Donald R. Wehrs
1
Assia Djebar, Loin de Mdine: filles dIsmal (Paris: Albin Michel, 1991) 79. All further
references will be to this edition and cited parenthetically. All translations are mine.
2
For accounts of the rise of Algerian Islamicist politics, see Phillip C. Naylor, France
and Algeria: A History of Decolonization and Transformation (Gainesville: University Press of
Florida, 2000) 164251; Martin Stone, The Agony of Algeria (New York: Columbia
University Press, 1997) 14597; Marnia Lazreg, The Eloquence of Silence: Algerian Women
in Question (New York: Routledge, 1994) 20922; Peter R. Knauss, The Persistence of
Patriarchy: Class, Gender, and Ideology in Twentieth-Century Algeria (New York: Praeger,
1987) 11840. For an account of fundamentalist terrorism directed at women, see
Karima Bennoune, S.O.S. Algerian Womens Human Rights Under Siege, in Faith
and Freedom: Womens Human Rights in the Muslim World, ed. Mahnaz Afkhami (Syracuse:
Syracuse University Press, 1995) 184208. For Djebars own response to that terror, see
Assia Djebar, Le Blanc de lAlgerie (Paris: Albin Michel, 1996).
MLN 118 (2003): 841866 2003 by The Johns Hopkins University Press
842 DONALD R. WEHRS
3
On interpretation through consensus or convention, see Kate Zebiri, Mahmu\d Shaltu\t
and Islamic Modernism (Oxford: Clarendon Press, 1993) 82106, 12837, and R. Marston
Speight, The Function of had\th as Commentary on the Qura\n, as seen in the Six
Authoritative Collections, in Approaches to the History of the Interpretation of the Qura\n, ed.
Andrew Rippen (Oxford: Clarendon Press, 1988) 6381. On fundamentalist interpreta-
tion, see Barbara Freyer Stowasser, Women in the Quran, Tradition, and Interpretation (New
York: Oxford University Press, 1994); on the relation of fundamentalist interpretation
and government policy, see Haideh Moghissi, Feminism and Islamic Fundamentalism: The
Limits of Postmodern Analysis (London: Zed, 1999) 64124. Not all fundamentalism need
be anti-intellectual or misogynistic, as Miriam Cookes account of Zaynab al-Ghazali
attests in Women Claim Islam: Creating Islamic Feminism through Literature (New York:
Routledge, 2001) 83106, but the afliation between fundamentalist thought and the
repressive regulation of Algerian women is unmistakable (see Knauss 12540; Stone 172;
Katherine Gracki, Writing Violence and the Violence of Writing in Assia Djebars
Algerian Quartet, World Literature Today 70 [1996]: 842). Such afliations are not
adventitious. In Beyond Left and Right: The Future of Radical Politics (Stanford: Stanford
University Press, 1994), Anthony Giddens notes that fundamentalism is a distinctively
modern phenomena, which he denes as the effort to defend traditional ideas by
traditional means in ways that refuse to enter into dialogue with the post-traditional
conditions of modernity; thus, an edge of violence, a willful indifference to voices one
cannot be unaware of, shapes the fundamentalist relation to tradition (see 36).
4
Assia Djebar, unpublished interview, January 1992; quoted in Clarisse Zimra, Not
So Far from Medina: Assia Djebar Charts Islams Insupportable Feminist Revolution,
World Literature Today 70 (1996): 830.
MLN 843
5
On the idealizing of female self-sacrice during the 195462 war, and on the
subsequent silencing and marginalizing of nationalist women by the postcolonial
government, see Lazreg 11865.
6
Emmanuel Levinas, Otherwise Than Being, or Beyond Essence, trans. Alphonso Lingis
(Pittsburgh: Duquesne University Press, 1981) 62. All further references will be to this
edition and cited parenthetically.
844 DONALD R. WEHRS
7
Noting that Djebars pen-name means healer, Gracki stresses the effort to heal, to
mend rupture, in Writing Violence and the Violence of Writing in Assia Djebars
Algerian Quartet, World Literature Today 70 (1996): 82543. Mildred Mortimer in Assia
Djebars Algerian Quartet: a Study in Fragmented Autobiography, Research in African
Literatures 28.2 (1997): 10218, also notes the centrality of healing, but primarily in
relation to healing the psychological wounds of the narrator.
