The Portrayal of National Identity and Character in the Stories of Sain Nazarbekuly

Sain Toktamys Nazarbekuly, a distinguished member of the Union of Architects and Writers of Kazakhstan, began his creative writing journey in earnest after reaching middle age. In his youth, he worked as a car driver before mastering the professions of builder and architect. He also lectured at the university and worked as a teacher. Among his notable architectural creations are the domes of Abyl Akin and Dosan Batyr in Mangistau, the mausoleum of Omarkhan-Nurzhamal, and the Abay and Shakarim towers in East Kazakhstan.

At the age of 46, Nazarbekuly presented his poetry to the public, later expanding his repertoire to include works in dramaturgy and ethnography. His multifaceted talents, which spanned various artistic disciplines, reflect his deep passion for life, love for his country, and profound connection to his native land and people. Through each of Sain Nazarbekuly's works, one can discern the rich history, national identity, and everyday knowledge of the Kazakh people.

Growing up during the hardships of war and rural life, Nazarbekuly infused his characters with the hospitality and modesty characteristic of Kazakh culture. His writings vividly express national values and the Kazakh mentality while also critically addressing the negative aspects of contemporary society. In an era of globalization, where the traditional knowledge of the Kazakh people risks becoming marginalized, Nazarbekuly's stories serve as a vital link to the past and highlight cultural issues that have become a concern at the national level.

In this article, we will analyze how national character and worldview are conveyed in the stories of Sain Nazarbekuly.

The events in the poet's short prose poems are set in Mangistau, his hometown. Through his writing style, it is evident that the artist often seeks to convey real-life events or special situations, often based on stories he has heard, to the public. His intention seems to be for the reader to learn valuable lessons from these events. For example, let’s consider the story "Munggurt and Mangurt." The story begins with an old man (likely a reflection of the author himself) who loves the sea and morning walks. This city dweller, who harbors an endless love for nature, strolls along the coast of the Caspian Sea and encounters a fisherman who introduces himself as Mangurt. The main character is intrigued by this unusual name. "This name has been forced upon me since I began eating the meat of a fish called 'Munggurt.' The fishermen began calling me that, and by the power of God, the name stuck to me like glue. Now, even some of my daughters-in-law call me 'Mangurt kaynaga' [1, p. 245c]," the fisherman explains.

Here, the writer uses the character’s words to illustrate that Kazakh brides do not address their brothers-in-law by name directly. Instead, they have developed the habit of giving them nicknames based on their profession or external characteristics. From these two words, the reader can see that the tradition of using nicknames in Kazakh culture remains significant in Mangistau and continues to be passed down through generations.

In another part of the story, "Mangurt" describes how he became friends with a distinguished guest from Russia. The writer vividly contrasts the hospitality traditions of the Kazakh people with those of the Russians. "A worker among us, the owner of a yurt house, expressed his displeasure: 'This is how our grandfathers used to say it—if you’re Russian, why don’t you go to the house built especially for you?' [1, p. 247]." This shows that the respect for a guest's preferences and honoring the host are deeply ingrained in Kazakh national customs, particularly among the elders who preserve these traditions as part of the national code.

The main theme of the story centers on the pollution of the Caspian Sea and the impact of human activity on the environment, with the overarching idea being the unity of nature and humanity. The writer criticizes modern society, arguing that those who pollute the sea with oil, litter the land with garbage, and harm animals and people are the true "mangurts."

Given the current global concerns about the declining levels of the Caspian Sea and the sharp reduction in species, particularly sturgeon and Caspian seals, due to the rapid development of the oil and gas industry, this work is especially relevant. At a time when scientists worldwide are sounding the alarm, such literary works play a crucial role in raising awareness and prompting action.

Another notable work by Sain Nazarbekuly is the story "The Last Hill of Mount Airakty," which juxtaposes the character of a man with that of a wild animal, exploring his experiences and inner thoughts. The writer begins by painting a vivid picture of his humble childhood: "Our childhood was spent in a village far from the city. There was no bread; each household baked its own. Our mothers would knead the dough, adding yeast. The dough would rise due to the power of the yeast. A frying pan was heated on the stove, and when it was warm enough, the baking dish was greased with lamb fat. She would take a piece from the edge of the risen dough, calling it ‘yeasty,’ and if there was enough dough, she would give it to her child as ‘dog’ [1, p. 254]."

This passage evokes the image of a Kazakh woman who endured the hardships of the long war years while raising her children. Through these details, the writer subtly conveys the patience and resilience of these women. This character aligns with the Kazakh proverb "A woman has forty souls," symbolizing their incredible strength and endurance.

As Nazarbekuly reflects on the mountains of his birthplace, he remarks: "... A fascinating person. When you realize that Kyzylkala was one of the nodes of the Silk Road connecting worlds, you become amazed and astonished, as if you had a share in the labor that some ancestors undertook in the Middle Ages [1, 255]." This shows the pride the writer feels for his heritage. Kazakh legends often glorify the heroism and wisdom of ancestors, emphasizing a deep reverence for the land and the importance of introducing others to its significance.

