45 pages • 1 hour read
Geraldine BrooksA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Anfal, literally “the spoils of war,” refers to a chapter of the Quran and was also the code name given by Saddam Hussein to his terror campaign against the Kurds. Throughout the book, this term exemplifies the intersection of religious texts and contemporary political conflicts, shedding light on how religious language can be co-opted for political purposes, especially in the context of Islamic societies. The usage of a religious term like Anfal in a political and military context imbues the political action with a sense of religious legitimacy or divine mandate, potentially altering public perception and justifying the actions to followers. This can be particularly impactful in societies where religion plays a central role in the cultural and social fabric. It also reflects the power dynamics at play, where religious language and texts become tools in the hands of political leaders, used to further their agendas and consolidate their power.
Ayatollah, meaning “reflection of God,” is a title conferred upon the most learned of religious teachers and law interpreters in Shiite Islam. The term is integral to discussions around religious authority and its influence on cultural and societal norms within the book. The presence of ayatollahs in the narrative underscores the central role of religious leaders in shaping and interpreting Islamic laws and practices.
A burka is a face mask made of leather or stiff fabric, worn by women in the Arabian Gulf, covering the entire face except for the eyes. In Nine Parts of Desire, the burka symbolizes the varying interpretations and practices of modesty and female visibility in Islamic societies. The discussion around the burka reflects broader themes of gender roles, personal freedom, and societal expectations.
A chador is a square piece of fabric that covers a woman from the top of her head to her ankles, held or pinned closed under the chin. Commonly worn in Iran and among Lebanese Shiite women, the chador in the book represents the interplay between religious observance, cultural identity, and female autonomy. It represents a flag of cultural and religious defiance for some, as seen during the Iranian revolution. For others, like the author, Geraldine Brooks, it serves as a means of blending into and navigating a society where a Western woman might otherwise face barriers. The chador’s role illustrates the subjective nature of modesty and the societal pressures on women’s choices and bodies.
Esma is a clause in a wedding contract giving a woman the right to divorce. The term is significant in the book’s exploration of marital rights and the status of women within Islamic societies. Esma symbolizes the legal mechanisms that can either empower or restrict women, depending on how they are implemented and interpreted within different cultural and legal contexts. The book portrays Esma as a potential tool of empowerment, allowing women to navigate their marital rights and assert their agency. However, the effectiveness of Esma is shown to vary, influenced by cultural attitudes, legal structures, and individual circumstances. This variability highlights the intricate interplay between legal provisions, societal norms, and the personal agency of women in Islamic cultures, emphasizing the multifaceted nature of women’s rights and empowerment in these societies.
By Geraldine Brooks