Frankenstein in Baghdad by Ahmed Saadawi: A Unique Blend of Horror and Reality in War-Torn Iraq

 

Frankenstein in Baghdad (فرانكشتاين في بغداد) by Iraqi author Ahmed Saadawi is a remarkable novel that offers a chilling yet deeply poignant portrayal of life in Baghdad during the American occupation of Iraq in the early 2000s. First published in 2013 and later translated into English in 2018, this novel reimagines the classic Frankenstein myth within the context of a war-torn nation, blending horror, magical realism, and political satire to explore themes of violence, identity, and the moral consequences of war.

Saadawi’s Frankenstein in Baghdad provides readers with a unique literary experience, set against the backdrop of the Iraq War. This novel has earned widespread critical acclaim, even winning the prestigious International Prize for Arabic Fiction in 2014, and it continues to resonate with readers due to its powerful exploration of post-war trauma and the fragmented identities of a society shattered by violence.

The Setting: A Devastated Baghdad

Frankenstein in Baghdad unfolds in the heart of Baghdad, a city ravaged by daily bombings, sectarian violence, and the fear of death lurking around every corner. The novel opens with a vivid depiction of this grim reality, immersing the reader in the chaos and devastation that have become commonplace for the city's residents. The protagonist, Hadi al-Attag, is a junk dealer living in a dilapidated district of Baghdad. He scavenges the debris of war, collecting body parts from bomb victims with the intent to construct a complete human body, which he refers to as a "corpse that deserves a proper burial."

Through Saadawi’s masterful descriptions, the streets of Baghdad come alive, not with the vibrant energy of the past, but with the haunting specter of war. The novel's setting reflects the overwhelming sense of loss, confusion, and fear experienced by ordinary Iraqis, struggling to make sense of their lives in a city that has become a battlefield. The descriptions of the wreckage-littered streets and the daily carnage create a stark contrast between Baghdad’s former glory and its current state of disrepair, enhancing the novel's central themes of fragmentation and brokenness.

The Creation of the "Whatsitsname"

The novel's central character, the "Whatsitsname" (الشسمه), is a creature brought to life by Hadi, who pieces together body parts from different victims of bombings and other violent incidents. Once assembled, the body miraculously comes to life, and the creature embarks on a mission to avenge the deaths of those whose parts form its body. The Whatsitsname’s purpose is initially clear: to exact revenge on the people responsible for each body part’s demise. However, as the novel progresses, the creature's moral compass becomes increasingly complex and ambiguous.

One of the most powerful themes in Frankenstein in Baghdad is the idea of revenge as a cycle of violence. Saadawi reflects this in the creature's own confusion and shifting sense of justice. In one of the novel’s most significant quotes, the Whatsitsname declares:

"I’m carrying out the mission of justice on behalf of those who can’t do it themselves... but now I have to kill in order to survive, because those parts of me need to live."

This quote encapsulates the moral ambiguity that defines the creature's journey. What begins as an attempt to seek justice for the dead turns into a never-ending cycle of violence, with the creature killing not just for vengeance, but also out of a self-preserving instinct. The Whatsitsname becomes both a victim and a perpetrator, symbolizing the dehumanizing effects of war and the ways in which violence perpetuates itself in a conflict-ridden society.

The Allegory of Iraq’s Fragmentation

Saadawi’s reimagining of the Frankenstein myth serves as an allegory for Iraq’s own fragmented identity. Just as the Whatsitsname is made up of disjointed body parts from various victims, Iraq, too, is portrayed as a nation cobbled together from disparate and often conflicting factions. The novel explores how these divisions—ethnic, religious, and political—have been exacerbated by the war and occupation, leaving behind a fractured and unstable society.

In a particularly striking passage, Hadi reflects on the nature of the creature he has created:

"He was a mix of many things, like our country... made up of people who don’t really belong together but are forced to live together."

Here, Saadawi uses the creature as a metaphor for Iraq itself, a nation struggling to reconcile its diverse populations in the face of overwhelming violence and instability. This sense of fragmentation extends beyond the creature’s body to the very fabric of Iraqi society, where sectarian divides, political corruption, and the ongoing presence of foreign powers have left the country in a state of perpetual conflict.

The novel also delves into the role of media in war-torn societies, with Saadawi offering a critique of how violence is consumed and sensationalized by the public. Through the character of Mahmoud al-Sawadi, a journalist covering the mysterious murders committed by the Whatsitsname, Saadawi explores the moral dilemmas faced by those who report on violence while also contributing to its normalization. The media's portrayal of the Whatsitsname as a "terrorist" or "criminal" adds another layer to the novel's exploration of identity, forcing readers to question how narratives of violence are constructed and manipulated in times of war.

Magical Realism Meets Political Satire

One of the most distinctive elements of Frankenstein in Baghdad is its blend of magical realism with biting political satire. Saadawi’s use of the Frankenstein myth allows him to explore the absurdity of life in Baghdad during the war, where the lines between the real and the surreal are often blurred. The Whatsitsname’s very existence is a fantastical element, but it is grounded in the all-too-real horrors of everyday life in Iraq. The novel’s dark humor and satirical tone serve as a coping mechanism for both the characters and readers, providing moments of relief amidst the grim subject matter.

For instance, Hadi’s character, with his dry wit and cynical outlook, often provides moments of levity in the face of tragedy. He comments on the absurdity of life in Baghdad when he says:

"We’re all victims. Some of us can see it, others can’t."

This statement, while humorous in its delivery, speaks to the novel’s broader themes of victimhood and complicity in violence. Saadawi uses humor not to diminish the suffering of his characters, but to highlight the absurdity of the human condition in the context of war, where survival often feels like a cruel joke.

Conclusion: A Timely Reflection on Violence and Identity

Frankenstein in Baghdad is a novel that transcends its specific historical context to offer a timeless meditation on the nature of violence, revenge, and identity in a world marked by conflict. Ahmed Saadawi masterfully reimagines the Frankenstein myth, using it as a lens through which to examine the complexities of post-war Iraq and the moral questions that arise in the aftermath of violence.

Through the character of the Whatsitsname, Saadawi explores the futility of revenge and the cyclical nature of violence, while also offering a powerful allegory for Iraq’s own fragmented identity. The novel’s blend of magical realism and political satire adds depth to its exploration of war, making it both a poignant and thought-provoking read for audiences around the world.

In the words of the Whatsitsname, who grapples with his own existence and purpose, we are reminded of the novel’s central message:

"I am both the victim and the executioner."

This quote underscores the novel’s exploration of the ways in which war dehumanizes both the perpetrators and the victims, blurring the lines between right and wrong, justice and revenge. Frankenstein in Baghdad stands as a testament to the power of literature to shed light on the darkest corners of human experience, offering readers a haunting and unforgettable journey into the heart of a fractured nation.