The final additions to issue 9 of the Journal of Popular Romance Studies have now gone online and are (as always) freely available to read, both on the website and in downloadable pdf.
Amira Jarmakani's "Desiring the Big Bad Blade: Racing the Sheikh in Desert Romances." American Quarterly 63.4 (2011): 895-928 was published in December and it mentions one of Amy's posts on sheikh romances (published here, at Teach Me Tonight, in August 2011). Here's the abstract for Jarmakani's article:
Through a consideration of desert romances (mass-market romances whose hero is a sultan, sheikh, or desert prince), this essay argues that the racialization of Arabs and Muslims in contemporary popular culture operates by conflating ethnicity, religion, geography, and the notion of civilization. As the racialization of actual Arabs and Muslims in the global North has become more overt, the representational racialization of sheikhs in desert romances has become more covert. Ironically, precisely because romance novels must protect the fantasy narrative by submerging any overt references to race, they are useful for exploring the shifting meanings of race vis-à-vis Arabs and Muslims.
And here's a quote:
the conflation of dark and dangerous, signifying a conflation of race and violence, in the sheikh’s eroticized sexuality functions according to longstanding U.S. racial logics that simultaneously uphold and disavow the links between race and sexuality.
To some extent, these links can be seen in the romance genre as a whole. This is not to say that there is a plethora of nonwhite heroes in mass-market romances; in fact, a common complaint among romance readers is the lack of “minorities” in romance and, in particular, of multiracial romances. However, [...] authors sometimes use exotic tropes to give the hero his hard edges. In constructing the figure of the Latin lover, for instance, authors can mobilize mainstream assumptions about machismo to signify alpha maleness. In Native American heroes, romance authors can mobilize the fierce warrior stereotype to make him alpha and draw on typical “noble savage” associations to craft his sensitive side for the heroine.
Desert romances fall roughly into this group of exoticized romance heroes, a group that notably excludes the black hero. [...] The persistence of what seems to be a separate but equal clause in mass-market romances speaks powerfully to both the unspoken presence of racial ideologies in the romance genre and the lingering potency of stereotypes about violent black masculinity. The balance between fantasy and reality that romance authors must strike manifests tellingly when it comes to race; nonwhite characters are either segregated or contained through various devices, while race appears in phantasmic ways. More often than not, authors use the “chromatic associations” of darkness and blackness in describing racially white heroes, thereby incorporating metaphors that are deeply embedded in racial logics of the global North. (896)
The image of " 'Saladin rex Aegypti' from a 15th century manuscript" came from Wikimedia Commons.
The “Noble Savage” and “Happy Darky”: Race and the American Popular Romance
Maryan Wherry - Black Hawk College
This paper examines the use race in the American popular romance. Rather
than focusing on “the Black Romance,” I’m interested specifically at
the presence and treatment of Blacks and American Indians as secondary
characters and in subplots and how this racial tension confronts (or
not) the American cultural narrative.
“He Didn’t Seem Indian”: Exploring and Analyzing the Construction of Race in Meredith Duran’s The Duke of Shadows
Mallory Jagodzinski - Bowling Green State University
Historical romance novels, as a whole, tend to be overwhelmingly white,
especially those set in England. There are few characters of color in
these novels and often are not privileged to be either the hero or
heroine in the central love story of the novel. Meredith Duran’s The Duke of Shadows,
however, subverts this tendency by making her hero a native of India
“whose blood [is] one-quarter native” (16). This paper explores the
ways in which Duran’s English heroine encounters and experiences race
under the British colonial regime in India and during the rebellion of
1857. Throughout the novel, the heroine’s views on race and what is
moral are challenged by the hero and his status as an individual with
double consciousness. In this paper, I will use textual analysis to
analyze Duran’s portrayals of race and colonialism in order to suggest
that the way she represents colonialism demonstrates that she is
interested not only in depicting the reality of colonial violence, but
also in making the reader uncomfortable with hierarchical systems of
reality by depicting the reality of its effects. I will be utilizing
the theories of Frantz Fanon and Lola Young, each of whom discusses the
process of colonization and what it does to both to the white colonizers
and the colonized individuals; Young’s work in “Imperial Culture: The
Primitive, the Savage and White Civilization” will be of utmost
importance to my essay as she engages with issues of history and
representation. In addition to these theorists, I will make use of
works that address issues of creating racial progressives such as
Eduardo Bonilla-Silva’s Racism Without Racists to argue that
Duran constructs her heroine as a woman who becomes aware of her white
privilege through the understanding of her inferior position in the
colonial system due to her gender.
