Book contents
- Frontmatter
- Contents
- Preface
- 1 Introduction: creating new discourses from old
- 2 Women's voices and women's space in Assia Djebar's L'Amour, la fantasia
- 3 Tahar Ben Jelloun's Sandchild: voiceless narratives, placeless places
- 4 “At the Threshold of the Untranslatable”: Love in Two Languages of Abdelkebir Khatibi
- 5 The view from underneath: Salman Rushdie's Satanic Verses
- Concluding: breaches and forgotten openings
- Notes
- Bibliography
- Index
2 - Women's voices and women's space in Assia Djebar's L'Amour, la fantasia
Published online by Cambridge University Press: 13 November 2009
- Frontmatter
- Contents
- Preface
- 1 Introduction: creating new discourses from old
- 2 Women's voices and women's space in Assia Djebar's L'Amour, la fantasia
- 3 Tahar Ben Jelloun's Sandchild: voiceless narratives, placeless places
- 4 “At the Threshold of the Untranslatable”: Love in Two Languages of Abdelkebir Khatibi
- 5 The view from underneath: Salman Rushdie's Satanic Verses
- Concluding: breaches and forgotten openings
- Notes
- Bibliography
- Index
Summary
I have entitled this account: “A Fugitive without knowing it.” Or not yet knowing it. At least up to that precise moment when I recounted these comings and goings of women of distant or recent times in flight… Up to the moment when, in Madrid, I grew aware of it: from then on I became conscious of my permanent state of fugitive –I would even add: of being rooted in flight – for the very reason that I write and in order that I might write. [Assia Djebar, in speaking of one of her recently published essays]
[J'ai intitulé cette suite de remarques: “fugitive et ne le sachant pas”. Ou ne le sachant pas encore. Du moins jusqu'à cet instant précis où je relate ces allers et venues de femmes fuyantes du passé lointain ou récent… A l'instant où, à Madrid, je le constate: désormais je prends conscience de ma condition permanente de fugitive –j'ajouterais même: d'enracinée dans la fuite – justement parce que j'écris et pour que j'écrive.]
assia djebar, “Fugitive, et ne le sachant pas”Voices, from past and present, speaking “a flayed language,” as Assia Djebar calls it, voices of Algerian women, “ so many accents still suspended in the silences of yesterday's seraglio” [“Langue desquamée… tant d'accents encore suspendus dans les silences du sérail d'hier”]. Voices veiled and censored like their faces. Djebar has listened to these voices from work to work, and out of them has crafted a dialogue of empowerment.
- Type
- Chapter
- Information
- Islam and Postcolonial Narrative , pp. 37 - 65Publisher: Cambridge University PressPrint publication year: 1998