The tribulations of constructing of an idealistically traditional riad, although seemingly straightforward, gradually comes to confront modern and traditional Moroccan life within the work of Suzanna Clarke’s A House in Fez. Clarke’s narrative is imbedded with themes featuring a clash of fantasy and reality, traditional and modern, and exposure of the forthright Fazi culture. Filtered beneath tinted western lenses, the narrative’s journey stands at the precipice of western mentality while conversely trying (although failing) to create an image of complete detachment from it. Instead, Clarke attempts to showcase understanding of native Moroccans/Fasis and illustrates the moment when two cultures interact with another.
As the narrative unfolds, Suzanna Clarke and Sandy, – an Australian couple – move to the ancient city of Fez within the nation-state of Morocco, entering the endeavor of restoring a traditional riad. Naturally, them not possessing a typical Moroccan appearance brought about spouts of overpriced goods, services, and the occasional crisis ranging from stolen donkeys to various misunderstandings. Clarke’s journey attempted full immersion into the Fazi culture, and although they were figuratively chewed and spit out by locals, her experiences in Fez created bonds through hardship among the environment and Fasis alike. Despite differences in mannerisms and customs, Riad Zanny (Clarke’s riad) represents a blend of two lifestyles and thus standing tribute to the possibility of them existing harmoniously without one grossly overpowering the other. A House in Fez ends on a positive note, leaving room for assumption that among the deluge of modernism throughout Fez (and similar sites), perhaps the local culture will persevere.
Particularly, Clarke proposes a myriad of themes that expresses the dual and complex nature of the city of Fez. Rather than striving to place emphasis on distinct/two-dimensional aspects of the city, Clarke evokes specific imagery of Fez to pinpoint the diversity of such an area. Among the more immediately visible themes is the coexistence of traditional and modern throughout the medieval city. As Clarke mentions “In the souks, women wearing long robes and headscarves escort daughters with beautifully cut hair and high heels” (Clarke 2). Here, Clarke demonstrates the contrast of choices and lifestyle among generations in Fez alone, expressing the flexible nature of coexistence within the city. There was another comment I personally liked concerning this theme as well: “The sight of my fancy French loo riding on top of the donkey was surreal. The only thing weirder would have been someone sitting on it” (49). The juxtaposition of a medieval city entering a new period of modernization is comically seen here, causing the city’s dual nature of old and modern to clash. I mean, would you be able to visualize a pristine white porcelain toilet riding atop a weathered donkey across the ancient and rugged stone walkways of the Medina? لا.
Additionally, the clashing of fantasy and reality are alluded to across the entire book, a point I believe to be essential in understanding both the experiences of Clarke as well as Fez itself. “Why not buy a house there? … the notion seemed fantastical, but it grabbed my imagination and began to dominate my daydreams. I had a romantic vision of ancient walls touched by golden light, within which generations of lives had been lived” (Clarke 4). Here, practicalities are disregarded and instead, an idealistic illusion of what one may think Fez life to be. This illusion is later shattered as Clarke hires workers who, obviously, lack the imagined perfection of Clarke’s initial thoughts and thus the Riad Zanny was colored with human hindrances. “We were now being asked to pay an additional four thousand dirhams for work that was shoddy and unfinished … I was furious, and for once my calm deserted me” (159). Overtime, however, I believe that the expectation of perfection and idealization of Fez by Clarke had transformed. “‘Usually,’ Rachid went on, ‘people want to make their own fantasy, but you have not done that. You have adapted [Riad Zanny], of course, but changed it so that anything new fits in with the old. I would like to bring other clients of mine here, to show them how it should be done’” (259). Not only does this demonstrate the symbol of balance Riad Zanny has achieved, I also think the narrator’s inclusion of this quote allowed understanding of her difficulties in coming to terms with fantasy vs. reality. It recognizes her greater appreciation for the beauty of the house because all the adversities faced. Similarly, if one comes into the city of Fez (or any foreign city for that matter) with expectations bordering idealistic, you may not come to appreciate the beauty of the location until you distance yourself from such thoughts.
In spite of new realizations taking place among Clarke’s work, there are certain aspects that cannot be overlooked simply due to a difference in perspective. Specifically, Clarke’s assumptions concerning an entire group of people was astonishing concerning her lack of knowledge surrounding Moroccan culture. “The loneliness and alienation that is often the reason for people in wealthy countries turning to drugs does not appear to be as much of a problem in Morocco; people are too busy coping day to day” (99). Personally, I find this assumption to be grossly wrong in that it implies the idea that mental illness does not exist within Morocco. Who is to say that Moroccans don’t cope with these similar illnesses simply because it is not immediately visible to Clarke, a foreigner? Additionally, Clarke habitually attempts to compare Moroccan lifestyle/society with that of Western lifestyle/society regardless of their dissimilarity. Simultaneously, she tries to distance herself from seemingly ignorant foreigners in Morocco, demonstrating repeated contempt for them even though her thought patterns seem to contradict her statements. For instance, she criticizes foreigners who have moved to Fez as imitating the “colonial experience” byway of limiting interactions with Moroccans to servants and housekeepers (83). Yet Clarke herself refuses herself to learn the Moroccan dialect Darija and is therefore willingly limiting her interactions among Moroccans as well.
Overall, I would recommend the book if only for entertainment purposes and not one of an informative read. As someone who has only spent a handful of days within Morocco and Fez, the book helped me obtain a very minute idea of what the country and city would be like. However, there are startling faults in the work as well, some being so blatantly biased beneath a western perspective that I wonder if some of Clarke’s points do more harm than good to person who has never been to Morocco. Overall, Clarke’s work demonstrated well formulated themes that I enjoyed and although there are evident problems on a cultural and political level, I was able to enjoy the book to a certain degree.
Clarke, Suzanna. A House in Fez: Building a Life in the Ancient Heart of Morocco. Pocket Books. Kindle Edition.
Leave a Reply