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The Moor's Account: A Novel, by Laila Lalami
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Review
“Feels at once historical and contemporary . . . For Lalami, storytelling is a primal struggle over power between the strong and the weak, between good and evil, and against forgetting . . . Lalami sees the story [of Estebanico] as a form of moral and spiritual instruction that can lead to transcendence.” —The New York Times Book Review“Assured, lyrical . . . Certainly the most extensive telling of the tale from ‘the Moor’s’ point of view . . . Adding a new spin to a familiar story, Lalami offers an utterly believable, entertainingly told alternative to the historical record. A delight.” —Kirkus (starred review)“In 1527, Pánfilo de Narváez set out for the Americas. Laila Lalami reimagines his story in her stunning historical novel, through the eyes of one of his crewman’s Moroccan slave, Mustafa al-Zamori. The Moor's Account sheds light on all of the possible the New World exploration stories that didn’t make history.”—Huffington Post, “Best Books for Fall 2014”“A deeply layered, complex portrait of all-too-familiar characters in an unfamiliar world . . . A totally engrossing and captivating novel that reconsiders the overlooked roles of Africans in New World exploration.”—Booklist “Laila Lalami has fashioned an absorbing story of one of the first encounters between Spanish conquistadores and Native Americans, a frightening, brutal, and much-falsified history that here, in her brilliantly imagined fiction, is rewritten to give us something that feels very like the truth.” —Salman Rushdie “A beautiful, rousing tale that would be difficult to believe if it were not actually true. Lalami has once again shown why she is one of her generation’s most gifted writers.”—Reza Aslan, author of Zealot“Tremendous and powerful, The Moor’s Account is one of the finest historical novels I’ve encountered in a while. It rings with thunder!”—Gary Shteyngart, author of Super Sad True Love Story and Little Failure“Laila Lalami’s radiant, arrestingly vivid prose instantly draws us into the world of the first black slave in the New World whose name we know—Estebanico. A bravura performance of imagination and empathy, The Moor’s Account reverberates long after the final page.”—Henry Louis Gates, Jr., Alphonse Fletcher University Professor and Director of the Hutchins Center for African & African American Research, Harvard University“¡Qué belleza! Laila Lalami has given us a mesmerizing reimagining of one of the foundational chronicles of exploration of the New World and an indictment of the uncontainable hubris displayed by Spanish explorers—told from the point of view of Estebanillo, an Arab slave and Cabeza de Vaca’s companion in a trek across the United States that is as important as that of Lewis and Clark. The style and voice of sixteenth-century crónicas are turned upside down to subtly undermine our understanding of race and religion, now and then. The Moor’s Account is a worthy stepchild of Don Quixote de la Mancha.” —Ilan Stavans, author of On Borrowed Words: A Memoir of Language and general editor of The Norton Anthology of Latino Literature “A novel of extraordinary scope, ambition and originality. Laila Lalami has given voice to a man silenced by for five centuries, a voice both convincing and compelling. The Moor’s Account is a work of creativity and compassion, one which demonstrates the full might of Lalami’s talent as a writer.” —Aminatta Forna, the Commonwealth Writers’ Prize and Hurston Prize Legacy Award-winning author of The Memory of Love, Ancestor Stones, and The Devil That Danced on the Water “Laila Lalami has created an unforgettable drama of wonder out of the gaps and silences in the master narratives of colonial conquests. She gives name to the unnamed; agency to the sidelined; she takes them from footnotes into the footprints that make up the pages of this remarkable novel. Lalami gives voice to the silences of history.”—Ngũgĩ wa Thiong’o
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About the Author
Laila Lalami was born and raised in Morocco. She is the author of the short story collection Hope and Other Dangerous Pursuits, which was a finalist for the Oregon Book Award, and the novel Secret Son, which was on the Orange Prize long list. Her essays and opinion pieces have appeared in the Los Angeles Times, The Washington Post, The Nation, The Guardian, and The New York Times, and in many anthologies. She is the recipient of a British Council Fellowship and is an associate professor of creative writing at the University of California at Riverside. She lives in Los Angeles.
