[Epub] ➛ Women of Sand and Myrrh Author Hanan Al-Shaykh – Transportjobsite.co.uk

Women of Sand and Myrrh pdf Women of Sand and Myrrh , ebook Women of Sand and Myrrh , epub Women of Sand and Myrrh , doc Women of Sand and Myrrh , e-pub Women of Sand and Myrrh , Women of Sand and Myrrh cec200b6d47 Women Of Sand And Myrrh By Hanan Al Shaykh Taking Place In An Unnamed Desert State, Women Of Sand And Myrrh Takes The Reader Through The Lives Of Four Very Different Women Who Are In The Desert And Seeking To Escape From It For Differing Reasons Women Of The SandRotten Tomatoes Rotten Tomatoes, Home Of The Tomatometer, Is The Most Trusted Measurement Of Quality For Movies TV The Definitive Site For Reviews, Trailers, Showtimes, And Tickets Sand Une Grande Slection Des Nouveaux Styles Boozt Achetez Sand Sur Boozt Nous Avons Une Grande Slection De Produits Sur Boozt Nous Vous Offrons Des Livraisons Gratuites Et Retours Faciles Women Of The Sand EVideo,WorldCat Women Of The Sand Was Filmed In Cinema Verite Style, With No Narration The Non Intrusive Camera Allows The Women To Tell Their Stories In A Candid And Intimate Way The Stunning Photography Captures The Immensity Of The Desert And The Giant Sand Dunes Which Have Already Covered Ninety Per Cent Of The Country And Threatening The Very Existence Of The Nomadic Lifestyle Women Of The Sand Is AWomen Of The Sands Journeyman Pictures Women Like Fatimtou Believe Living In The Desert Helps To Strengthen Their Islamic Faith When I Walk In The Desert And Feel The Beauty Of Nature, I Think About The Power Of God She S Acutely Aware Of The Negative View Of Islam In The West And Worries About Its Impact The Media Implies That All Muslims Behave Like The Taliban But In Reality, The Status Of Women Is Great In Islam


10 thoughts on “Women of Sand and Myrrh

  1. says:

    The first time he asked how to say 'good morning' in English and American and found they were the same, he exclaimed in surprise, 'Praise the Lord! They're the same as each other inside and out!'
    Whenever I see a book by a woman of color with a super low rating and/or reviews littered all over with a variation on the theme of "didn't like the characters = main reason for not liking the book", I sigh and crack my fingers and pull on my gloves. More often than not this "didn't like the characters" business translates to "didn't understand the book", and since the author's neither white nor male she doesn't get the benefit of the doubt of "oh I didn't understand so the fault must be with me and the book will still get a shiny high rating", bending the sentiment of Catholic guilt into such an impressive cross-categorization of peer-pressured faith that it's as much a marvel as it is a goddamn annoyance. Seriously, though. What's not to like about the characters? What could possibly sideline that unspoken taboo of not shitting on a book cause the main character's a rapist/murderer/pedophile/accomplice of genocide/midlife crisis white boy with a penchant for boundary violation and really pitiful attempts at philosophy? You tell me.

    The front cover says The Handmaid's Tale, which is associative in one sense and really insulting in a more important other. A review on this site compares this to Woolf, which I have to thank both for my moment of "Aha!" and the resulting fruitful pursuit. See, the narrative viewpoint in this is super super close first person that switches enough to keep one on one's claustrophobic toes, sidewinding through each character in such a way that jostles complicatedly enough against sociopolitical anathema for extremely complex discussion. I'm probably forgetting some main academic tenet or another, but a great deal of Modernism in the likes of Loy and co. felt akin to that same breed: solipsistic yet glancing, covert yet nakedly revealing, plotless yet so entrenched in the train of one at a time self-reflecting minds that it's nigh impossible to look away. Add in the "unnamed desert state" (most likely Saudi Arabia), characters that have no time for pandering to reader's views of "nice" when there's flesh and blood to live out, and a culture clash that the further one gets one will begin to make sense of whether they like it or not, and you get this modern psychological thing that's about as centered around feminism as The Golden Notebook.