Protest Like an Egyptian: Tracing Erotic Investments in the Middle East through Desert Romances Amira Jarmakani - Georgia State University
The spring 2011 Arab uprisings provoked an interesting set of
engagements in the U.S., such as the placards at the Wisconsin rallies
to save unions from demolition, which read “Protest like an Egyptian.”
One particular engagement, the blog “Gay Girl in Damascus,” received
substantial media attention for its brazen deceitfulness – many readers
had been following the story of a Syrian lesbian facing persecution by
the secret police only to find out that the blogger behind the story was
a heterosexual white man from Georgia (USA). Though it may be tempting
to understand these kinds of investments in the Middle East as a new
phenomenon, they have been clearly prefigured by the steady rise in
popularity of desert romances since 2001, and, indeed, by their
longstanding position within the genre as a whole. Particularly given
the ongoing “war on terror,” how can one account for the rise in desert
romances as viable fantasy narratives? Groping toward an answer to this
question, I focus on the roles of fantasy and violence in both the film
Sex and the City 2 (a type of desert romance, I argue, though
it lacks some of the elements) and contemporary desert romances. Through
mimicry, which tends to enact a kind of violence to the other (in its desire to subsume the other) and menace, which tends to play on the fear of violence from
the other, I argue that the two together underscore a potential reason
for the salience of the Middle East in the contemporary context: both
represent actual and phantasmatic violences that perhaps psychically or
subliminally connect to the violence inherent to the process of
identification.
Saving China: The Transformative Power of Whiteness in the Interracial Romance Erin Young - SUNY Empire State College
This project examines the novels of Elizabeth Lowell (Jade Island, 1998) and Katherine Stone (Pearl Moon,
1995), both of which explore romantic relationships between a white
hero and a mixed-race Asian (and white) heroine. I argue that these
interracial romances invert the conventional romance formula by
featuring white heroes who domesticate their Asian heroines, and in
turn, the family-owned companies they represent, thereby “modernizing”
corporations that are portrayed as overtly patriarchal, regressive, and
anti-capitalist. Lowell’s and Stone’s respective narratives reveal that
a racial and nationalist hierarchy is potentially (re)affirmed in the
formulaic conventions of popular romance.
In their negotiations of interracial romantic
relationships, both novels construct conflicts between Orientalist
conceptions of “East” and “West.” The Asian heroines have been
traumatized by a particular depiction of Chinese culture and its
anti-capitalist leanings. The Chinese family and community functions as
a regressive past in which individual desires and feelings are
painfully oppressed, and defined roles are marked by an extreme
enforcement of gender inequality. Lowell and Stone construct
“Chineseness” as something that must be rescued from itself; Jade Island and Pearl Moon
are essentially narratives of progress, in which the Chinese community
may offer security at the expense of freedom, but the British and/or
American corporation has the ability to offer more satisfactory versions
of both. The hero, who represents the (white) British or American
corporation, introduces the Chinese heroine to a “domesticated”
workplace—one that is specifically racialized and nationalized—and she
is transformed in the process. The conventional (white) heroine’s
gendered victory is reconfigured as a racial and national victory for
the heroes of interracial romance. These novels reveal that whiteness,
despite its invisibility in the majority of romance novels, is central
to the formulaic conventions of the genre. More importantly, perhaps,
they suggest that the contemporary romance alleviates particular racial
and national anxieties that emerge out of a global economy.
