Tag Archives: Olga Grjasnowa

The human side of a humanitarian crisis: Olga Grjasnowa, City of Jasmine

Translated from the German by Katy Derbyshire (Oneworld, 2019)

City of Jasmine – the title referring to Damascus – is a soaring, searing representation of the Syrian refugee crisis, following the lives of three young people whose fate is changed forever by the Syrian uprising. Above all, it is a superb story; Grjasnowa’s stark, gripping prose is translated with clarity and compassion by Derbyshire, making this an engaging and deeply moving read. What sets City of Jasmine apart from other European texts focusing on refugees (such as Jenny Erpenbeck’s admittedly marvellous Go Went Gone, translated by Susan Bernofsky for Portobello Books) is that Grjasnowa’s novel is not about refugees as broken individuals arriving in Europe, but as people with lives that are being torn apart, leaving them with no option but to flee. This shift in perspective challenges western readers to step outside the ways in which we receive and perceive the political situation, and to consider the human dimension of this humanitarian crisis.

Image from oneworld-publications.com

City of Jasmine is a brave indictment of the Syrian regime, and follows the entangled lives of Amal, Hammoudi and Youssef as they each in their own way oppose the regime and pay the price. Grjasnowa’s husband is Syrian, and on her UK book tour she commented that her desire to better understand the situation in his homeland was a motivation for writing City of Jasmine. It does not pretend to be a Syrian book: this is a European book, written for a European audience, with subtle explanatory details that would not be necessary for a Syrian readership. These are carefully rendered by Derbyshire in the translation: there is no information overload, no didactic or “educational” prose, but rather the detail is full and informative without being conspicuous or heavy-handed. I don’t usually go in for lengthy quotations, but this one, from towards the start of the story, is worth reading and exemplifies what I mean about the clarity, subtle detail, and lyricism of the prose:

“People were sick and tired. Amal was tired, her brother was tired, her friends, her fellow students, acquaintances, strangers in the streets, the entire vulgar bohème was sick and tired. They were sick and tired of the corruption, the secret services’ arbitrary decisions, their own powerlessness and permanent humiliation. They were sick and tired of all public libraries, airports, stadiums, universities, parks and even kindergartens being named after the Assads. They were sick and tired of their fathers, brothers and uncles mouldering in jails. They were sick and tired of the whole family having to chip in to buy the sons out of military service while the North American teenagers on cable TV were given cars by their parents and travelled the world. They were sick and tired of reciting ‘Assad for all eternity’ every morning at school and swearing to fight all Americans, Zionists and imperialists. They were sick and tired of memorizing Assad quotes in political-education classes and then filling in the gaps in the right order for their tests. They were sick and tired of being taught in military education to dismantle and reassemble a machine gun. They were sick and tired of being treated like animals. And above all they were sick and tired of not being allowed to say any of it out loud.”

The Syria depicted in City of Jasmine is a country in the grip of the secret services, where women and dissidents are silenced (“She’s full of unsaid words and she knows she’ll never speak them, not as long as Bashar al-Assad and his accursed family are in power”), where propaganda is the only news and no-one offers aid (“The state TV stations repeat the tale of alleged terrorists and show images of martyrs who died for Assad’s glory. The West does nothing, still nothing”). It is a challenge, a wake-up call, a reminder not to be complacent, not to think we know about something just because we have seen a version of it on the news.

Grjasnowa’s subjects are neither downtrodden nor disadvantaged; their lives when we meet them are far removed from western depictions of refugees. Amal is from a wealthy family and works as an actress, but opposing the state makes everyone equal in persecution (though her father’s money and contacts ensure that she is released when detained), and indeed Grjasnowa sheds light on the status of those who make it beyond their own borders: “It’s the middle classes escaping; the poor remain behind in the refugee camps. It’s the people who once hoped for more from life than simply reaching a safe country, who once had ambitions and a future.” Yet this does not make City of Jasmine a story of privilege, but rather adds a thought-provoking, human dimension, as Amal cannot cope with being seen as a refugee, someone with nothing to her name except all the labels that come along with the situation into which she has been forced: “She hates being seen as a Muslim and a scrounger and she hates herself. The world has invented a new race – the race of refugees, Flüchtlinge, Muslims or newcomers. The condescension is palpable in every breath.”

This presentation forces us out of sanctimonious preconceptions and facile prejudices: the indictment is not only of the Syrian regime, but also of the way in which the west views the crisis and the people affected by it. Amal’s fate is loosely entwined with that of Hammoudi, a young doctor with a bright future. Hammoudi returns to Syria to renew his passport before taking up a prestigious job as a surgeon in Paris’s most elite hospital, and finds himself trapped in a bureaucratic nightmare, unable to leave his country even though his life is elsewhere. One of France’s most promising surgeons, he becomes an illegal war doctor, and when he is forced to flee to the west he becomes a refugee too, despite the life he already had in Paris.

I always try to avoid spoilers, so I can’t tell you how City of Jasmine ends and the twist that moved me most; I can only recommend that you read it for yourself. I’m careful not to over-use the adjective “heartbreaking” – it comes too easily and can mean so little if bandied around. But this story truly merits the word “heartbreaking” – beautifully written, sensitively translated, a unique and welcome perspective on the refugee crisis. I loved every page of this book, and I highly recommend it.