8
Assia Djebar, LAmour, la fantasia (Paris: Albin Michel, 1985) 1112; Fantasia, An
Algerian Calvacade, trans. Dorothy S. Blair (Portsmouth, N.H.: Heinemann, 1993) 3. All
further references will be to these editions and cited parenthetically.
9
See Fatima Mernissi, Beyond the Veil: Male-Female Dynamics in Modern Muslim Society,
rev. ed. (Bloomington and Indianapolis: Indiana University Press, 1987) 31, 39, 4142,
5354; The Veil and the Male Elite: A Feminist Interpretation of Womens Rights in Islam, trans.
Mary Jo Lakeland (Reading, MA: Addison-Wesley, 1991) 4981; Womens Rebellion and
Islamic Memory (London: Zed, 1996) 10920; M. E. Combs-Schilling, Sacred Performances:
Islam, Sexuality, and Sacrifice (New York: Columbia University Press, 1989) 9295;
Donald R. Wehrs, Colonialism, Polyvocality, and Islam in LAventure ambigu and Le
Devoir de violence, MLN 107 (1992): 100407; African Feminist Fiction and Indigenous
Values (Gainesville: University Press of Florida, 2001) 52, 64, 8596.
10
Knauss 48; Pierre Bourdieu, Algeria 1960 (New York: Columbia University Press,
1972) 10329.
MLN 845
11
Knauss 5.
12
See Fatima Mernissi, Islam and Democracy: Fear of the Modern World, trans. Mary Jo
Lakeland (Reading, MA: Addison-Wesley, 1992) 8; Richard L. Roberts, Warriors,
Merchants, and Slaves: The State and Economy in the Middle Niger Valley, 17001914
(Stanford: Stanford University Press, 1987) 89.
13
Thus, arguments such as H. Adlai Murdochs, that Djebar writes woman as object
of desire into woman as desiring subject (Rewriting Writing: Identity, Exile and
Renewal in Assia Djebars LAmour, la fantasia, French Yale Studies 83 [1993]: 75), cannot
speak to how Djebar engages the intellectual heritage behind Islamic concerns about
desiring subjectivity, such as the classical ethical theorist Ghazalis (10581111)
846 DONALD R. WEHRS
argument that good character is achieved when the deliberative faculty of the human
soul subordinates the irascible and concupiscent faculties of the animal soul, so that
the highest form of restraint . . . is to refrain from anything in this world which does
not directly aim at ultimate happiness (Mohamed Ahmed Sherif, Ghazalis Moral
Theory [Albany: State University of New York Press, 1975] 3435, 64). The ways in which
apprehending women as desiring subjects reinforces patriarchal assumptions and
practices are delineated in Fatna A. Sabbahs Woman in the Muslim Unconscious, trans.
Mary Jo Lakeland (New York: Pergamon Books, 1984) and Abdelwahab Bouhdibas
Sexuality in Islam, trans. Alan Sheridan (London: Routledge and Kegan Paul, 1985).
14
For variations on the theme that Djebar subverts patriarchal, colonialistic dis-
course by turning that discourse against itself to show its violence, to uncover the
presence of women it effaces, and to articulate plural, transgressive modes of
emancipated subjectivity, see Jarrod Hayes, Queer Nations: Marginal Sexualities in the
Maghreb (Chicago: University of Chicago Press, 2000) 18297; Mona Fayad, Cartogra-
phies of Identity: Writing Maghribi Women as Postcolonial Subjects, in Beyond
Colonialism and Nationalism in the Maghrib: History, Culture, and Politics, ed. Ali Abdullatif
Ahmida (New York: Palgrave, 2000) 85108; Adrian V. Fielder, Historical Representa-
tion and the Scriptural Economy of Imperialism: Assia Djebars LAmour, la fantasia and
Cormac McCarthys Blood Meridian, Comparative Literature Studies 37 (2000): 1844;
Valrie Orlando, Nomadic Voices of Exile: Feminine Identity in Francophone Literature of the
Maghreb (Athens: Ohio University Press, 1999) 11152; Raka Merini, Two Major
Francophone Women Writers, Assia Djbar and Lela Sebber (New York: Peter Lang, 1999)
87101; Winifred Woodhull, Transfigurations of the Maghreb: Feminism, Decolonization, and
Literature (Minneapolis: University of Minnesota Press, 1993) 7787.
