Books

The Atassi Foundation’s recent exhibition, “Personal Revolutions: Women Artists from Syria,” prompts a much-needed discussion on the work of female Syrian artists. Running from March to April earlier this year, the exhibition celebrated Syrian women artists as “female fighters” who create their own revolutions. Mouna Atassi, the founder of Atassi Foundation, begins the exhibition’s catalog with an illuminating message, calling for “An Eye on the Past and an Eye on the Present.”

In his latest novel, “Sophia,” the Syrian-German ‘hakawati’ Rafik Schami returns yet again to the well of modern Syria, mining it for tales of romance and intrigue. The “Sophia” of the title, a willful, beautiful, Christian woman, jilts her Muslim lover, Karim, in favor of marrying a rich Damascene Christian goldsmith, Yusuf Baladi. Sophia’s son, Salman, proves the real hero of the novel, the eponymous title notwithstanding. Having fled Syria to Lebanon, he seeks shelter with his aunt Amalia, whose family ostracized her for having married a Protestant.

This academic work explores both the symbolic statements and lived experience of Arab women who transgress social norms, whether intentionally or unintentionally. The collection of essays by and about contemporary Arab women in Jordan, Lebanon, Syria, Sudan, Palestine, Egypt, the Maghreb, and the United States recounts the particular ways in which each woman transgressed and how she reacted to the response it provoked. The strongest chapters break free from the bonds of academic jargon and present women in their full flesh-and-blood selves, often suffering greatly for their brave actions, sometimes with bodily manifestations.

Nadia Yaqub and Rula Quawas’ “Bad Girls of the Arab World” (University of Texas Press, 2017) records and analyzes the experiences of Arab women who transgress social norms, telling the stories of Arab women from Jordan, Lebanon, Syria, Sudan, Palestine, Egypt, the Maghreb, and the United States. In her review of the book for Al Jadid, Pamela Nice notes that the strongest chapters in this work “break free from the bonds of academic jargon and present women in their full flesh-and-blood selves.”