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Product details
Hardcover: 336 pages
Publisher: Pantheon; First Edition, Second Printing edition (September 9, 2014)
Language: English
ISBN-10: 0307911667
ISBN-13: 978-0307911667
Product Dimensions:
6.6 x 1.2 x 9.5 inches
Shipping Weight: 1.4 pounds (View shipping rates and policies)
Average Customer Review:
4.2 out of 5 stars
281 customer reviews
Amazon Best Sellers Rank:
#145,496 in Books (See Top 100 in Books)
In 1527, Pánfilo de Navárez, a Spanish conqueror, led an expedition of 600 people into the New World. What follows we know only from three Castilian accounts of the expedition. Each wrote his own account of the journey. These accounts we call history.History is storytelling, and from whose lips the story springs will change its trajectory entirely. Although we cannot return to the past, historical fiction serves to illuminate those parts of history that may have been left in the dark. The imagined memoir Mustafa ibn Muhammad, Laila Lalami’s Moor’s Account gives voice to Mustafa, the first slave in the New World and the fourth survivor of the Navárez expedition. Telling the tale of his life in the New World, Mustafa carefully traces and details extreme travail the four of them faced in the New World. Parallel to his account of hardship in the New World are stories of his childhood in Azemmur, his fall from grace as a merchant who sells slaves, and his selling himself into slavery to provide for his family. As he recounts his past and looks towards his future, Mustafa finds that he must seize his freedom and utilizes storytelling to secure a future for him and his wife in the New World.The Moor’s Account is, while an elegantly written historical novel, ultimately is a loving homage to storytelling. Referencing Scheherazade early in the novel, Lalami establishes a clear theme of storytelling as a means of survival, seizing power, and freeing oneself, as she demonstrates how Mustafa wins favor with his master by telling him of his past, establishes that the Castilians’ writing their accounts is their writing history itself, and illustrates how Mustafa ultimately becomes free through the fiction he weaves. The novel itself is an exemplary example of storytelling: gripping and vivid, it not only seizes the reader with an intense survival story, but leaves a lasting impression as it demonstrates the possibility of transcendence, no matter what the sin. Telling a fascinating story in lambent prose, The Moor’s Account is the perfect for the reader craving pitch-perfect fiction that packs meaning into every page.
It is the nature of histories that they are usually told by those in power, the privileged and the prized, those with authority, a ready audience, and a voice. It does not make it less true, but certainly less complete. If the underdogs are given a chance to recount their own version of events, what would they say?Estebanico, or Mustafa Ibn Muhammad Ibn Abdussalam al-Zamori, whose self-inflicted slavery, sends him to the new world as part of a Narvaez expedition to conquer, Christianise and do commerce with the Native Americans. Widely considered to be the first black explorer in America, little is really known about him. Laila Lalami writes with a facility that slowly and surely pulls you in, till you are ensconced in the swell of the story. As Estebanico tells his story, we are made aware of the penury and hardship that informs his decision to sell himself into slavery. He goes from one master to another, partakes, inadvertently, in wars and skirmishes that lead to the decimation of local tribes and confiscation of their lands and goods; he witnesses the killing of companions by the native Americans, marries a local girl, and somehow assumes the role of shaman and healer, inevitably becoming a more trusted ally of the very people the conquistadors set out to overcome.All through the novel, we are made acutely aware of how histories are fashioned, and truths distorted; how the Spaniards’ account of their dealings with the locals, their high disregard for traditions and customs, their condescension and pride are slowly challenged by human and natural forces; sickness, hunger and loss of companions in storms and river rapids, conspire to turn the hunter into the hunted. At the end of it all, only Estebanico and three others are left as part of the original expedition. We also see the contrast between the bellicosity of the conquerors and the benignity, most times, of the original habitants. The Indians can be trusted to keep their word, but not the Spaniards. In this respect, who then is more honourable? Who more trustworthy? Who is the savage and who the saviour?Lalami gives voice to the voiceless, those not seen and never heard; whose eyes have beheld such truths that they swell with an untold grief. We only know what we know because someone else has said so. History is replete with stories like these.There is a sense great sense of longing on Estebanico’s part, being far removed from family and loved ones, he must survive, seek out new friendships and alliances, and keep alive the hope of his return to Azzemuth, his place of birth. He never makes it back though, but does return to his wife’s homeland. There he will spend the rest of his days conjuring up images of a different life, in a land he never forget but can never re-trace his steps back to.There is little to criticise in this work by a writer I discovered only by chance. Given my usual jaunts between English and South American fiction, reading something from North Africa felt like a breath of fresh air. There are more stories in that part of the world than one can imagine. One only need be open to those possibilities.
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