This Woven Kingdom

The narrative pulls from ancient sources, including copious elements from Islamic tradition and mythology. One of the most prominent features that adds complexity to the novel’s characters and conflicts is the author’s decision to incorporate Jinn: supernatural beings that are often mentioned in Islamic texts and are typically misunderstood. Occupying a position somewhere between angels and humans and born of smokeless fire, Jinn are capable of both malevolent and benevolent actions: both of which become apparent in Alizeh’s characterization. Her personality aligns with Islamic notions of dual morality, whereby individuals are continuously tested for integrity. Just like the Jinn of Islamic mythology, Alizeh finds herself navigating a myriad of trials that test her capacity for good and evil. Her journey is perhaps a contemporary expression of the Islamic notion of Jihad al-Nafs, the internal moral and spiritual struggle.

The name “Iblees,” which denotes the supernatural villain in the story, is taken directly from the devil-like figure of “Iblis” in Islamic tradition: the entity who refused to bow down to Adam and was subsequently expelled from Heaven. Iblees’s role as the puppet master orchestrating chaos parallels the Devil’s role as the great tempter and deceiver in Islamic tradition. In the Qur’an, Iblis was created from fire and perceives himself to be superior to Adam, who was made from mere clay. Thus, Iblis rebelled against the idea of showing him respect, and this act of rebellion signified disobedience and a profound sense of superiority and pride.

Delving into the nature of evil, the Qur’an illustrates a complex duality. At times, evil emanates from personal agency, as shown by Iblis’s decision to directly defy God’s commands. Conversely, evil is sometimes portrayed to be an impersonal, all-pervading force in the universe. This duality is also found in literary portrayals like This Woven Kingdom, whose world-building explicitly draws upon Islamic tradition. In such portrayals, the devil can often be a personal tempter, representing the individual choices that lead to evil; conversely, the devil can also stand as a symbolic representation of inherent, uncontrollable evil forces. Further complicating this discourse is the theme of responsibility and blame. In Islamic tradition, Iblis’s refusal to accept responsibility for his actions is designed to shift the blame onto God, thereby suggesting a predetermined fate. The novel underscores the idea that evil is ubiquitous, influencing every aspect of human behavior, from monumental misdeeds to minute indiscretions. This omnipresence is mirrored in countless literary works that portray the devil or similar malign forces as ubiquitous tempters who lurk in the shadows, awaiting opportunities to lead individuals astray. In This Woven Kingdom, the character Iblees takes on a similar duality, for he represents evil as both a malevolent force and also as an ego-driven divergence from divine will.

The devil’s involvement in the story also highlights the ongoing struggle between divine will and individual agency: a central theme in Islamic theology. Moreover, the incorporation of prophecy and divination echoes Islamic eschatological themes, adding a layer of fatalism and destiny to the characters’ personal and political struggles. Alizeh’s role in particular feels akin to the concept of the “Hidden Imam” in Shia Islam—a savior figure who is expected to appear to bring justice and balance. However, the novel also complicates this traditional concept. From the perspective of the rulers of Ardunia, Alizeh stands as the sole heir to an ancient rival kingdom and is foretold to bring doom to King Zaal, king of Ardunia. This multidimensional portrayal can be interpreted as an allegory of the human condition in Islamic theology, whereby one’s actions can lead to either salvation or damnation.

Persian mythology, particularly as embodied in the Shahnameh (the medieval epic detailing the history, myths, legends, and culture of the Iranian people) also represents a significant thread in the literary fabric of This Woven Kingdom. The Shahnameh often deals with kings burdened by heavy fates, grand conflicts between good and evil, and the intricate interplay of human desires and divine plans—all themes evident in Mafi’s narrative. Within the context of the novel, both Prince Kamran and King Zaal in the novel could very well be references to a character in the Shahnameh who also grapples with issues of legacy and moral righteousness. The political landscape in the narrative, with its collapsing empires and impending wars, mirrors the historical Islamic empires and their complex sociopolitical environments. For example, the looming water crisis in Ardunia can be interpreted on multiple levels. On the surface, it may be a nod to the historically vital role of water in Islamic civilizations, but on a more abstract level, it symbolizes a sense of the spiritual drought and societal decay that ensue when ethical and spiritual principles are abandoned. Finally, the romantic tension between Alizeh and Kamran subtly echoes the classic Sufi theme of ishq, or divine love, which is a yearning that goes beyond the physical realm. Their connection can represent the twin souls searching for unity, an idea strongly present in Islamic mysticism and Persian love poetry.