February 25th, 2014
I have a new piece in The Los Angeles Review of Books about the ways in which Muslim women’s rights are discussed in different parts of the world. Here’s a snippet:
I was struck then, and I suppose I still am now, by how different the Chronicles of the Veil™ were from the books I had read when I was growing up. Those books were written by Moroccan women and for Moroccan women; the authors explicitly critiqued the laws, cultural customs, and religious beliefs that hampered Moroccan women and prevented them from achieving full equality. But the books I encountered in America, particularly in commercial bookstores, were general, even generic, in their approach. They were often set in Afghanistan, Pakistan, or Saudi Arabia. They spoke breathlessly about “Muslim women,” a population so large and so diverse that hardly any statements made about them bear scrutiny. What could possibly be said to be true of 800 million women, spread out over 56 countries, dozens of ethnic groups, and a multitude of legal and cultural practices?
There came a moment when I realized that there are two distinct kinds of conversations taking place around Muslim women — one in Muslim countries and one in Western countries. The first conversation is highly specific, and focuses on local problems. In Morocco, for example, feminist activists pushed for a reform of family law for more than a decade; it was finally passed by parliament in 2004, and it granted women greater rights in marriage, divorce, and custody. These activists also successfully lobbied parliament for another reform, this time of the penal code, because it contained a loophole that allowed a man to escape statutory rape charges in case of marriage. Now feminists are focusing on access to education in rural areas, the practice of hiring underage girls as domestic workers, sexual harassment on the street — these are issues that Moroccan women and girls face every day, but they might not be exactly the same issues faced by women in Somalia or Comoros, where the legal apparatus and cultural practices are quite different.
The second kind of conversation takes place in Western countries, primarily via the Chronicles of the Veil™ and other sensationalistic materials. Here, the terms of the debate are global.
You can read the rest of the essay here.
(Photo credit: ArabGlot)
January 5th, 2014
Happy 2014! My winter holiday was brief (as are all holidays, I suppose) and now I am back at work. For those who may be interested, my review of Hooman Majd’s The Ministry of Guidance Invites You to Not Stay appeared in the New York Times last week. Here is how it begins:
To write about one’s country while living in another is to invite questions about loyalty. Why are you writing this? And for whom? The questions can take an ominous tone: What is your agenda? The journalist Hooman Majd faced such suspicions on one of his trips to Tehran, when an employee from the Ministry of Culture and Islamic Guidance told him bluntly: “Just because you have an Iranian passport doesn’t mean you can come here and write whatever you want when you leave.”
It was partly in an attempt to gain a wider perspective on the country of his birth that Majd, who lives in Brooklyn, took his American wife and infant son to live in Tehran for one year. “The Ministry of Guidance Invites You to Not Stay” is a memoir of 2011, spent reconnecting with the homeland he left as a baby, when his father, then a career diplomat, was posted abroad.
You can read the rest of the review here.
Photo credit: GQ.
November 23rd, 2013
For the last four years, I’ve spent the majority of my time inside a man’s body and mind. My character, a Moroccan slave known only as Estebanico of Azemmur, was part of a sixteenth-century Spanish expedition to claim the territory of Florida for the Crown of Castile. But the expedition turned out to be an unmitigated disaster and, within a few months, only four men were left standing: three noblemen, among whom the famed explorer Cabeza de Vaca, and Estebanico. I’ve followed along as Estebanico and the others journeyed to the heart of Florida and, desperate to survive among the Indians, reinvented themselves as faith healers. But my time with Estebanico is coming to an end. I’m happy to report that the release date for The Moor’s Account has been set for September 2014. I’m so proud of this book and so excited to share it with readers.
Illustration: Azaamurum. 1678 map of Azemmur by Daniel Meisner.
September 30th, 2013
Few writers inspire in me as much admiration and respect as J.M. Coetzee, so I was thrilled to have an opportunity to write about his most recent novel, The Childhood of Jesus, for The Nation magazine. Here is how the piece begins:
In 1516, when he was a councilor to Henry VIII, Thomas More published a slim little novel in which he described a society starkly different from his own, a place where education is universal, religious diversity is tolerated, and private property is banned. Citizens elect their prince and can unseat him if he turns tyrannical. The state provides free healthcare for everyone, and the law is so simple that there are no lawyers. For this ideal society, More coined the term Utopia (“no place” in Greek). It sounds enlightened, doesn’t it? But here is the fine print: in Utopia, each household has two slaves, drawn from among criminals or foreign prisoners of war; the prince is always a man; atheism is frowned upon; and women and children have far fewer rights than men.