2009 marked the ninetieth anniversary of the publication of The Sheik. As is well-known, the publication of the novel and the release of the film starring Rudolph Valentino in the eponymous role unleashed “sheik fever” in the western world. [...] The word “sheik,” originally a term of respect referring to a Muslim religious leader or an elder of a community or family, suddenly took on new connotations of irresistible, ruthless, masterful, and over‐sexualized masculinity in the West—before ending up as a brand of condoms in America by 1931.
But as the sheik was transformed into a sexual fantasy for Western women, his female counterpart seemed to have been pushed aside. Sheikh romances generally depict the relationship "between an Arabian sheik or prince and a white Western (usually British or American) woman" (Taylor). Jessica Taylor adds that "the only position for an Arabian woman available in Orientalist discourse seemed to be that of harem occupant, a passive role which is unsuitable for the heroine of the novel, especially since it is a racialized role and the heroines are only ever racialized as ‘white’." Arab women may appear in these novels, but they generally do so as secondary characters. Although they may be given only limited opportunities to speak for themselves, they are not infrequently mentioned by the white heroines, for as Evelyn Bach notes,
In the verbal battles that constitute much of the courtship in this genre, the heroine often makes pointed references to such traditions as white slavery, huge harems, unbridled lust, imprisonment, the inequality of women and the arrogant despotism of Eastern potentates in general and her abductor in particular. (22)
In addition,
In a number of desert romances, usually quite early in the narrative, the heroine makes pointed comparisons between herself and native women. The observations range from the miserable, restricted lives they lead to their constant sexual availability and unquestioning subservience to the men who are their lords and masters. These comparisons serve a number of purposes. First, they add to the litany of Eastern injustice and barbarity. Second, they enable the heroine to maintain her privileged position as a special, exceptional woman. Constant reminders throughout the texts of her fair or auburn hair and pale skin ensure that her difference is more than adequately established. (22-23)
Although some more recent novels do depict more feisty "native women" as secondary characters, Bach's observations probably still hold true about many others, and that's a shame because it obscures the reality of Muslim women's lives and personalities, for example
Young Egyptian women are using blogs and online radio stations to beat the censors and to fight for equality.
Despite making up only 24% of the workforce in Egypt, 30% of women use the internet.
But it is the middle and upper classes that have really taken to the internet as an alternative way to discuss topics and exchange information and air what many conservatives would consider to be radical views.
Women have been extremely politically active in the country for quite some time now, and many Iranians are amused, quite frankly, at the West's sudden revelation that neither chadors nor head scarves snuff out the fire in women's bellies. "This isn't new. This is only the first time that you've been aware of it," Hamid Dabashi, a professor of Iranian studies at Columbia University, tells me with a good-natured laugh. Women were essential political organizers as far back as the 1905 Constitutional Revolution; they also fought and died alongside men in the 1979 Iranian Revolution, which might not have happened without their help.
Since then, women have rebelled in deceptively superficial ways. Post-revolution, many began pushing the bounds of the new Islamic state's moral fabric, both literally and figuratively. The small silk scarves, bright nail polish and dramatic makeup that have become emblematic of the protests are a direct challenge to the official dress code. "It was the way for women to protest since the '80s," says Marina Nemat, author of "Prisoner of Tehran," a personal memoir about being imprisoned, tortured and nearly executed in Iran.
Last year I came across an article in The Observer which begins with these words: "Habitually dressed in a long black abaya, with a veil placed firmly against her cheek, Shaikha Sabeeka bint Ibrahim Al Khalifa, the wife of the king of Bahrain, does not conform to the usual image of a political activist." She doesn't conform to the usual image of the sheikh's wife that's to be found at the end of sheikh romances either: "Mild-mannered, progressive and with an impressive command of English, the 60-year-old royal, [is] the first of King Hamad's four wives."
In Qatar Sheikha Mozah bint Nasser Al-Missned is the second of the three wives of Sheikh Hamad bin Khalifa Al Thani, Emir of the State of Qatar (Wikipedia) and she
plays a highly visible role in a region where royal wives until recently were rarely seen and certainly never heard.
