Fatema Mernissi is a professor of sociology at the University of Mohammed V in Rabat, Morocco. She is the bestselling author of Dreams of Trespass: Tales of a Harem Girlhood, The Veil and the Male Elite, and Beyond the Veil.

Klappentext

Fatema Mernissi, the world-renowned Islamic feminist, has shed unprecedented light on the lives of women in the Middle East, in works hailed as "enchanting" (The New York Times Book Review), "exuberant" (Elle), and "remarkable" (The Washington Post Book World). Now, in Scheherazade Goes West, Mernissi reveals her unique experiences as a liberated, independent Moroccan woman faced with the peculiarities and unexpected encroachments of Western culture. Her often surprising discoveries about the conditions of and attitudes toward women around the world -- and the exquisitely embroidered amalgam of clear-eyed autobiography and dazzling meta-fiction by which she relates those assorted discoveries -- add up to a deliciously wry, engagingly cosmopolitan, and deeply penetrating narrative.

Leseprobe
Chapter One: The Tale of the Lady with the Feather Dress

If by chance you were to meet me at the Casablanca airport or on a boat sailing from Tangiers, you would think me self-confident, but I am not. Even now, at my age, I am frightened when crossing borders because I am afraid of failing to understand strangers. "To travel is the best way to learn and empower yourself," said Yasmina, my grandmother, who was illiterate and lived in a harem, a traditional household with locked gates that women were not supposed to open. "You must focus on the strangers you meet and try to understand them. The more you understand a stranger and the greater is your knowledge of yourself, the more power you will have." For Yasmina, the harem was a prison, a place women were forbidden to leave. So she glorified travel and regarded the opportunity to cross boundaries as a sacred privilege, the best way to shed powerlessness. And, indeed, rumors ran wild in Fez, the medieval city of my childhood, about trained Sufi masters who got extraordinary "flashes" (lawami´) and expanded their knowledge exponentially, simply because they were so focused on learning from the foreigners who passed through their lives.

A few years ago, I had to visit ten Western cities for the promotion of my book, Dreams of Trespass: Tales of a Harem Girlhood, which appeared in 1994 and was translated into twenty-two languages. During that tour, I was interviewed by more than a hundred Western journalists and I soon noticed that most of the men grinned when pronouncing the word "harem." I felt shocked by their grins. How can anyone smile when invoking a word synonymous with prison, I wondered. For my grandmother Yasmina, the harem was a cruel institution that sharply curtailed her rights, starting with the "right to travel and discover Allah´s beautiful and complicated planet," as she put it. But according to Yasmina´s philosophy, which I later discovered she had adopted from the Sufis, the mystics of Islam, I needed to transform my feelings of shock toward the Western journalists into an openness to learn from them. At first, I had great difficulty doing so and started wondering if perhaps, due to my age, I was losing my capacity to adapt to new situations. I felt terrified of becoming stiff and unable to digest the unexpected. No one noticed my anxiety during my book promotion tour, however, because I was wearing my huge Berber silver bracelet and my red Chanel lipstick.

To learn from travel, one must train oneself to capture messages. "You must cultivate isti´dad, the state of readiness," Yasmina used to whisper conspiratorially in my ear, so as to exclude those whom she regarded as unworthy of the Sufi tradition. "The most baggage carried by strangers is their difference. And if you focus on the divergent and the dissimilar, you get ´flashes.´" Then she would remind me to keep this lesson secret. "Teqiyeh, secrecy, is the name of the game," she would say. "Remember what happened to poor Hallaj!" Hallaj was a famous Sufi who was arrested by the Abbasid police in A.D. 915 for publicly proclaiming in the streets of Baghdad: "I am the Truth" (Ana l´haq). Since Truth is one of the names for God, Hallaj was declared a heretic. Islam insists on the unbridgeable distance between the divine and the human, but Hallaj believed that if you concentrate on loving God, without intermediaries, a blurring of the boundaries with the divine becomes possible. Arresting Hallaj disturbed the Abbasid police, because to arrest him -- a man who declared himself made in the image of God -- was to affront God himself. Nonetheless, Hallaj was burned alive in March 922, and since I have always believed that staying alive is preferable to self-immolation, I kept Yasmina´s instructions regarding travel an absolute secret, and grew up so intent on realizing her dream that crossing borders still terrifies me.

Throughout my childhood, Yasmina often told me that it is normal for a woman to experience panic when crossing oceans and rivers. "When a woman decides to use her wings, she takes big risks," she would say, and then would add that, conversely, when a woman doesn´t use her wings at all, it hurts her.

When Yasmina died, I was thirteen. I was supposed to cry, but I did not. "The best way to remember your grandmother," she told me on her deathbed, "is to keep alive the tradition of telling my favorite Scheherazade story -- ´The Lady with the Feather Dress.´ " And so, I learned that story -- narrated by Scheherazade, the heroine of The Thousand and One Nights -- by heart. Its main message is that a woman should lead her life as a nomad. She should stay alert and be ready to move, even if she is loved. For, as the tale teaches, love can engulf you and become a prison.

At age nineteen, when I took the train to register at Mohamed V University in Rabat, I crossed one of the most dangerous frontiers of all my life -- that separating Fez, my medieval hometown, a labyrinth-like, ninth-century religious center, from Rabat, a modern, white metropolis with wide open city gates, situated on the edge of the Atlantic Ocean. At first, I felt so terrified of Rabat, with its large avenues, that I could not even move about without Kemal, a fellow student who happened to be from my neighborhood in Fez. But Kemal kept repeating that he was confused about my feelings for him. "I wonder sometimes if you love me, or if you just need me as a buffer against the thousand other men who have flocked here from all over Morocco to register at this university," he would say. What I resented most about Kemal in those days was his incredible ability to read my mind. But one reason I became fond of him was that he knew Yasmina´s tale by heart. However, his version was the official one, published in the book version of The Thousand and One Nights (better known to many English readers as The Arabian Nights). And he told me that illiterate women like Yasmina were more subversive than educated ones both because they introduced heretical distortions into the tales and because they used storytelling, that oral medium, to escape censorship. Throughout Muslim history, he said, the oral tradition has reduced even the most tyrannical of despots to powerlessness.

According to Kemal, the first distortion that Yasmina introduced into her favorite tale was to feminize its title. In the book version of The Thousand and One Nights, the story is called "The Tale of Hassan al Basri," Basra being a city in southern Iraq, at the crossroads between the Mediterranean and trade roads heading toward China. But the tale that I inherited from Yasmina was entitled "The Lady with the Feather Dress," and it opens in Baghdad, then the capital of the Muslim empire. From …