Posted at 05.10.2018
Mustafas viewpoint is presented in Chapter two, where Salih uses the prolepsis and analepsis devices to permit Mustafas first person narration of his history to find out to the unnamed narrator. Salih's control of time is shown through Mustafa blinking forward, "'Thirty years. The willow trees and shrubs (2003, p. 36) and backward in time "'I remember that in the coach (2003, p. 24), which allows the reader to access Mustafa's experiences as unravelling much such as a mystery. This continuous movement blurs the precise chronology of the situation, which causes multiple interpretations of the book. For instance, the narrator mentions occasionally his mom, however, rarely mentions his father and this creates ambiguity concerning whether the dad is alive, traveling or in jail. One interpretation is the fact Mustafa's mother killed his daddy, the same way Mustafa wiped out Jean Morris. However the novel never shows how Mustafa's father passed away, different interpretations infer that his mother killed his daddy out of jealousy or for politics reasons. It could be inferred that she killed his daddy because "he and his tribe helped free the English Governor Slatin Pasha get away from when he was the prisoner of the Khalifa El-Taaishi"(Adonis, 2008). Salih uses the unit to add masks to the reality of individuals and discloses the characteristics of others.
An additional narrative technique Salih uses is the framing narrative device. Inside the novel, the framing narrative packages the arena for the embedded narrative or "story within a tale". Salih begins with the narrator and then advances to Mustafa's inlayed account. The framed narrative allows the interaction between Mustafa's activities and the narrator's; this contributes to a demonstration of similarities and distinctions between your two. For instance, a common interpretation is that Mustafa and the unnamed narrator are the same one person (AlMajnouni, 2011), and this could be noticeable when the narrator is at Mustafa's private room, "This isn't Mustapha Sa'eed-it's a picture of me frowning at my face from a reflection, "(2003, p. 135) while looking at a picture of Sa'eed. However this can be ambiguous. Mustafa's first person narration in Section two is itself an embedded narrative. Despite the fact that, there is much evidence that they could be the same person, the fact is, that it is a dual narration and enough to be ambiguous. Using this device, Salih creates a symbolic value for characters to reveal the truth to the reader, however, creating an ambiguous sense with the framing narrative, leading that the readers interpreting in a different way.
A further narrative technique utilized by Salih is the unreliability between your narrators. In the novel, the storyplot is not informed by an omniscient narrator, but by character types with emotions, thoughts and biases. Mustafa, when acting as the narrator, selects specific elements of his life and explains to the audience these fragments. Mustafa subtlety ignores fragments of the storyline, which is disclosed in the final chapters, which will be the fragments of Mustafa's life account that were not narrated in Chapter two. This impulses into question how many other fragments the narrator may have done within his life, which he didn't reveal. This makes the audience question the stability of the narrator and also adds to the multiple meanings of the book. Furthermore, the narrator hardly ever quotes certain people directly. That is seen with Hosna bint Mahmoud, whose dialogue is mostly reported by the unnamed narrator, "She did not answer" (2003, p. 90), the private narrator confirming the indirect talk. The absence of Hosna's tone of voice in the written text presents the unequal protection under the law of women, "This woman is the offering Wad Rayyes desires to sacrifice at the advantage of the grave, with which to bribe loss of life" (2003, p. 89), which is strengthened by her situation in having less choice in marrying Wad Rayyes. Despite the fact that this could signify the lack of authority and protection under the law for women throughout that time, the key purpose of this is to permit the reader to question its dependability. Through his use of multiple narrative voices, Salih features the instability of varying social and ethnical beliefs.
One of the central literary techniques utilized by Salih to achieve depth of so this means is intertextuality, particularly the mindful use of Othello. These literary functions display a huge role in the similarity between both plots, particularly when Mustafa kills Jean Morris. Morris can be an productive cause in her own fatality, she won't concede to Mustafa like other English women did and once in a while repeats that, "I've never seen an uglier face than yours" (2003, p. 30). Daring Mustafa to kill her, she even leaves another man's handkerchief for him to find as evidence, being contrary to Desdemona. Morris and Sa'eed re-enact these iconic literary functions, which can also be interpreted as being the binary of American and Eastern alternatively than Othello and Desdemona, Othello representing Eastern and Desdemona representing the Western. When Sa'eed was put on trial for the murder of Jean Morris, a teacher who arrived to his security argued that Sa'eed was "a noble person whose mind could absorb Western civilization, but it broke his center. These girls were not killed by Mustafa Sa'eed, but by the germ of a lethal disease that assailed them one thousand years back, " (2003, p. 33), an orientation to the unwanted effects of colonization. The teacher, insisting that Sa'eed was innocent, instead blamed stereotypes and misunderstandings between your East and the Western world. Sa'eed says, "I am no Othello. I am a rest. The trend is to sentence me to be hanged and so kill the lay?" (2003, p. 33), saying that the horrible legacy of his actions backfired on himself. Salih's narrative techniques test the stereotypes from both sides. On this sense, it generates and contributes another degree of interpretation beyond the literal circumstances.
Salih uses the strategy of the Sudanese countrywide allegory, which is one of the most interpreted meanings of 'Season of Migration to the North'. Salih uses the words of Sa'eed and the narrator, to juxtapose the novel as a nationwide allegory, attracting parallels between your life of Mustafa and the colonial history of Sudan. The approach of the allegory is used as a kind of character representation, where Salih symbolises each personality with an identity in the battle for Sudan's Independence. However, throughout the course of the book, this allegory becomes ambiguous, "complicated and contradictory" (Eleni, 2010), as other individuals each symbolise different facets of Sudan. Mustafa Sa'eed, the main identity of the nationwide allegory, becomes an allegory for Sudan, particularly Sudan under English colonization. When in Britain, he is able to seduce every girl he has a romantic relationship with, except Jean Morris who symbolises the colonizer. This, however, is when the coloniser overthrows his electric power. With Morris, Sa'eed spends the night "warring with bow and sword and spear and arrows"(2003, p. 34), only to be overthrown when she will not concede to him as the other United kingdom women do, representing that Sudan was defeated by the colonizer. Furthermore, this is can often be contradictory. Despite Mustafa showing to symbolise level of resistance to English colonisation, British isles culture enters into his identity, and changes Sudan and its people in lots of ways. That is seen especially within Mustafa and the narrator who experienced both civilizations. Salih peppers the meanings of the novel with allegories to allow viewers to make multiple interpretations of the book, as it gives a primary meaning to the novel.
In finish, there are extensive means of understanding this book. The framing device creates a blurred result for the reader to recognise the exact chronology of their time. Also, there may be unreliability within the story-telling. The narrator consciously selects the events told, with some happenings highlighted plus some forgotten, leading the reader to a biased view. Furthermore, Salih's use of intertextuality to signify characters contributes another level of meaning beyond the literal circumstances. Finally, even the most interpreted meanings can be contradictory. Even though, Mustafa appears to symbolise the amount of resistance against the United kingdom colonisation, English culture gets into into his personality, as well as English culture as it shifts into Sudan and its own people. The storyplot of a dual narration, "Season of Migration to the North" narrates the stories of Mustafa and the private narrator that happen to be lionised by modern culture and colonialism. This small but powerful book, forces the audience in to the ambiguity of the narration leading to the multiple interpretations.