MLN 847
15
See Mernissi, Islam and Democracy, 85103; Wehrs, African Feminist Fiction and
Indigenous Values, 8596.
16
Lazreg 52, 53, 54.
17
See Knauss xiixiv; Lazreg 8097; Woodhull 14.
848 DONALD R. WEHRS
18
See Dorothy S. Blairs Introduction to Djebar, Fantasia, An Algerian Calvacade,
unpaginated; also see Combs-Schillings account of the play of the guns (lab al-
harud ) ritual, performed during rst marriage ceremonies in Morocco, in Sacred
Performances, 20205.
19
See Blairs comments on Djebars French style in Introduction, Fantasia, An
Algerian Calvacade.
20
The trope of a self-assertive woman assuming masculine power associated with
military horsemanship, resistance to colonialism, and a heroic but potentially impious
pursuit of freedom is inscribed in the Algerian cultural imagination in the gure of El
Kahina, a Berber queen . . . who unsuccessfully fought advancing Arab soldiers in the
MLN 849
seventh century (Lazreg 20). Djebar evokes El Kahina in the third volume of the
Algerian Quartet, Vaste est la prison (Paris: Albin Michel, 1995) 164. In LAmour, la
fantasia, Djebar describes French colonial forces participating in fantasias (6170/49
57) as well as Algerian anticolonial forces (10305/8991). For both, fantasias provide
an institutional space for masculinist self-aestheticizations, for ritually constituting
identities whose self-fashioning requires the consumption of women (10816/92100).
However, through descriptions that stress the genuine artistry of the riders horseman-
ship as well as his self-aestheticization, Djebar distinguishes between self-fashioning as
modern, aestheticizing self-love and self-fashioning as an ordering of the soul into
rational freedom. The latter has a positive sense in Islamic ethics (see Sherifs Ghazalis
Moral Theory, 3065). Indeed, the cultural signicance of fantasias in Maghreb contexts
becomes clear only if the display of horsemanship is understood as a symbolic
reiteration of the hierarchies central to well-ordered souls and communities, as well as
a celebration of the artistic skill such fashioning requires. Combs-Schilling notes, The
horsemen are the picture of manhood. . . . The horses represent nature, nature which
men have to bring under control. More directly, the horses represent women,
especially brides. . . . At all times, the men are in controlof themselves, their horses,
and their guns. . . . [T]he gun play communicates and reinforces basic understandings
and experiences of how the world is ordered and what kinds of postures, attitudes, and
actions a man must adopt (Sacred Performances, 20304). By assuming a relation to the
French language evocative of the relation of male rider to his horse, Djebar suggests
that women may achieve a similar mastery, that the self-discipline involved may be both
emancipatory and ethical, but by also emphasizing the power of language to shape the
writer, Djebar suggests that self-afrmation may be disentangled from both traditional
and modern forms of masculinist, colonizing self-aggrandizement. See Djebar, Anam-
nesis in the Language of Writing, trans. Anne Donadey and Christi Merrill, Studies in
Twentieth Century Literature 23.1 (Winter 1999): 17989.
850 DONALD R. WEHRS
21
On corporeality, see Levinas, Otherwise Than Being, 5156, 6881.
MLN 851
22
Jeanne-Marie Clerc, Assia Djebar: crire, Transgresser, Rsister (Paris: LHarmattan,
1997) 5979; Had Gafaiti, Les Femmes dans le roman Algrien (Paris: LHarmattan, 1996)
16778. Also see Jean Dejeux, La Littrature fminine de langue franaise au Maghreb
(Paris: Karthala, 1994) 60111.
23
Gracki 836; also see Valrie Budig-Markin, Writing and Filming the Cries of
Silence, World Literature Today 70 (1996): 893904.
