Author: Ophelia Benson

Lila Abu-Lughod has some questions.

What images do we, in the United States or Europe, have of Muslim women, or women from the region known as the Middle East? Our lives are saturated with images, images that are strangely confined to a very limited set of tropes or themes. The oppressed Muslim woman. The veiled Muslim woman. The Muslim woman who does not have the same freedoms we have. The woman ruled by her religion. The woman ruled by her men.

And now for a round of spot the irony – inadvertent irony on this occasion. Or you might call it spot the pratfall.

As the late Edward Said pointed out in his famous book, Orientalism, a transformative and critical study of the relationship between the Western study of the Middle East and the Muslim world and the larger projects of dominating or colonizing these regions, one of the most distinctive qualities of representations – literary and scholarly – of the Muslim “East” has been their citationary nature. What he meant by this is that later works gain authority by citing earlier ones…

Ohhh, later works gain authority by citing earlier ones do they? Perhaps by mentioning that the works being cited are famous? Well how very shocking and naughty; good of you to tell us about it, or rather of Said to tell us about it and you to tell us again.

There are several problems with these uniform and ubiquitous images of veiled women. First, they make it hard to think about the Muslim world without thinking about women, creating a seemingly huge divide between “us” and “them” based on the treatment or positions of women. This prevents us from thinking about the connections between our various parts of the world, helping setting up a civilizational divide.

Well…that’s a wretched thing to say. Is the treatment of women such a trivial minor frivolous matter that we shouldn’t think about it? The treatment of women is the treatment of half the people in ‘the Muslim world,’ after all.

It seems obvious to me that one of the most dangerous functions of these images of Middle Eastern or Muslim women is to enable many of us to imagine that these women need rescuing by us or by our governments.

So therefore let’s forget all about them, instead. Let’s throw Persepolis in the bin, let’s ignore Azam Kamguian and Maryam Namazie and Homa Arjomand and Ayaan Hirsi Ali and all the other women, let’s just hope it will all blow over.

One need only think of the American organization the Feminist Majority, with their campaign for the women in Afghanistan, or the wider discourse about women’s human rights. Like the missionaries, these liberal feminists feel the need to speak for and on behalf of Afghan or other Muslim women in a language of women’s rights or human rights…If one constructs some women as being in need of pity or saving, one implies that one not only wants to save them from something but wants to save them for something – a different kind of world and set of arrangements. What violences might be entailed in this transformation? And what presumptions are being made about the superiority of what you are saving them for? Projects to save other women, of whatever kind, depend on and reinforce Westerners’ sense of superiority. They also smack of a form of patronizing arrogance that, as an anthropologist who is sensitive to other ways of living, makes me feel uncomfortable.

Oh. Well we wouldn’t want you to feel uncomfortable, especially as you’re sensitive. Naturally you not feeling uncomfortable is the decisive issue here. Of course, in a way, there’s something interesting about how comfortable you seem to feel in attributing patronizing arrogance and a sense of superiority and a need to speak on behalf of other people to – well, to other people – but that’s because you’re talking about liberal feminists, Western feminists, Westerners. No need for sensitivity to other ways of living when it comes to them, of course, or for feelings of being uncomfortable about all this sinister innuendo. ‘What violences might be entailed in this transformation?’ Oh, I don’t know – let’s see – how about we send fifty million soldiers to Afghanistan where they will kidnap all the women, strip them naked, stuff them into bikinis, and make them parade up and down Fifth Avenue at gunpoint. That’s probably the violences those bad liberal feminist have in mind, right? Must be.

And beyond this, is liberation or freedom even a goal for which all women or people strive? Are emancipation, equality, and rights part of a universal language? Might other desires be more meaningful for different groups of people? Such as living in close families? Such as living in a godly way? Such as living without war or violence?

Guess where she lives and teaches. Go on, guess.

Johann Hari talks to the stand-up comic Shazia Mirza.

Shazia used to be a teacher in Tower Hamlets, where I live, and she would see Muslim girls rebelling against the chafing medieval codes of their fathers every day…Come 3.30 they put the hijab back on and they’re carted off to the mosque to rote-learn the Koran for three hours. They would come in the next day exhausted, having not done their homework, and they would say, ‘My parents say the Koran comes before homework.’” Shazia understands this better than most: her parents are, she says, “fanatics.” She was forbidden to leave the house throughout her teenage years except to go to school. “I’m a woman, and I couldn’t stand the repression. I wanted to go swimming, do ballet, ride horses, tell jokes. I was allowed to do all those things until I went through puberty and then it was all taken away from me, and I couldn’t stand it. I looked at the beautiful, intelligent women like my mother and my aunties who were basically turned into prisoners in their own homes, and I thought – I can’t live that life.” Her mother had been a university lecturer until, at the age of 22, she was married off and turned into a housebound baby-machine.