While it is a deeply conservative society, Qatari women can vote, drive and play a full part in the workplace: headscarves are a frequent sight, but the dress code for women is not as strict as in Saudi. Dr Sheikha Abdulla al-Misnad, president of Qatar University, says about half her staff and 70% of her students are women. (Sutherland)
Sheikha Mozah bint Nasser Al-Missned
currently serves as Chairperson of Qatar Foundation for Education, Science and Community Development, a private non-profit organization founded in 1995 on the personal initiative of His Highness the Emir Sheikh Hamad Bin Khalifa Al Thani. In autumn 2003, Qatar Foundation inaugurated Education City, a prototypical campus of the future, bringing branches of renowned international universities to Qatar to provide top class degree programs and to share research and community-based ventures.
In addition to her work at Qatar Foundation, Her Highness has long served as President of the Supreme Council for Family Affairs which aims to strengthen the role of the family in society and addresses issues of concern to women and children. Her Highness serves as well as Vice Chairperson of both the Supreme Education Council and the Supreme Health Council. In addition, she is Chairperson of the Sidra Medical and Research Center project to build a premier academic medical center in Qatar, Chairperson of the Silatech initiative to address the growing challenge of youth employment in the Middle East and North Africa region, and Chairperson of the Doha-based Arab Democracy Foundation.
Her Highness plays an important role on the international stage as well. In 2003, UNESCO appointed her Special Envoy for Basic and Higher Education. In this capacity she actively promotes various international projects to improve the quality and accessibility of education worldwide. In June 2003, she established the International Fund for Higher Education in Iraq which is dedicated to the reconstruction of institutions of advanced learning. In 2005, she was selected by UN Secretary General Kofi Annan to be a Member of the High Level Group of the UN Alliance of Civilizations. (from her own website)
In sheikh romances the personal is also quite clearly the political. As Amira Jarmakani has noted,
despite claims from romance readers and writers that these novels bear no relation to the actual Middle East, the threatening specter of the terrorist is very much present in these stories, many of which fixate on the sheikh’s efforts to modernize his country against the wishes of those characters presented as primitive and barbaric. (998)
In addition, the hero often grants some of his immense political power to the heroine:
By and large, most of the Arab countries described in these books are fictional. Sometimes these lands are socially repressive, but their leaders usually strive to change them into more modern societies that treat women equally. In some cases, the skills or talent of the beautiful heroine often may help this effort along, particularly if she entered the country for the purpose of taking a temporary professional position (i.e. hospital administrator, conference planner, headhunter). (Sheiks and Desert Love website)
Or, as Jarmakani puts it,
the iteration of global feminism proffered by the novels defines the white heroine’s freedom in opposition to her Arab female counterpart, thereby using an individualist model that implicitly excludes the racialized other from participating in the same freedoms. (999)
Thus, despite the inevitable exceptions, there would appear to be a pattern, common in this subgenre, of feisty, liberated Western heroines nobly working to emancipate oppressed Arab women.1 This is problematic for reasons outlined by Nouha al-Hegelan in an article written in 1980 and titled "Women in the Arab World":
As a result of Western misinformation and lack of awareness, Arab women are unfortunately, victims of the stereotyping process. There is little understanding of either our status as women or the total context of our lives. Like other maligned groups, we do our best to understand these misperceptions and, in our own way, to confront them. I know of no Arab woman who underestimates the difficulty of changing Western assumptions. The stereotypes of Arab women, "imprisoned behind a veil of powerlessness," will not be eradicated in our lifetime. While we are often shocked into numbness by the depth of the misunderstanding, we know that each epoch of awareness is a new beginning and a new opportunity for us and for our daughters.
Just such a shock lies in what I call the "born yesterday assumption". Westerners begin by comparing the Arab/ Moslem woman to her sisters in the West. Using Western women as a standard is only part of the insult. The injury is magnified by the added assumption that the Arab woman began her struggle yesterday-as if she was somehow born whole out of a newly tapped oil well-a veiled, uncivilized non-entity.
