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Location: Albania
Author(s): Nawel Meriem Ouhiba
Title: Bridging Two Worlds: Transculturality in Shaping Women’s Hybrid Identity in Ahdaf Soueif’s
'The Map of Love'
Bridging Two Worlds: Transculturality in Shaping Women’s Hybrid Identity in Ahdaf Soueif’s
'The Map of Love'
Issue: 2/2018
Citation Nawel Meriem Ouhiba. "Bridging Two Worlds: Transculturality in Shaping Women’s Hybrid
style: Identity in Ahdaf Soueif’s 'The Map of Love'". in esse: English Studies in Albania 2:65-88.
https://www.ceeol.com/search/article-detail?id=887549
CEEOL copyright 2020
Abstract
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Introduction
D
IASPORIC literature is a vast concept and an umbrella
term, which includes all those literary works written by
the authors outside their native country, but related to the
native culture and background. In this wide context, all those
writers who write outside their country but remain related to their
homeland through their works can be considered diasporic writers.
Diasporic literature has its roots in the sense of loss and alienation,
which emerged as a result of immigration and expatriation.
Middle Eastern women‖s literatures that represent Arab
immigrants of differing gender, backgrounds and professions within
the global space become very important to diasporic Arab discourse
because they disrupt the stereotypical and popular beliefs that
usually define the Arab immigrant experience under one monolithic
umbrella. The monolithic constructions of Middle Eastern people
continue to pervade popular imagination in the West, and in this
new context of immigration, the attributes of terrorism, Harem,
backwoods people among others usually associated with the image
of the Arab world, seem to follow the Arab immigrant.
In order to achieve a diasporic identity that reflects subjectivity,
that is, an identity that they have created for themselves and that
has not been imposed on them nor is defined solely in nationalistic
or geographical terms, the characters created by these writers have
to learn to reconstruct their identities by continuously negotiating
and overcoming the conundrums created by the intersection of race,
class, and ethnicity in the West, but more importantly through
their renegotiation of gender dynamics within the Middle Eastern
context. Even though many female authors have produced
remarkable narratives portraying the Arab female immigrant
experience in the West, they have not delved as such into the
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returns to Cairo from the United States. She says it was put there
by a mysterious woman, Umm Aya, who she met in the prison
cell that once held Sharif‖s father. Although conservators of the
museum say no one could have gotten inside the cell like that, no
one else can find any logical explanation for how she would have
gotten the panel, and the mystery remains unsolved1.
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2
Several critics have interpreted the character of Omar as an homage to
Edward Said, given that he is nicknamed “Molotov Maestro” and
“Kalashnikov Conductor” (17) in a similar way to Said, who was
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The story in The Map of Love started with a trunk for Amal el
Ghamrawi, a trunk full of memoirs written in both English and
Arabic, documents in Arabic and newspaper cuttings in addition to
other personal properties. It is Isabel Parkman, Anna‖s great
granddaughter, who, on the advice of Amal‖s brother, Omar,
brings this trunk from America to Egypt with the hope that Amal
would help her in translating those memoirs and documents
written in Arabic into English. Later on, the process of translating
the journals and the other documents turns into a process of self
recovery through Anna‖s memoirs.
Through the course of the novel, it is Amal that pieces together
and narrates Lady Winterbourne‖s life in Egypt. Her knowledge of
the familial and political history of the era enables her to “edit”
Anna‖s past and urges her to fill the gaps that are left unwritten in
her journal. In order to reassemble and fully acknowledge the life
of her great grandaunt, Amal expresses her need to “know who the
people are of whom she speaks, to paint in the backdrop against
which she is living her on the page in front of me” (MoL 26). As a
result she begins her journey into Anna‖s past, joining its loose
threads by diligent research and sympathetic conjecture, in the
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course of which she grows more and more obsessed with Anna‖s
journal.
Although Amal is living in contemporary Cairo, she is unable
to resist her obsession with the story of Anna, as she reads Anna‖s
diaries and letters. Amal confesses that: “I am obsessed with Anna
Winterbourne‖s brown journal. She has become real to me…” (MoL
26). Obviously, through reading Anna‖s memoirs, Amal‖s sense of
herself is strengthened rather than weakened, for looking back into
the past enables her to re-envision her own story and evaluate her
life. Moreover, Anna‖s narrative provides Amal with an escape
from her own past. She probes into the world of beautiful
memories and sentiments that characterize the cross-cultural
romance of Anna and Sharif to isolate herself from reminiscences
of her failed marriage.
After spending more than fifteen years in London, Amal
chooses to relocate her residence to Egypt. Despite that long stay
in a foreign country, Amal was unable to adapt to the Western
culture, yet returning to Egypt proves difficult too, and, she
isolates herself in her apartment after she returns to Cairo, limiting
her communication to those who provide her with her daily needs
as she narrates “I, who have placed myself more or less under
house arrest, moving from the living room to my bed room to the
kitchen – avoiding my children‖s room” (MoL 59). Through
listening to Anna‖s troubled heart and editing her journal, Amal
reveals a profound understanding of herself and begins to re-
envision her own life and welcome changes and possibilities she
has avoided for years.
The tentative and gradual change that befalls Amal is mirrored
basically in her receptive attitude to love, which paves the way to
her spiritual rebirth. Throughout the novel, the narrator is totally
absorbed in the love story of Anna and Sharif, which she does not
only piece together but she also imagines across time. The way she
listens to her exuberant voice that aspires to “hear some news of
him” (MoL 235) reflected Amal‖s ability to look deeply into Anna‖s
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Conclusion
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References
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