The rise of Salafism in Tunisia

Those thirsty for spiritual fulfillment are increasingly turning to the Saudi brand of Islam.

In his small shop in Kairouan, Waseem offered me a cup of sweet mint tea. Like most Salafis, he sported the signature look: long beard and trousers rolled up above his ankles. The merchant was different from the rest; he didn’t exchange jovial insults, he lowered his gaze whenever a woman passed by and his hospitality verged on the absurd. I couldn’t help asking why Salafis like him were vilified in the Tunisian media. Waseem didn’t smash up bars or threaten to lop off hands in remote villages like they claimed. The truth is, for a post-revolution Tunisia thirsty for unadulterated freedom, Waseem represented the very antithesis of revolution: an austere and uncompromising brand of Islam imported from Saudi Arabia that sought to snuff out its ideals (whatever they were).

While Waseem causes consternation amongst Tunisian liberals, to Western policy makers he is a potential nightmare. The sort of person who resents any form of intervention of the non-believing kind, who given the right conditions, could transform into a mythological arch enemy of the bin Laden variety. Of course, many want to blame Saudi petro-dollars for brainwashing Tunisian youth but the truth is, if anyone’s to blame it’s the previous regime.

In 1956, the Tunisian president, Habib Bourguiba, set his newly-independent country on a course to catch up with the West. That meant industrialisation, curtailing the influence of religion and, like he had done himself, embracing French political values. Yet careful not to offend religious sensibilities, he refrained from attacking religion directly. Instead he started to undermine religious institutions like Zeitouna and Kairouan colleges that had played an important role in North African Islam for centuries. Bourguiba appropriated the trusts and charities set up for their upkeep. He subdued Islamic jurisprudence and religious courts so that they followed a French model. Preceding France by fifty years, he declared war on that ‘odious rag’, the veil, and introduced the Personal Status Code that guaranteed the legal status of women. Although the code was essentially a reiteration of Islamic law, its French veneer made the religious institutions appear out of touch. Moreover, with a modern education system taught in French and Arabic, the future rested on secular foundations. It alienated many, as Rashid Ghannoushi, Zeitouna alumni and founder of the Ennahda party says: “We were strangers in our own country; we had been educated as Muslims and Arabs, whilst the country was molded in the French cultural identity”. However, Bourguiba’s popularity was such that the religious classes could not muster enough support to oppose him.

Bourguiba’s covert policy of undermining religion paid dividends. In 1960, during the fast of Ramadan, he declared that Tunisian workers were exempt from their religious obligation. In Bourguiba’s mind servicing the economy constituted a jihad and in such situations the obligation was lifted. Of course, the Mufti of Tunis did not see it that way, and refused to ratify his claim; Bourguiba responded by liquidating the repositories of Islamic learning. By 1961 Zeitouna University had been incorporated into the newly-founded University of Tunis, and its precious collection of books on astronomy and mathematics had allegedly found their way into the private collections of the Ben Ali clan.

That left spiritually hungry Tunisians turning to whatever was available. With the government eliminating real opposition parties and indigenous religious institutions, the young found the sound bites, pamphlets, and banned books closer to the truth. As Izzedine, a book seller in the old city of Tunis says: “The banned books of Salafi scholars became highly sought after during the Bourguiba and Ben Ali era”. The famed Tunisian moderateness or wasatiya weakened because of the brutal repression of Tunisian Islamists in the 80s and the 90s. It left the way open for a de-contextualized Salafism.

Waseem’s story is a classic example; thirsty for spiritual fulfillment, he had joined Tabligh Jamaat, one of the world’s largest non-political organizations that proselytised Islam. He soon became profoundly disappointed with the organisation because they discouraged him from studying Islam and politically engaging with the system. Having no indigenous institution to turn to, he took for truth whatever was available as long as it was anti-government and soon embraced the Saudi brand of Islam. However, the election victory by Algerian Islamists in the 90s meant that the regime cracked down on people like him. Before the age of 20 he had been arrested and tortured for attending the congregational dawn prayer.

In a strange quirk of fate he escaped and found refuge in Gaddafi's Libya only to return once Ben Ali had fallen. Ironically, it seems that the rise of Salafism in Tunisia was not because of Saudi petro-dollars but because of a secular dictatorship trying to impose its own values on its people.

Graffiti in La Marsa reading 'God is great,' left by rioters. Photograph: Getty Images

Tam Hussein is an award winning writer and journalist specialising in the Middle East. He spent several years in the Middle East and North Africa working as a translator and consultant. Tam also writes for the Huffington Post.

