and see the green stains from the leaves on her cuticles, outlining her wide, square nails. I also recognized the added acidic taste of the lemon that she used to scrub out the stains. I liked when she called me habibti, “my love” in Arabic. I’m the only grandchild she said that to, maybe because I was the oldest and resembled her the most.

“OK, but come back,” I said. She grinned and left, and I didn’t cry two days later when we buried her, even though all my aunts beat their foreheads and wailed and my uncles sobbed into their hands like children. They had flown in from Jerusalem for the funeral, argu- ing that their mother should be buried back home. But Mama, ex- hausted from crying and lack of sleep, had hysterically insisted that Siti be buried here, in Philadelphia, because she’d come with Aunt Nadia to live with us when Baba died. “She wouldn’t want to leave us now.”

As we wearily watched them lower her coffin into the cold ground, Mama was amazed at my calmness. “It’s OK to cry,” she told me, holding me tightly. “We all miss her—it’s OK to cry.” I nodded, not knowing how to tell her that she had misunderstood.

(Excerpt from “Back to the Surface")

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Publishers Weekly Reviews

Darraj, who edited Scheherazade's Legacy: Arab and Arab American Women on Writing , makes a capable debut with this collection that follows Palestinian-American migr families in South Philadelphia. Darraj succeeds admirably in suggesting the diversity of Palestinian-Americans: the four friends Nadia, Aliyah, Hanan and Reema each comes from a family with its own story of exile. Nadia's mother, a doctor's daughter, discovers in "The New World" that the mysterious "tall, slim blonde woman" whom she nicknames "Homewrecker Barbie" was her husband's former green-card wife. Aliya spends "An Afternoon in Jerusalem" at the Dome of the Rock where a hijab-wearing woman, noticing her crucifix, welcomes her in and shows her how to wrap her hair. After suffering the patronizing attitudes of her husband John's parents and graduate school colleagues, Hanan makes "The Journey Home," reconciling with her parents and practicing her mother's craft, basket making, with commercial success. In "The Scent of Oranges," Reema's mother retells her refugee camp experience, specifically for her daughter. Darraj's first-person narrators are not distinct, and her vignette-like stories remain at the edge of plot. There's a passionate sense here of inheritance as a two-way street that transforms immigrants and their children, but Darraj doesn't quite connect the dots. (Apr.)

[Page 58]. Copyright 2007 Reed Business Information.

Table of Contents

Acknowledgments ix
Nadia
Back to the Surface
3(12)
The New World
15(18)
Survivor
33(16)
Aliyah
Aliyah's Fan
49(7)
Reading Coffee Cups
56(11)
An Afternoon in Jerusalem
67(12)
Hanan
Preparing a Face
79(19)
Sufficing
98(7)
Costumes
105(10)
The Journey Home
115(54)
Reema
Chasing Valentino
169(11)
Intervention
180(9)
The Scent of Oranges
189

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