    I originally started reading this so as to counterbalance the happy-go-lucky archetypes that show up without fail in nearly every one of the The Arabian Nights. There's some of that, as well masculine romanticism succumbing to the late 20th century realities of STDs, sexual awakenings of the queer variety counterbalanced with mental stagnancy to the extreme, whatever the -phile term is for the Middle East when it comes to white US women escaping their issues with suburbia, and some really strong overtones of Rebecca in the last parts. Not the unnamed second wife, mind you. The one who wouldn't play by the rules and, here in this novel, is hellbent on staying alive and kicking for however long it takes to get what she wants. Dislike the first person pov characters all you like, but I can easily imagine all of them skateboarding in a burqa towards their intended destination. One of them may come to this conclusion by the tenets of Islam, another by memories of the land of Tony Hawk, but it's not as simple as an "Arab woman surmounts oppression" headline. It never is, of course, but this really drives it home.

    I wonder if some readers didn't like this cause they've nursed fantasies of what it would be like to be female and obscenely rich in the land the pages of this book describe. Or maybe they expected a single tone of stoic endurance or Oriental escapade instead of bits of humor and pieces of overwhelming horror and a psychological immersion that never ever quits. Ah well. Whatever the case, this is very much a "modern" novel, where the Itches That Must Not Be Scratched are scratched, the results of said scratching are recoiled from in favor of social conformation, and the scratcher lives long enough to repeat ad nauseam. Thank god for politics and the Internet, amiright?
    I pictured myself sitting in front of the television explaining to Batul and my aunt and my mother what was really going on in the foreign films: the woman whom Mr Rochester kept shut away in Jane Eyre was his mad wife, not his mother.


  2. says:

    It took me a while to pin down my feelings for this book. It raises so many, it was really hard to wade through them all and work out what I thought of the book as a whole.

    The book is 4 intertwining stories about 4 different women within a very strict, restrictive Islamic society within the Middle East. The best I can find is Saudi Arabia is probably the closest with these restrictions. I loved that this was from the women's perspective which gave us an insight into a world half of us would never see.

    The book is split into 4 parts, each part with a different woman telling their story. The women pop up in other women's stories as they are all connected but your perspective is changing throughout the book. We have Suha from Lebanon who's husband has a contract in this country and they have moved there for him to work for a while. Tamr, who is the daughter of a sheikh and his concubine from Turkey, but is a native to this 'country' and a student of Suha's at the local womens' TAFE. Suzanne, an American housewife who again's husband has a contract in this country, yet she finds all men find her exotic and desirable in this country and never wants to leave. And Nur, who is incredibly spoiled by her very wealthy husband, but there is so much more to that relationship.

    Some of these women I completely empathised with. Some I was appalled with. But I understood most of them. They were all products of this restrictive society. And it made me so glad that I could drive and go where I wanted, when I wanted, without a man, I can work, I can be educated, I can leave my house without a man I'm related or married to, I can wear what I like and so much more. It was one of those books that immersed you in were you were and I think that's really important, as so many of us write off these places. We don't think about them. We know about them but we don't think about them, as they make us angry and so it's easier not to. And we forget the women within them.

    It's important to remember.

    For more reviews visit http://rusalkii.blogspot.com.au/


  3. says:

    The lives of four women intertwine in this unknown desert state somewhere in the middle-east. The author's colloquial use of language and metaphors gives the novel a post-modern feel. The author gives voices to four women from various socioeconomic classes. The issues addressed varies from what today's society would call archaic or pedantic; the contrasting nature of complexities the women face makes up the overarching arc. Understanding the clash of modernism and culture is these parts of the world is necessary for a better appreciation of the novel. The everyday stories of women isn't all that different and it somehow drastically is. Be it sexual diversity or economic freedom, women have to claw the walls to make a superficial dent let alone an everlasting one. With these struggles playing in the background, the author picks some and makes her characters face them.
    I, we, need to understand; the superficiality of a narrative doesn't necessarily mean the issues don't exist. Its just that the characters have chosen not to play it in this space and time.