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How “cli-fi” novels humanise the science of climate change

The paradox is that the harder climate-fiction novels try, the less effective they are.

When the Paris UN Climate Change Conference begins at the end of November, the world’s leaders will review the climate framework agreed in Rio in 1992. For well over 20 years, the world has not just been thinking and talking about climate change, it has also been writing and reading about it, in blogs, newspapers, magazines – and in novels.

Climate change fiction is now a recognisable literary phenomenon replete with its own nickname: “cli-fi”. The term was coined in 2007 by Taiwan-based blogger Dan Bloom. Since then, its use has spread: it was even tweeted by Margaret Atwood in 2013:

It is not a genre in the accepted scholarly sense, since it lacks the plot formulas or stylistic conventions that tend to define genres (such as science fiction or the western). However, it does name a remarkable recent literary and publishing trend.

A 21st-century phenomenon?

Putting a number to this phenomenon depends, partly, on how one defines cli-fi. How much of a novel has to be devoted to climate change before it is considered cli-fi? Should we restrict the term to novels about man-made global warming? (If we don’t, we should remember that narratives about global climatic change are as old as The Epic of Gilgamesh and the Biblical story of the flood.) If we define cli-fi as fictional treatments of climate change caused by human activity in terms of setting, theme or plot – and accept there will be grey areas in the extent of this treatment – a conservative estimate would put the all-time number of cli-fi novels at 150 and growing. This is the figure put forward by Adam Trexler, who has worked with me to survey the development of cli-fi.

This definition also gives us a start date for cli-fi’s history. While planetary climatic change occurs in much 20th-century science fiction, it is only after growing scientific awareness of specifically man-made, carbon-induced climate change in the 1960s and 1970s that novels on this subject emerged. The first is Arthur Herzog’s Heat in 1976, followed by George Turner’s The Sun and the Summer (published in the US as Drowning Towers) in 1987.

At the turn of this century, Maggie Gee and TC Boyle were among the first mainstream authors to publish climate change novels. In this century, we can count Atwood, Michael Crichton, Barbara Kingsolver, Ian McEwan, Kim Stanley Robinson, Ilija Trojanow and Jeanette Winterson as major authors who have written about climate change. The past five years have given us notable examples of cli-fi by emerging authors, such as Steven Amsterdam, Edan Lepucki, Jane Rawson, Nathaniel Rich and Antti Tuomainen.

Creative challenges

Cli-fi is all the more noteworthy considering the creative challenge posed by climate change. First, there is the problem of scale – spatial and temporal. Climate change affects the entire planet and all its species – and concerns the end of this planet as we know it. Novels, by contrast, conventionally concern the actions of individual protagonists and/or, sometimes, small communities.

Added to this is the networked nature of climate change: in physical terms, the climate is a large, complex system whose effects are difficult to model. In socio-cultural terms, solutions require intergovernmental agreement – just what COP21 intends – and various top-down and bottom-up transformations. Finally, there exists the difficulty of translating scientific information, with all its predictive uncertainty, into something both accurate and interesting to the average reader.

Still, cli-fi writers have adopted a range of strategies to engage their readers. Many cli-fi novels could be classified as dystopian, post-apocalyptic or, indeed, both – depicting nightmarish societies triggered by sometimes catastrophic climate events. A future world is one effective way of narrating the planetary condition of climate change.

Some novelists are also careful to underpin their scenarios with rigorous climatic predictions and, in this way, translate science fact into a fictional setting. Kingsolver, who trained as an ecologist, is the best example of this – and Atwood and Robinson are also known for their attempts at making their speculations scientifically plausible. Also, cli-fi novels, particularly those set in the present day or very near future rather than in a dystopian future, tend to show the political or psychological dimensions of living with climate change. Readers can identify with protagonists. To some extent, the global community is represented in fictional everymen or everywomen. Or, often, it is through such characters that science is humanised and its role in combating climate change better understood.

Can cli-fi lead to change?

Could cli-fi affect how we think and act on climate change? The paradox is that the harder cli-fi tries, the less effective it is. Many writers want to inspire change, not insist on it: the line between literature and propaganda is one that most novelists respect. Literature invites us to inhabit other worlds and live other lives. Cli-fi at its best lets us travel to climate-changed worlds, to strive there alongside others and then to return armed with that experience.

In Paris, the UN will seek a global agreement on climate action for the first time in more than 20 years. There is plenty of climate change fiction out there to help provide the mental and psychological space to consider that action.

The Conversation

Adeline Johns-Putra, Reader in English Literature, University of Surrey

This article was originally published on The Conversation. Read the original article.