Not in this book. The story of the Golem begins on a steamship off to New York. The Golem is a woman made out of clay by a corrupt rabbi who dabbles in dark magic, for a man who would be her husband and master. But on the ship, before the husband can do much other than introduce himself, he dies. Alone in New York city, the Golem, who has been built to be an obedient wife, to fulfill her master’s desires, finds herself swarmed by the wishes of every person on the ship. That is until, a rabbi who recognizes her for what she is, takes her in and teaches her to control her brutal strength and her need to serve others and survive without a master. Becoming her makeshift caretaker, the rabbi names her Chava, meaning life.
Meanwhile, in the neighbourhood of Little Syria, a tinsmith named Arbeely accidentally frees a jinni from a copper flask brought to him for repair. The Jinni has been trapped in the body of a man, an unnaturally handsome man with an iron cuff fixed on his wrist, with no memory of how he came to be in the flask and only the vaguest recollection of a wizard who may have, centuries ago, condemned him to this fate. Reluctantly adopting the name Ahmad, the Jinni begins to come to terms with his limiting existence and form. His ability to work with metal, shaping it to his desire with his bare hands leads him to make a deal with Arbeely, and by the time the close knit society of Little Syria meets Ahmad, he plays the role of a Bedouin apprentice taken on by the tinsmith.
The Golem and the Jinni meet by accident, and discover, instantly, each others’ true identities. After the initial fear and discomfort, a mixture of curiousity and loneliness brings them together and they become unlikely friends, exploring New York together, strangely free in the dead of the night. The book is the story of their friendship and how their opposing natures, the Jinni reckless and passionate, the Golem mature and prudent, strike an uncanny balance and helps them understand themselves better. Their conversations and inner struggles, the questions they raise and their almost inevitable arguments resonate with those of ordinary people. The character flaws that we all have are parts of their being, it is the Jinni’s nature to be selfish, and the Golem’s to be submissive, he doesn’t tolerate being tied down and she is afraid to break her careful boundaries.
“What are you?” he asked.
She said nothing, gave no indication she’d understood.
He tried again: “You’re not human. You’re made of earth.”
At last she spoke. “And you’re made of fire,” she said.
The writing is beautiful, as are the concepts and the working of intriguing mythology into the story. The setting is perfect, late 19th century New York, a city full of strangers with incomprehensibly varying stories, alone in throngs, trying on identities, looking for their true selves and for some semblance of meaning to attach to the randomness of their lives. In this blend of historical fiction and fantasy, along with the adventures of the Golem and the Jinni, we experience seemingly simple lives – from a brazen young girl dealing with a pregnancy to Ice Cream Saleh, a homeless ice cream maker who sees the devil in people’s eyes.
The story is delicate, and slippery; there are many viewpoints and sometimes, it seems haphazard, overly detailed and as if scarcely enough thought went into it; but trudging on through each momentary drabness leads to a seamless conclusion that catches you by surprise. At the very beginning, I thought I could already predict the ending – halfway into the story, it seemed to be heading nowhere – three quarters in, I came close to calling it a bit convoluted – but by the end I was in love. The Golem and the Jinni is an absorbing fusion of ordinary and miraculous. It may not be for everybody, but it is worth a try, at least.
Tabula Rasa 