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Geraldine BrooksA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Islamic culture is not a singular, unchanging entity; it varies significantly across different regions, ethnicities, and communities. The principles derived from the Quran and Hadith (recorded sayings and actions of the Prophet Muhammad) are interpreted in myriad ways, leading to a diverse tapestry of cultural practices and beliefs. For women, this means that their experiences and roles in society are far from uniform: They are shaped by local customs, the degree of conservative or liberal interpretations of Islamic law (Sharia), and the socioeconomic status of the society in question.
Understanding gender roles within Islamic societies requires a consideration of both religious texts and the historical context. Islam, as a religion that emerged in the seventh century CE in Arabia, bestowed certain rights upon women that were revolutionary for the time, including property rights, the right to divorce, and rights of inheritance. These religious dictates gave women a legal identity and rights that were unheard of in many other societies. For example, the Quranic provision allowing women to negotiate marriage contracts and to seek divorce was a significant empowerment of women within the marital context. However, over time, cultural practices have sometimes been conflated with particular interpretations of religious doctrine, leading to patriarchal structures that can be seen to limit women’s roles and freedoms.
Instead of viewing Islamic gender roles solely through a lens of oppression or liberation, scholarship often explores how women themselves negotiate these roles, often exercising agency within their cultural and religious frameworks. Veiling, for example, is a practice that is as diverse in its interpretation and adoption as the global Muslim population itself. While the veil is often seen in the West as a symbol of oppression, many Muslim women view it differently, each bringing their own understanding and intention to the practice. For some women, veiling is an expression of religious identity and belief. It is a personal choice that reflects a commitment to the values of modesty and privacy prescribed in Islamic teachings. They may find in veiling a sense of empowerment and a declaration of faith that is self-chosen and deeply meaningful.
Others may adopt veiling as a cultural tradition rather than a religious obligation. In this sense, the veil can be a marker of cultural heritage and community belonging, connecting them to their family and societal norms; it is less about religious expression and more about maintaining a connection to their roots and traditions. There are also women who approach veiling as a political statement. In contexts where Muslims are minorities or under scrutiny, wearing a veil can signify resistance against discrimination and stereotyping. It becomes a symbol of resilience and a stance against the imposition of external values on their personal or communal practices.
Conversely, some women challenge the expectation of veiling, seeing it as a patriarchal imposition that restricts their autonomy. These women may advocate for the right to choose whether to veil or not, emphasizing the importance of personal agency and the individual’s interpretation of religious texts. It is essential to recognize that these varied interpretations of veiling are not mutually exclusive and can overlap in the experiences of many Muslim women.
Geraldine Brooks examines complexities such as these by delving into the personal stories of women, reflecting a spectrum of motivations and meanings behind the veil. Through such explorations, it becomes clear that practices such as veiling cannot be reduced to a single narrative but are subjects of ongoing negotiation and reinterpretation within the diverse tapestry of Islamic life.
Nine Parts of Desire has received critical acclaim for shedding light on the often private world of Islamic women with thorough research and engaging storytelling. Nonetheless, it has faced criticism for potential biases. Critics have pointed out instances where the book may inadvertently perpetuate Western stereotypes or interpret women’s experiences through an implicit lens of Western superiority.
For instance, the book has been critiqued for its first-person narration, which can blur the line between the author’s opinion and fact (Head, Jerath. “On ‘Nine Parts of Desire’, by Geraldine Brooks.” Griffith Review, 24 June 2015). This style of narration sometimes results in broad generalizations about the Islamic faith and its followers, such as making sweeping statements about Muslim marriage practices, for example, without substantial evidence to back them up. Moreover, Brooks has been accused of having an Orientalist vision of the Middle East, where her initial expectations of exoticism were disrupted by less-stereotypical encounters. Instead of reflecting on her preconceptions, some critics argue that Brooks overcomes the dissonance by reinforcing reductive tropes about Muslims, particularly focusing on sexuality, veiling practices, female genital mutilation, polygamy, and fundamentalism. This could potentially reinforce one-dimensional views of Muslim women as either oppressed by religious dogma or as exotic “others.”
Additionally, some critics believe that Brooks’s descriptions of veiling and her analysis of women’s choices lack depth, as they may not fully consider what these practices signify to the women themselves. For example, when she describes a woman’s choice to wear the hijab as an acceptance of a legal code that values her testimony at half the worth of a man’s, she does not delve into the woman’s personal beliefs or reasons behind this choice. The book’s critical reception also includes commentary on Brooks’s portrayal of educated Muslim women who conform to traditional practices. Some argue her discomfort with this drives the narrative, which might suggest a judgment or sense of superiority over these choices. Brooks’s attempt to contextualize Islam’s progressive aspects and her surprise at finding out about the liberal sexual attitudes within Islam, while recognized as an effort to provide a more nuanced view, can sometimes come across as overshadowing the voices and agency of the Muslim women she writes about.
Engaging with Nine Parts of Desire should involve consideration of both the cultural nuances and insights presented by Brooks and the range of critical responses the book has elicited. Understanding this dual context is key to appreciating the book’s place in literature and its contribution to ongoing conversations about gender, religion, and global feminism.
By Geraldine Brooks