Imagery in "Shadows of the pomegranate tree"

The biggest thing I have loved about the novel so far is the imagery. The descriptions of the family home and the courtyard bring elements of peace. The architectural designs are so different from the closed buildings I have grown up in. For example, "The only noise was that of the stream which entered the courtyard at one corner, fed the fountain in its centre and then flowed out as the other end of the house. In happier days he would have collected the scent-laden flowers from the jasmine bushes.." (18).  Having grown up in grey Rochester, the concept of warm, pretty courtyards and open homes are pretty daydreams. The descriptions bring to life the open layout. The open layout also implies a certain concept of security. Existing in the middle of tree orchards and fields, the home does not have many apparent fortifications, giving the impression of the lack of a need for such measures.

Later on in the novel, the description of Uncle Ibn Hisham's townhouse was again different yet no less engaging to the imagination.

"The entrance to the house was no different from those of the other private dwellings on the street, but if one were to pause and look closely to either side it would become clear that the two adjoining entrances were in fact non-existent. False doors inlaid with turquoise tiles were designed to deceive. No stranger could imagine that what lay beyond the latticed doorways was a medium-sized palace. An underground passage beneath the street connected the different wings of the mansion and also served as an escape route to the Bab ap-Ramla. Merchants did not take risks" (75).

The layout of this home implies a different concept of security from the old family home. His home is no less or more secure, yet employs measures relevant to his location. The idea of secret tunnels and passageways underground grabs the imagination. The idea of the townhouse internally occupying the image of a palace gives true scale as to the size of the home within the town limits.

Another part of the novel which captured my attention was the imagery and scenes that capture the cultural cuisine. The family cook, Dwarf (whom seems to have no other title), creates dishes that are described with vivid imagery: "Tonight they had been presented with a heavily spiced and scented barbecue lamb; rabbits stewed in fermented grape-juice with red peppers and whole cloves of garlic; meat-balls stuffed with brown truffles which literally melted in the mouth; a harder variety of meat-balls fried in coriander oil and served with triangular pieces of chilli-paste fried in the same oil..." (17). I am sure that if every household had personal cooks they would eat with similar decadence, thus the examples cannot be taken as an example of commonplace everyday meals of a general populace. However, as a snapshot of local cuisine it is wonderfully descriptive. 

Now I feel the need to insert a personal disclaimer: the lens through which I am reading and regarding this novel is somewhat unique. I have thus-far attempted to be general in my observations and comments and keep my discussion focused upon the novel. The reason for my struggle to do so however is the fact that my boyfriend is Pakistani and Muslim. I am, oh the scandal, Roman Catholic born and raised. He and his family moved to the United States about six years ago now. We were best friends for about a year before we started dating. Our relationship has not been simple and is not likely to become less complex. However we have over time shared many stories about our respective childhoods, as they mutually involve traditions, places and events that are, if not alien, new and interesting to our perspectives.
As a result, as I am reading this novel (and learning more about the culture in class), I find I am relating and agreeing to the descriptions of their food (which is spicy) and his stories of his childhood home (which depict very similar architecture).

Ali, Tariq. Shadows of the pomegranate tree. London: Verso, 1993. Print.