852 DONALD R. WEHRS
24
See Laurence Huughie, Ecrire comme un voile: The Problematics of the Gaze in
the Work of Assia Djebar, World Literature Today 70 (1996): 86776. The alienation
involved in bringing the sensible into speech is increased, of course, by translating
Berber or Arabic oral discourse into written French. However, the differentiation of
spoken and written language is itself indigenous to Algeria, where the Maghrebi Arabic
of daily speech and Standard Modern Arabic of print culture are quite distinct. Indeed,
it is arguable that linguistic and cultural pluralism are integral to Maghreb identity (see
Woodhull, ixxxiv; Abdelkebir Khatibi, Maghreb pluriel [Paris: Denol, 1983]).
25
See Stephen Greenblatts account of non-colonizing wonder in Marvellous
Possessions: The Wonder of the New World (Chicago: University of Chicago Press, 1991) 20.
26
Julia Kristeva, Interviews, trans. Ross Mitchell Guberman (New York: Columbia
University Press, 1996) 10. Kristeva argues that because of womens determinative role
in reproduction and the importance of the father-daughter relationship, women are
more apt to respect social restrictions, are less inclined to approve of anarchy, and are
more concerned with ethics. This may explain why womens negativity is not a
Nietzschean fury (98). For accounts of the relationship between the maternal and the
symbolic in Kristeva, see Anne-Marie Smith, Julia Kristeva: Speaking the Unspeakable
(London: Pluto Press, 1998) 4976; Donald R. Wehrs, The Site of Western Modernism
in Postcolonial African Identity: Nanga, Gide, Kristeva, and the Overcoming of
Betrayal, The Comparatist 25 (2001): 2427.
MLN 853
materiality of the Others voice, and, again like a mother, the writer
lends her words to the Other so as to speak with, rather than for,
the Other.27 Conguring agency in such maternal terms has profound
political implications. It encourages a notion of spiritual community
(umma) in which the entwinement of bodies (corps enlacs), the
blurring of boundaries between one and another, the responsibility
of one for the other, need not underwrite, as in patriarchal and
nationalist ideology, an ideal of fusion, of effacement of difference
and individualities within a homogeneous whole.28 Instead, Djebar
associates the feminist imperative to hear womens speech, to attend
to womens embodied, sensible experience, with a renewed apprecia-
tion of Islams binding of word to body, an appreciation that allows
understanding, ilm (a term connoting the unity of practical and
theoretical reason, ethical and epistemological inquiry)29 to be linked
to rahma, a maternal tenderness manifest in Gods compassion and
mercy which all humans are commanded to emulate.
Djebars narrator notes that her premier moi religieux [rst
stirrings of religious feeling] emerged from hearing village rendi-
tions of La complainte dAbraham [The Ballad of Abraham],
which modela [formed] her sensibilit islamique (192) [feeling
27
On this distinction, see Anne Donadey, Recasting Postcolonialism: Women Writing
Between Worlds (Portsmouth, N.H.: Heinemann, 2001) 5154. On the ethics of an
intellectuals mediation of postcolonial voices, see Gayatri Chakravorty Spivak, French
Feminism Revisited, in Feminists Theorize the Political, ed. Judith Butler and Joan W.
Scott (New York: Routledge, 1992) 5485. For Spivaks reading of Djebar, see Spivak,
Echo, New Literary History 24.1 (Winter 1993): 2830; Acting Bits/Identity Talk,
Critical Inquiry 18.4 (Summer 1992): 77073.
28
On the temptation to view fusion and homogenous unity as political ideals in
Islamic contexts, see Fatima Mernissi, Arab Womens Rights and the Muslim State in
the Twenty-First Century: Reections on Islam as Religion and State, in Faith and
Freedom, 3350; Islam and Democracy, 10413. Alistair Horne notes the Algerian proverb,
The Angel and the Man work for unity; Satan and the Woman for division, in A
Savage War of Peace: Algeria 195462 (New York: Viking, 1978) 402. Gracki points out the
doubling and merging of feminine identities (838) among the protagonists of the
three volumes of the Algerian Quartet so far published, which she attributes to the
solidarity and sisterhood principle (841), but such merging intensies rather than
dilutes the responsibility of one for the other, much as the blurring of the self/other
dyad in maternity grounds, for Kristeva, a herethics weaving together love and
separation, and as the blurring of the dyad in paternity grounds, for Levinas, a
fraternity irreducible to collectivism (see Stabat Mater, in Tales of Love, trans. Leon S.
Roudiez [New York: Columbia University Press, 1987] esp. 24863; Totality and Infinity,
trans. Alphonso Lingis [Pittsburgh: Duquesne University Press, 1969] esp. 27480).