Still, what enchants about Utopia is More’s dream of an ideal society, a dream shared by poets and prophets, artists and thinkers throughout the ages. In The Republic, Plato wanted the ideal city to be run by philosopher-kings. In Candide, Voltaire situated the perfect society in El Dorado, where there are schools aplenty but no prisons. In The Communist Manifesto, Marx and Engels theorized that the future would belong to workers once they had lost their chains. Every era has its utopia. Imagine there’s no heaven; it’s easy if you try.
The great J.M. Coetzee follows in this tradition in his new novel, The Childhood of Jesus, which explores the enduring question of what a just and compassionate world might look like. Over a career that has spanned forty years, the South African novelist (now an Australian citizen) has given us novels that explore the ethical responsibilities of the individual. How a person copes with power—whether political, physical or sexual—is a concern that runs through all his work. His characters often find themselves thrust into situations that force them to take note of, and act against, an injustice they had previously declined to notice. His latest novel offers a new variation on these themes: it focuses not on the drama of an unjust yet ordinary situation, but on an unusually just one.
You can read the rest of the essay here.
(Photo Credit: Basso Canarsa)
July 28th, 2013
For the New York Times Magazine, I wrote about my attempts to learn more about my mother’s side of the family. Here is how the essay begins:
My mother was abandoned in a French orphanage in Fez in 1941. That year in Morocco, hundreds of people died in an outbreak of the plague; her parents were among the victims. Actually, no, they died in a horrific car crash on the newly built road from Marrakesh to Fez. No, no, no, my grandmother died in childbirth, and my grandfather, mad with grief, gave the baby away. The truth is: I don’t know how my mother ended up in a French orphanage in 1941. The nuns in black habits never told.
Growing up in Rabat, I felt lopsided, like a seesaw no one ever played with. On my father’s side: a large number of uncles, cousins, second cousins, grandaunts, all claiming descent from the Prophet Muhammad. On my mother’s side: nothing. No one. Often I imagined my mother’s parents, the man and woman whose blood pulsed in my veins but whom I had never seen.
You can read the rest of the essay here.
Illustration: “My Grandparents, Parents, and I (Family Tree)” by Frida Kahlo. Frida Kahlo Museums Trust.
July 20th, 2013
I spent the last two weeks of June at Hedgebrook, a women writer’s retreat on Whidbey Island in Washington. In a happy coincidence, I received my editorial letter just as I arrived in Oak Cottage (pictured above), so I was able to make revisions for my new novel while I was there. I loved being in residency—being alone all day, in silence, in a space where I could spread out my manuscript and all my notes was incredibly beneficial.
Now I’ve returned to my ordinary life, made more hectic by a house move, and I miss the silence.
June 29th, 2013
From Gabriel García Márquez’s The Autumn of the Patriarch, a stunning and mystical novel about an aging tyrant, translated from the Spanish by Gregory Rabassa:
He played endless games of dominoes with my lifetime friend General Rodrigo de Aguilar and my old friend the minister of health who were the only ones who had enough of his confidence to ask him to free a prisoner or pardon someone condemned to death, and the only ones who dared ask him to received in a special audience the beauty queen of the poor, an incredible creature from that miserable wallow we called the dogfight district because all the dogs in the neighborhood had been fighting for many years without a moment’s truce, a lethal redoubt where national guard patrols did not enter because they would be stripped naked and cars were broken up into their smallest parts with a flick of the hand, where poor stray donkeys would enter by one end of the street and come out the other in a bag of bones, they roasted the sons of the rich, general sir, they sold them in the market turned into sausages, just imagine, because Manuela Sanchez of my evil luck had been born there and lived there, a dungheap of marigold whose remarkable beauty was the astonishment of the nation general sir, and he felt so intrigued by the revelation that if all this is as true as you people say I’ll not only receive her in a special audience but I’ll dance the first waltz with her, by God, have them write it up in the newspapers, he ordered, this kind of crap makes a big hit with the poor.
My editor recommended this novel to me a few weeks ago. I am especially taken with the narration, which comes in the form of the general’s voice, but also the voices of his lieutenants and the voices of his people. It is a structure-less and plot-less wonder, one that cannot be broken down, but must be enjoyed whole, like all of Márquez work.
Photo: Miguel Tovar/AP.