  4. says:

    I cant believe they edited the English version of this book for marketing purposes, this is like when Arab translators edit Simon De Beauvoir books claiming its too hard for us to understand .
    this rating is for the english version, the original book is 4.5 stars.


  5. says:

    Many of the reviews, I believe, are unfair. The English translation was heavily edited. The name of the book, and therefore, the meaning of the story was altered. Even the order of the perspectives were swapped around! This definitely changed our idea of who was the protagonist and who's story we should really be following. If this book was read as it is told in its original form, we would have seen it as Al-Shaykh intended. This story is very important for Middle Eastern feminism, identity, and sexuality, and I hold it as a very important book to women all across the globe.


  6. says:

    So Women of Sand and Myrrh is a better book than most people are giving it credit for, albeit not a fantastic one. Read it more like a Middle Eastern Virginia Woolf novel, and it makes more sense. The news here is not that "hey, women living in unnamed generic Islamic countries can feel oppressed," but that Hanan Al-Shaykh, in 1980-something, was writing such a nuanced account of the very specific ways that female sexuality could be circumscribed and/or redirected in such a world. The internal focus of the characters mimics the inward-looking cultural mores of Al-Shaykh's setting; it's a feature, not a flaw, of her style. That said, no, there's not much plot, the pacing is painfully slow and roundabout, and the frustration one feels with the characters doesn't exactly endear them to readers.


  7. says:

    I don’t know if I’m comfortable with the way this depicts women and hysteria. It is working well with tropes of isolation and displacement, but there still seems this very archaic model of women who are forced to remain in domestic spaces who just descend into alternate forms of madness, self directed trauma, hysteria, dramatic actions, etc. while the men are not only completely stable but almost become two dimensional background characters to this more predominant running narrative. Just a few initial thoughts...


  8. says:

    Spectacular. Al-Shaykh is a powerful writer and draws the reader very quickly into the world(s) of her unhappy, unfulfilled characters. The technique of dividing the novel into four sections, each in first person and narrated by a different character, made it feel more like a collection of connected short stories, especially because of interruptions and overlap in the sequence of events.

    Al-Shaykh's group of four is extremely diverse in all the important ways. They share little more than a location and a disconnection from one another and from society -- which is not to say that they are sociopaths (though actually I would say that at least one of them is) but that the society in which they are living does not permit them the sorts of lives they imagine themselves living.

    [An aside: the exception to this is the sociopath, who is American and rather ordinary but for her blue eyes and pink skin. Her desire to be unusual and desirable leads to a strong attachment to the unnamed middle Eastern country in which she finds herself, and she ignores and fights her unpleasant discoveries about the men and women around her.]

    Part of Al-Shaykh's genius, as I see it, is the fact that she managed to make all of her characters reflect and inspire in the reader the feeling they all share about each other. The reader experiences the process that each woman goes through: meeting a new acquaintance with excitement and hope, then arriving at disillusionment and boredom coupled with a sometimes frantic striving to connect emotionally in spite of the obvious disjuncts, finally settling into a neurotic dislike of each maladaptive, ambivalent, disappointing so-called friend. While we finish each section glad not to be stuck with such a crazy or boring or passive-aggressive or obsessed friend or lover, the book itself retains its allure to the last -- like the imaginary companion each character so unsuccessfully seeks.


  9. says:

    I would venture to say that this is now one of my favorite books. I enjoyed it because the characters were complex and their individual stories were interesting. Contrary to what others might think, this is not just the story of Middle Eastern women, but portrays a very woman experience in general. Though some of the same things may not currently occur in Western society, they once did.

    I'm not great at writing reviews, but I just wanted to share that this book is not given enough credit. Read it with open eyes.


  10. says:

    The desert came into view, looking as it had done the first time I saw it: sand and palm trees, a way of life that revolved around human beings without possessions or skills, who had to rely on their imagination to contrive a way of making their hearts beat faster or even to keep them at a normal pace; to search unaides for a hidden gleam of light, and to live with two seasons a year instead of four.


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