29
See Ira M. Lapidus, Knowledge, Virtue, and Action: The Classical Muslim
Conception of Adab and the Nature of Religious Fulllment in Islam, in Moral Conduct
and Authority: The Place of Adab in South Asian Islam, ed. Barbara Daly Metcalf
(Berkeley: University of California Press, 1984) 3861.
854 DONALD R. WEHRS
30
For a discussion of how the female protagonist of Mariama Bs Une si longue lettre
(Dakar: Nouvelles ditions Africaines, 1980) receives Quranic discourse in a similar
manner, see Wehrs, African Feminist Fiction and Indigenous Values 6973.
31
Mernissi, Womens Rebellion and Islamic Memory 99.
MLN 855
32
Annemarie Schimmel notes that rahma, derived from rahim, mothers womb, is
the root of the constantly repeated divine names ar-rahman, The Compassionate, and
ar-rahim, The Merciful in My Soul is a Woman: The Feminine in Islam, trans. Susan H.
Ray (New York: Continuum, 1997) 9394.
33
Woodhull reads this ending as denoting intense pessimism about Algerian culture
(8687).
856 DONALD R. WEHRS
34
See Cooke 6470; Zimra 82334; Budig-Markin 90102.
MLN 857
35
In Anamnesis in the Language of Writing, Djebar describes the writer as rider
and language as horse in terms that modify hierarchy, suggesting a back and forth
between writer/rider and language/horse (see esp. 188). However, the image of writer
as rider in Lamour, la fantasia, central to that novels afrmation of self-assertion as
integral to feminist emancipation, is reversed here by presenting the writer as the one
spurred.
36
See Cookes account of Zaynab al-Ghazali and Fatima Mernissi (83106, 7075). In
Shia Islam, the cleric (iman) functions as intermediary between God and the people,
but Sunni Islam stresses the immediate accessibility of each believer to God.
37
Zebiri 18, 23, 21.
38
Zeberi 129; also see Speight 6381.
858 DONALD R. WEHRS
39
Zeberi 133, 145; also see 13280.
40
Zeberi 131.
41
Knauss 34, 44, Sheikh Abdelhamid Ben Badis, El Chihab (November 1932); quoted
in Knauss 44; also see Lazreg 8092.
MLN 859
42
Lazreg 210; also see Knauss 118201.
43
Abdellah Djaballah, in Kamel Hamdi, Ali Benhaji, Abassi Madani, Mahfoud Nalnah,
Abdellah Djaballah. Diffrents ou diffrends? (Alger: Chibab, 1991) 31; quoted in Lazreg
211. Also see Knauss 12540; Moghissi 6873; Stone 15574.
44
See Bennoune 18895; Stone 19096.
45
See Stowasser, Women in the Quran, Tradition, and Interpretation 57.
860 DONALD R. WEHRS
46
Djebars use of fitna, denoting both rebellion and subversive, irreligious free-
dom, is double-edged, implying that fundamentalist misogynistic violence, exemplied
by the Algerian Islamist fitna (rebellion, resistance) of the nineties, is reective of all
inter-Islamic civil war, itself the product of an egotistic rebellion.
47
The term was coined by Djebar. In the italicized sections of the novel, she creates
ctional female transmitters of tradition in an effort to imagine the oral female voices
effaced by written male sources.
MLN 861
48
See Cooke 66.
862 DONALD R. WEHRS
49
See Levinas, Otherwise Than Being 9293, 11315.
MLN 865
50
Mernissi, Womens Rebellion and Islamic Memory 8182; The Veil and the Male Elite 118
20.
866 DONALD R. WEHRS
51
See Julia Kristeva, Sens et non-sens de la rvolte: Pouvoirs et limites de la psychanalyse I
(Paris: Fayad, 1996) 18688, 22123, for one version of this process. Also see Smiths
commentary in Julia Kristeva 7076, 9194.
1110 CONTRIBUTORS
Sue Waterman is the Resource Librarian for German and Romance Lan-
guages and Literature in the Sheridan Libraries of Johns Hopkins University.
Her research interests include the cultures of collecting and French printing
history. She is currently working on a study of nineteeth-century collecting
practices.