Last week I wrote about the criticism a group of Qatari youth received for traveling to Brazil. To be more precise, traveling to Brazil, in a mixed group of men and women, where the females were photographed without veils or wearing traditional dress. On Wednesday I invited us to ruminate on who defined Islam: the masses or the individual?
This week, the company that was sponsoring the trip, Vodafone Qatar, has pulled their support of the trip and by association, the group. Yes, you read that right. A corporate entity, who sent young people to a remote village in the Amazon, where they are currently in basic conditions and far away from their families, disavowed the project midstream.
What’s more important is the psychic effect this has on the participants, particularly the female members of the group. In a traditional, tribal society like Qatar, a person’s reputation is a stand-in for him or her. While the participants were being abandoned abroad, the girls’ families at home were being chastised in a Friday sermon at the mosque; their parents’ actions were being questioned on social media.
The countries in the Arabian Gulf have long walked a fine line between their traditional values and a space at the global table. Westerns may not realize that consumption – iPods, Cadillac, and Coke – do not alleviate conservatism. In fact, for most consumers in the GCC, consumption is an economic activity that does not effect their personal choices (expect perhaps in the case of the BDS movement against Israel). People may stay up all night watching episodes of the sex filled scenes of popular HBO shows but in public they behave appropriately.
A long held practice has been that what happens outside of Qatar is the prerogative of the traveler and his/her family. You would find the bathrooms occupied on flights descending into Qatar as women went to robe themselves in preparation for the Doha International Airport. What the criticism and abandonment of the #qatarfirsts campaign has shown, however, is in a world with social media, this limited space of freedom may no longer be the case. Qatari women’s (and men) right to choose how they conduct themselves while abroad may now be at end.
This is a #qatarfirst but perhaps not in the way the original organizers intended. The first time cyber bullying has gone unchecked. The first time women were publicly shamed for a private choice. Given the plans for the country’s rapid development, and the oft repeated, now synonymous with modernity, the 2022 World Cup.
Let it not be the first time we in the community allow a group to dictate the actions of individuals.
Here’s what you can do:
Reach Vodafone Qatar and tell them their action has been ill advised.
Reach Vodafone’s global office in the UK and let them know their brand is behaving irresponsibly locally.
Use the hashtag #isupportqatarfirsts or #istandwithqatarfirsts on social media to let the team know they are have our support.
The news is rife with atrocities in Syria, Iraq, and Palestine, among other places. We clamor against death tolls and rightly so. But the public can grow weary of these images, preferring to turn back to their more comfortable programming.
I am particularly touched by the Gaza crisis because I’m watching how it has polarized friends around the world through social media. Perhaps people misunderstand the Palestinian cause because of the myths about this historical conflict. Perhaps because they don’t know any Palestinians either personally or culturally.
Artists, writers, musicians, friends: each have a role in building our world view of a people group. Sadly for most places in the Arab world, the people are represented by their politicians.
Unlike people in Arab countries, the rest of us can’t as easily make distinctions between people and their leaders. My Iranian friends love me though I’m American. My Pakistani research assistants write down notes from our sessions though I’m Indian. The world thinks of Gaza as being ruled by Hamas because that’s the predominate talking point.
Instead of death tolls or media soundbites, how about we think for ourselves? Can we see people for what they are: humans like us who have passions, desires, needs?
Let me share with you an artist, Mona Hatoum, who I learned about during the exhibit Turbulence at Mathaf: Arab Museum of Modern Art. I live in the Middle East and this certainly allows me to gauge the messages the media feeds us about this part of the world. As a writer much of my recent work has been set here because I see it was part of my role to contribute to a wider group of stories about this place. I’m still an expat writing about a place that is not my origin but after nearly 10 years here I write with the other perspective in mind.
Do you have other suggestions of how we can combat media saturation?
Nothing ranks as high on an expat’s list of fears as being deported. Maybe death of a loved one while you’re abroad. Not your own death, because like the average teenager, you think your charmed expat life is immortal. Those who have lived overseas know all too well both death and deportation are likely scenarios. Neither is polite to discuss in public.
I wrote about both in The Dohmestics, my most recent paperback release, based on observations as an expat for nearly a decade. The novel explores the lives of six women: three employers and three housemaids who live in the same compound, or walled neighborhood. I found out how difficult the employer-housemaid relationship was to describe in the process of trying to get interviews as background research. Even friends were reluctant to let me speak to their helpers.
Then fact and fiction collided when we were told that a nanny in the neighborhood’s sister was in the detention facility.
That’s how we learned there’s something worse than being deported. Detention.
The sister, also a nanny had runaway from her employer who had her working at several homes in the extended family with little sleep or food. Yes, for some reason, we use the word “runaway” to describe a grown woman who has no other recourse to end her employment. Runaway: a word that has been to describe willful teenagers and slaves, those beings treated as human chattel.