No comment necessary.

Eric Alterman looks at what happens when people don’t think truth matters.

It’s a truism that once an accusation is leveled, it’s impossible to erase entirely from the public memory. This is doubly true when it comes to the deceased, and doubly dangerous in our political world, in which debate is driven by cable news networks that show little interest in quaint questions involving what’s actually true…Given the fact that most casual news consumers cannot be expected to sift through competing claims of evidence and the like, the media’s disregard for traditional standards of verification is one of the right wing’s most potent weapons.

Alterman cites a story (originally based on a mistake) that I F Stone was a Soviet spy, and the fact that it keeps being trotted out despite the lack of any evidence to support it.

Stone died in 1989 at age 81, but the smear never has. The leaders of this campaign have been the professionally paranoid red-hunter Herbert Romerstein, the comically misnamed “Accuracy in Media,” wind-up shrieking doll Ann Coulter and, most tellingly, Robert Novak…Novak has been peddling the phony Stone story for more than a decade now. When I appeared on CNN’s Crossfire with him fourteen years ago, he raised it in order to smear my work and my reputation (Stone was my friend and journalistic mentor during his last decade). Following the show, I wrote a letter to then-CNN president Tom Johnson asking for the record to be corrected but received no response. I’ve tried a few more times to force the issue with Novak, but he has run away from every appearance. And the slander continues. When John Edwards spoke of Stone’s Trial of Socrates during the 2004 presidential campaign, Novak fulminated on CNN that this was an outrage, as “Stone received secret payments from the Kremlin.” Again, CNN did not bother with a rebuttal, much less a correction.

Which is bad, because it ought to be an important part of CNN’s job not to get things wrong. It’s bad that the CNN president didn’t even answer Alterman. It’s bad that PBS has yet to respond to Allen Esterson’s complaint ‘complaint about the numerous errors and misconceptions that permeate the PBS Einstein’s Wife website material and associated Lesson Plans.’

False information circulating and the gatekeepers refusing to do anything about it; bad, bad, very bad.

Further update on Birmingham museum story. A commenter pointed out the statement by Artists Circle. It seems fairly reasonable, actually. Debatable, but reasonable – not a mere taboo-invocation or shut up woman incident.

The individual was concerned by an image entitled: ‘Waiting’ which showed a couple of male bystanders looking at a partially dressed woman lying on the ground. The information available regarding the picture read along the lines of ‘This photograph was taken at the bus point.’ There was no other contextual information accompanying the photograph[,] which caused further concern.

The museum also mentioned the lack of contextual information in its email to Andy Gilmour. Miah said in the Guardian article, however:

The partially dressed figure in the image was actually a mentally ill woman who had made a home of a bus shelter. She was looked after by locals who made sure she was out of danger and fed. I think this shows a compassionate view of Islamic society.

But without contextual information (which the museum says Miah specifically did not want included), viewers have no way to know that the woman was mentally ill or that she was looked after by locals who made sure she was out of danger and fed, so they are not in a position to tell whether or not it’s a compassionate view of Islamic society. It could, from the description, look like the exact opposite. Pictures very often require background knowledge in order to understand their meaning, even their basic content (are those people playing? fighting? performing?). I pointed that out once in a discussion of pictures and language, and an opponent (so to speak) said nonsense and cited the famous picture of the children running down a road after a napalm attack during the Vietnam war. But of course that makes my point, not the opponent’s; he’d simply forgotten (apparently) that we already know what the picture is about, we have the background knowledge, but if we didn’t, we would have no idea what was going on in that picture except that the children were in anguish and probably fleeing.

Pictures can be enigmatic, of course; there’s no law that says they all have to be put in context; but it’s not self-evidently absurd to want a context for certain pictures in particular exhibitions. And in any case, if Miah’s argument is the one quoted, it’s not compatible with refusing to supply a context. She’s offering a substantive claim about the meaning of the picture, while at the same time making sure viewers won’t be able to discern that meaning. Those two things don’t mesh very well.

Andy has emailed Miah, and the museum again; it will be interesting to learn what, if anything, they say.

Update of update: the photograph in question and more discussion here; thanks to Don.