Free The Hakawati by Alameddine Rabih

Thousands upon thousands of crimson rose petals. The courtiers ran away in terror as if they had seen a jinni or an angel. Abraham, unblemished and untouched, walked out of the furnace, smirked as he passed Nimrod, and went home. The king, the mighty warrior, frightened and furious, called his army. He built the greatest catapult the world had ever seen. But no, he said, one is never enough. He built another, an exact replica. In the catapults’ cradles, his men put pile upon pile of burning wood. He doused the fire with more oil, added pinecones for sound effects. He gave the order to unleashhis fury at his nemesis. But God changed the catapults to minarets. He transformed the fire to water, and the pool of Abraham came to exist. He changed the fagots to carp, and the fish gave life to the pool. For thousands of years, the freshwater pool has given sustenance and nourishment to Urfa’s people. The dervish Muslims guard the pool and give back to God by taking care of his sacred fish. I played there when I was your age. I swam with the fish of God.”
    Sunlight finally broke through the windows. The air smelled sweet and fragrant. “Were they like other fish?” I asked.
    “No, of course not.” He waved his hand in a dismissive gesture, his pale, bony wrists protruding from frayed white cuffs. “They were special fish. Sparkled like gems at night, colors you’d never see. If only I could show them to you. And the dervishes looked so holy in their traditional outfits, the white robes and red hats.”
    “Aren’t they the ones that dance? I’ve seen them. They’re beautiful and grand.”
    “They twirl. That’s how they pray. And they are beautiful.”
    “I want a God that makes me twirl.” I jumped off the couch. I untucked and unbuttoned my shirt so it would flow like a robe. “Like this. I can do this for God.” I held my hands out. I twirled and twirled and twirled. “Look,” I said. “Look.”
    The Dutch painter Adriaen van der Werff, an accomplished, rather sentimental and repetitive minor master, painted a Biblical scene of Sarah offering her Egyptian slave girl, Hagar, to Abraham. Of course, Hagar looks nothing like an Egyptian. Chestnut hair—close to blond, even—and she has the lightest skin of all three figures, Nordic features, too young and beautiful. She is at the bottom of the painting; only her torso is shown, naked from the waist up. A piece of clothing (a petticoat?) and her right forearm cover her right breast. The right hand on her left breast serves to accentuate the sumptuous nipple. She kneels beside the bed, looks down at her naked belly, demure, submissive, excluded from the discussion between Sarah and Abraham.
    Sarah, a crone, stands behind Hagar, talking to her husband. She is fully clothed in drab material, her white hair partially veiled. Abraham is naked on the bed, a navy-blue sheet covering everything below his navel. He has a thick brown beard, but his muscular chest is completely hairless, his abdominals defined. His hand rests on Hagar’s sensuousbare shoulder beneath him. He looks happy with the offer, smug almost.
    “You see,” Sarah says, “that the Lord has prevented me from having children. Go into my Egyptian slave girl. It may be that I build my family through her.”
    Abraham listened to the voice of Sarah and went into her Egyptian slave girl.
    Months later, the sky swelled with glory, and the valley began to color and bloom. Abraham’s face had lost its winter pallor; his hair remained black, never-changing, with its widow’s peak. Sarah’s eyes were swollen, full of tears, her face blotchy. She stared at Abraham, hoped he would not notice her. She had urged him to sleep with her Egyptian. God spoke through her. Hagar would provide him with a male heir, and Sarah would be elevated, if not in his eyes, then surely in her own. Sarah never imagined that Abraham would fall in love with the slave, treat her as a wife. He had such affection for Hagar. And she