You'll go a long way to find a more complex character than French writer Michel Houellebecq. He has attracted (and courted) controversy throughout his literary career.
He has been labelled a nihilist (for his depiction of the void at the heart of contemporary Western society in Atomised), and a hate-speaking anti-Islamist (on the strength of his description of Islam as "the dumbest of religions" in another novel, Platform). Yet in his latest novel, one of his characters - quite sympathetically portrayed - makes a persuasive argument that Islam is an alternative for the serious-minded to the vapid consumerism that underpins most aspects of Western culture.
The French original of Submission was published on the very day of the notorious Charlie Hebdo killings. Unsurprisingly, Houellebecq withdrew from the scheduled publicity tour on the grounds of ill-health. The novel - a subtle, intelligent, near-future dystopia - was likely to have attracted antipathy from Muslims and anti-Islamists alike.
Not a decade from now, according to the vision of Submission, France and wider Europe will be divided between the "nativist" anti-immigrant right (perversely using the language of the rights of indigenous people to claim a privileged position in society) and pro-Muslim political movements aligned with the left.
It is in this context that François, a rather second-rate academic, is experiencing a mid-life crisis even as France is going to the polls to choose between right wing and Muslim candidates for the presidency. His parents are lately dead, his Jewish girlfriend has fled to Israel in anticipation of the Islamists coming to power, and he has lost interest in his work.
Sure enough, the subtle and astute leader of the Muslim Brotherhood takes power, and France is transformed into a moderate Islamic state. There is some disruption to the French way of life. As it is decreed that only Muslims may teach at French universities, François loses his job. And women, of course, are forced to wear the veil.
But (and this is the best joke in what is a pretty funny satire: credit to the translator), the change isn't so profound as might be imagined. French culture adapts readily to a religion that demands the submisson of women to men and of men only to God. And since the French brand of Islam is fully funded by the Saudis, there is no need to abandon a taste for the finer things, provided you are a member of one of the elites, which requires only that you convert to Islam.
François is almost a caricature of a Houellebecq creation - complacent, godless, narcissistic, food, alcohol and sex-obsessed - and as such, the epitome of a member of the Western middle classes. The central question in Submission is how such a creature will cope when the inevitable happens and the world he has known is swamped and swept away. Houellebecq is too clever to commit François: the final chapter is written with a switch of tense into the conditional, so his choice is not a done deal. And he is too clever to commit himself, too. He writes about Islam with a great deal of respect, even though he doesn't spare those who pay it lip-service while pursuing their own interests.
If ever there was a book for our times...
• Submission by Michel Houellebecq, (William Heinemann $32.99)