"The Last Hill of Mount Airakty" is a work rich in rhetorical questions, expressing the writer's sorrow for Mount Airakty. He marvels at the bravery of the kulja (a mountain sheep), which, in a final act of defiance, leapt off a cliff and impaled a hunter with its horn as he attempted to attack it. The writer laments the greed of humanity, which drives people to hunt not only nature’s fair creatures but even to the last hoof. "An accident has occurred. People have destroyed their kind. Their simplicity is the honesty of their flesh. An animal with the strength of a blue dombai cannot even defend itself... Why did the Great Creator make slaves of all those whose meat is honest and whose business is honest? [1, p. 259]" he mourns.

Here, the artist delves into the concept of "obal" in the Kazakh worldview, a term representing moral consequences or the sense of wronging something or someone. In Kazakh culture, the phrase "Obal beard" is often used in child-rearing to guide the youth, teaching them what is right and wrong. Nazarbekuly expresses his deep concern in this work, lamenting the potential extinction of the kulja at the hands of those driven by greed, who fail to recognize the gravity of their actions.

Kazakh customs and traditions are an integral part of our national identity. While today customs like courtship, betrothal, engagement, and gifting of cattle have evolved, and practices such as cradle betrothal and "amenggar" have been forgotten, it is important to understand how traditions change over time. In Sain Nazarbekuly's stories, these customs frequently serve as key elements and form the foundation of his works. 

For example, in his triptych "Brides," comprising the stories "The Hundred-Year-Old Bride," "The Girl Without a Wife," and "Brides of the Patchwork Village," Nazarbekuly portrays the courageous brides of Mangistau. These stories, which may seem legendary, are based on real-life events that the author gathered from various sources. Reading these stories transports you to Kazakh society of the past century, where you encounter the unembellished reality of village life and the resilient character of the Mangistau people, known for digging wells and raising cattle. The collection also reflects values such as keeping promises, maintaining trust, and the dynamics of relations among the Adai clans, as well as the playful banter between uncles and nephews.

The theme of Kazakh women is central not only in the aforementioned works but also in the story of Aglen's grandmother, included in the triptych "The History of Modern Girls." This story, narrated by Maktash, a resident of the village of Ushtagan, further highlights the bravery of Kazakh girls. Through Aglen's narrative, the reader gains insight into the life of the Kazakh people at the beginning of the last century. Aglen recalls, "In our time, it was not customary to look at a guy. He did not really use girlish behavior. But we sang. In these songs, all feelings go away [2, p.82]." From these words, it is evident that Kazakhs traditionally raised their daughters to be modest. The Kazakh love for singing and dancing, expressed in both joy and sorrow, is something every Kazakh understands.

Aglen also shares her thoughts on weddings during the conversation: "A wedding is a wedding at any time... Even if a poor man has a wedding, even if a rich man has a wedding... The wedding table was overflowing, like now, or like at that time, even a small bagel could not cover the table, and he really wanted to see who would put it in my mouth, it is all the same, a wedding is a wedding. That day, people went to a wedding. Today we celebrate a wedding. People go to a wedding not to eat; they come to see the fun at a wedding. People enjoy a wedding. People perform at a wedding and compare their performances. At a wedding, they show themselves and compare themselves [2, p.81]."

From these reflections, we see that the Kazakh understanding of a wedding has remained unchanged for over a century. Regardless of the occasion, weddings have always been and continue to be an important celebration for Kazakhs. In the national tradition, a wedding is a joyous occasion, a way to escape the mundane and connect with distant relatives.

In the story "Aglen," the protagonist's unwavering honesty and fierce pride are striking. Aglen’s intense determination leads her to kill the enemy who fled with her, despite him being the father of her child. Her bravery, which allowed her to safely return to her homeland from enemy territory, marks her as a heroine who deeply loved her people.

In each of Sain Nazarbekuly's works, we see that the foundation of his writing is rooted in the history of the country and region, intertwined with national teachings. His passionate love for his homeland is evident in his deep engagement with the country's history and his dedication to narrating it. The triptych stories "Adai Hooligans" and "Songy Yerlyk" highlight the proud character of the Kazakhs, particularly the people of Adai. Reading "Shubar u Zhaly," which is rich with geographical references, one cannot help but admire the heroic deeds of our ancestors. These stories lead us to recognize that our true national identity begins with an understanding of our history.

In the stories "Shalbas at" and "Baluaniyaz kulasy," Nazarbekuly vividly describes the Kazakh art of horsemanship and the culture of horse racing. Poet Temirkhan Medetbek eloquently captures the essence of Nazarbekuly’s poetry, noting, "The most important feature of Sain’s poems, I would say, is the natural character of the Kazakh, who has tasted the essence of national tradition and is deeply rooted in the soil [3, 40 p.]."

In this context, it becomes clear that the works of Sain Nazarbekuly, who was nurtured by his native steppe, first constructing domes from stone and later from words, effectively convey the national worldview. Each of his stories delves into the pages of history, and through his pen, he vividly portrays the indomitable spirit of his people from centuries past.

List of References:

1. Sain Nazarbekuly. Collection of Works, 4 volumes. Almaty: Pisatel, 2011. 297 p.
2. Sain Nazarbekuly. Collection of Works, 5 volumes. Almaty: Pisatel, 2011. 264 p.
3. Sain Nazarbekuly. Collection of Essays, 9 volumes. Almaty: Pisatel, 2011. 247 p.
4. Sain Nazarbekuly Official Website