Like most stereotypes, this image is not merely wrong or insulting, it is ludicrous. Long before Western women even considered themselves as a group, let alone a group deprived of its rights, the Islamic woman had begun her emancipation. From the beginning of Islam, 1400 years ago, the Moslem woman was born with all the rights -cultural and spiritual - due a human being.
Part of that history includes the fact that "one of the world's first universities was founded by a Muslim woman, Fatima al-Fihri." For her part, Shaikha Sabeeka bint Ibrahim Al Khalifa, who"has forged ahead with critical reforms in her position as head of the newly-established Supreme Council for Women" says that "The image of Arab women in the west, that we are just princesses in a golden cage, with no rights, no choice, no brains and no education, is a challenge. It's totally wrong and I really want to correct it."
So have you come across any sheikh romances which correct the misperceptions of Arab women? Do you think this sub-genre has changed in recent years so that, as suggested by Emily Haddad, "where the novels that appeared before 2004 typically wallowed in the exoticism of their orientalized settings, the newer novels often minimize or even eliminate the Arab world as a setting, or diminish cross-cultural conflict by ascribing a Middle Eastern identity to the heroine" (60)? -------
1 Among the exceptions are the heroine of Susan Mallery's The Sheik and the Runaway Princess, a "half-Bahanian, half-American princess and art specialist [...] Bahania is a fictional country on the Arabian peninsula" (Haddad 47), the heroine of Jane Porter's The Sheikh's Virgin, "Keira Gordon [who] was born Keira al-Issidri, and the narrative returns obsessively to her confusion over her half-English, half Barakan heritage" (Haddad 58), the half American Aliyah in Olivia Gates's The Desert King and the heroines of two novels written by Alexandra Sellers, namely "Jalia, the heroine of The Ice Maiden's Sheikh [who] is a Bagestani princess raised in exile in England" (Haddad 57) and "The heroine of The Fierce and Tender Sheikh [who] is another princess, Shakira, who had been lost following the assassination of her parents, and is at the beginning of the book living as a boy in a refugee camp" (Haddad 57).
al-Hegelan, Nouha. "Women in the Arab World." First published in Arab Perspectives 1.7 (October 1980). Republished online by Cornell University.
Haddad, Emily A. “Bound to Love: Captivity in Harlequin Sheikh Novels.” Empowerment versus Oppression: Twenty First Century Views of Popular Romance Novels. Ed. Sally Goade. Newcastle: Cambridge Scholars, 2007. 42-64.
Jarmakani, Amira. " 'The Sheik Who Loved Me': Romancing the War on Terror." Signs 35.4 (2010): 993-1017.
Taylor, Jessica. "'And you can be my Sheikh': Gender, Race, and Orientalism in Contemporary Romance Novels", an online essay published in 2003. [I have quoted from this version of the essay because it is available online, which makes it easy for all readers of this blog to access it. It should be noted, however, that an updated version of the essay has now been published in the Journal of Popular Culture as “And You Can Be My Sheikh: Gender, Race, and Orientalism in Contemporary Romance Novels.” Journal of Popular Culture 40.6 (2007): 1032-1051.]
Teo, Hsu-Ming. "Historicizing The Sheik: Comparisons of the British Novel and the American Film." Journal of Popular Romance Studies 1.1 (2010). [Teo has written at slightly greater length about modern sheikh romances in "Orientalism and Mass Market Romance Novels in the Twentieth Century," in Edward Said: The Legacy of a Public Intellectual, ed. Ned Curthoys and Debjani Ganguly (Carlton, Vic.: Melbourne University Press, 2007), pp. 241-262, excerpts of which are available via Google Books.]
The first photo, of Shaikha Sabeeka bint Ibrahim Al Khalifa, came from Women Gateway. If you scroll down this page you should reach a short biography of her in English. I've also included a photo (found via Wikipedia) of Queen Rania of Jordan, speaking at the World Economic Forum Annual Meeting at Davos in 2007. I have included these photos because they provide evidence of some of the real women whose fictional counterparts are so often relegated to the status of secondary characters in sheikh romances, while their roles are usurped by Western heroines.
