I love it when novels are so richly transportive they make me what to physically visit the place depicted in the story. The way in which protagonist Sameer visits Uganda in the later part of “We Are All Birds of Uganda” and experiences the spectacular sights and delicious food makes me want to go there too. That's not to say this book is like a travel brochure because it takes seriously the politically turbulent history, the complex effects of colonialism and the deadly consequences of the 1971 coup that occurred within the country. But Hafsa Zayyan's story also lovingly depicts this landscape whilst dramatically portraying multiple generations of a family forced to reconsider the meaning of home between their lives in Uganda and England.
The story alternates between high flying lawyer Sameer's life in present-day London and successful businessman Hasan who is still deeply mourning the loss of his first wife though he's remarried in 1960s Uganda. Many novels have used a dual narrative to dynamically tell their stories, but this excellent debut does this in such an artful way that adds tremendous meaning to the story. At first the narratives seem quite disparate but gradually the familial connection is made clear and at one point the two protagonists physically cross over into each other's countries. There's a beautiful symmetry to how this occurs in the narrative. Also, this isn't only a geographical change but it transforms each character's understanding of the world, themselves and the gaps between generations. Something this story captures so meaningfully is generational conflict and the importance of establishing an understanding between the young and old despite having different values.
I admire how Zayyan builds both Sameer and Hasan's stories so they were equally compelling. Sameer's ambition to advance in his career at a law firm means he works ridiculous hours. So he has very little time to keep up with his friends or establish romance. His experience socializing primarily through What'sApp groups is relatable for a lot of young professionals working in London today. Sameer also experiences a multitude of micro-aggressive behaviour from certain colleagues in his workplace because on his skin colour and Muslim faith. I felt fully involved in his personal and professional dilemma as well as the familial one he experiences when travelling back to Leicester where he's expected to join in the family business. Hasan's story is equally moving in the letters he writes to his deceased wife communicating his innermost thoughts and expressing his grief at her loss. His tale grows increasingly alarming as political unrest occurs in Uganda and the new regime shows a horrific intolerance towards the Ugandan Asian population. There's also a compelling mystery at the centre of his story to do with why his wife died.
These two stories combine together to say something much larger about the impact of displacement and racial intolerance. It addresses complex questions regarding the meaning of home and who has the right to establish themselves in a particular nation. Of course, there's no answers to these dilemmas as the characters come to understand that they are part of the much larger machinations of society and political change. It also movingly contemplates the meaning of Muslim faith as it's practiced today. I came to feel a deep affection for the characters and I'm grateful for the new view of the world that their stories gave me. It's also made me want to know more about Uganda's history. My only other fictional encounter with this country is through the novel “Kintu” but I'm very keen to read Makumbi's most recent novel “The First Woman” as well as another new novel coming out soon called “Kololo Hill” which also portrays the devastating effects of General Idi Amin's decree that Ugandan Asians must leave the country. “We Are All Birds of Uganda” was a co-winner of the inaugural Merky Books New Writers' Prize, but I hope it goes on to win many more awards this year.
