When the Apricots Bloom

Portraits, billboards, and statues of Saddam Hussein are seen around Baghdad and in characters’ homes across the novel, and they contribute to Saddam Hussein’s representations as symbols of the violations of privacy perpetrated by and the omnipresence of the government. All characters need a portrait of Saddam in the home to display their loyalty, but the portraits serve a dual purpose in symbolizing both the eyes and ears of the government and the discontent of the Iraqi people in the face of oppression. Before the mukhabarat enter her home, Huda must place her portrait of Saddam in a more prominent position to avoid suspicion, and this action can be perceived as representing a common practice amongst all Iraqi citizens, who most likely have a portrait of Saddam placed out of the way that they can display during times of invasion. As such, the portrait is meant to represent loyalty to the president, but instead, it takes on the dual meanings of fear and subversion.

Likewise, a barrage of billboards, statues, and portraits are always staring at the characters in the novel, reminding them that no place is truly safe. This reality is further emphasized by the characters’ tendency to discuss sensitive topics in gardens, backyards, and outside of cars, just in case there are monitoring devices in their homes and vehicles.