She left her employer one day, walking out while the family was upstairs. She worked for a series of other families in various conditions: sometimes sleeping on the floor on the kitchen because the maid’s room was used a storage. Waking up at 4:30 a.m. to iron and cook for her landlord who also charged her rent. Bouncing from family to family, a few years went by. An ailing mother, a maturing daughter: she wanted to go home.
She got an airline ticket – hard to come by at the tune of thousands of riyals – and went with her luggage to the embassy. They turned her over to CID or the criminal investigation department. She called, hysterical, because she was being held in a facility with hundreds of other women, some of whom had been there for a month, others for three.
The line was scratchy: they were default fasting because no one was being given food during Ramadan.
Despite being a women’s area, there were no sanitary supplies.
Anything you received, you had to get from someone on the outside.
We assembled a care package, the contents what you might take your daughter’s dorm room: peanut butter, bread, jam, Kotex, chocolate, laundry detergent.
More calls, from random numbers, from borrowed phones (hers had been confiscated) of other long timers. Rushed conversations to exchange file numbers and any updates.
She has a good chance of eventually going home. She has a ticket, no debt, no pending charges. Someone has to take interest in her to distinguish her case from the hundreds of others who are much, much worse. They are waiting on sponsors to pay fines for having a runaway (that word again), waiting for family to raise money to bring them home, waiting for a miracle to clear their debts.
“That’s the place people take their maids when they want to punish them,” a friend told me. “If they don’t want them any more, they leave them there.”
As you may recall, my first book was banned for being about Qatar and Qataris. I had no idea that love was a sensitive subject.
Maids, though, housemaids, I knew were controversial. They are the invisible army without the glamour (or indignation) of the 2022 World Cup stadiums to galvanize the international media to their cause. There is no country named in The Dohmestics because I hope it makes it into the hands of readers in Doha. But also because the treatment of these women, who sacrifice their lives for their children, fund unfaithful husbands, and prop up their home economies (personal and national), is commonly archaic across the Middle East – whether Lebanon, the GCC, or Egypt – and extends into Asia where high rise suicide jumpers in Singapore are so commonplace, they only make the news if they take a young child with them.
“I am not a housemaid,” I said enunciating the vowels for the embassy official who had missed my American dress, accent and husband. “I am here for a friend.”
Is the deportation facility in the novel? You’ll have to read it to find out. This is one instance when real life is worse than fiction.
In my research team we focus on three areas: race, writing or gender. We’re trying to gauge how aware we are of gender biases. See how you do on this five question series.
Leave your reactions in the comments!
Last week’s New York Times article about labor abuse in the construction of the NYU Abu Dhabi facilities brought new light to the dangerous of doing business in the Arabian Gulf. For the laborers, the complaints were much the same: addition to unsanitary accommodations, low or no wages, and harsh working conditions, the men who tried to protest were rounded up by police, beaten, and deported.
I was shocked by the images of men in bunk beds, not only several to a room, but three to a structure: one on top, one on the bottom, and creating a third floor to the structure, by sleeping under the bed. How you have to be the guy on the floor is something that I can’t fathom but a metaphor of the intricate hierarchy even within the Olympics of the oppressed.
Lately the talk of the kafala (or sponsorship) system in Qatar involves highlight all the laws by which workers have their rights assured. The government isn’t the issue, many people argue, it’s the sponsors. There are hotlines where laborers can report their abuses, people often say if they’re feeling generous. This is the tack NYU’s management took, issuing statements that they can’t guarantee that contractors would uphold their fair labor agreement – an agreement they made sure to put in place before construction began. A day after the article was published, however, they did an about face and apologized. On the Internet. To workers who don’t have bathrooms with running water. The NYU response is standard of the CYA moves that an entire range of institutions are using to duck around the abuse. Instead of changing the system, they are becoming part of the problem. None of us, not even American universities, it seems, knows how to address this systemic problem of labor.
The resistance to changing conditions for low income workers follows another thought process: what they have now must be better than the conditions they have in their home country. Why else would they come? Leaving aside the cultural relativism, bait and switch recruitment tactics and unethical work practices, like no overtime, are ignored in this logic loop.
Enforcing the law never makes the list as anyone’s chief concern.
The third common response: if they don’t like it, let them go home. Well: when you don’t have your passport and haven’t been paid for months, that is not the easy proposition it seems.
The real issue with kafala, and the absence of the application of the rule of law, is the numerous loopholes in the protection of low income laborers. No enforcement of a minimum standard of rights is rampant, particularly when it comes to domestic workers. And like the cockroaches that climb the walls of overcrowded labor housing, there are people who come out to take advantage of the unmonitored cracks in the system. They are not all nationals. In many cases, they are not even Arabs.
There is an underground network of people who prey on housemaids who are figuratively bound by their sponsors – some families even refer to themselves as owners. What has alarmed me in the two years I’ve been researching housemaids for my novel The Dohmestics is that they have no recourse. The labor law doesn’t apply to them. If they were hired through an agency, they have 3 months to report a problem. Like a middle age spinster, if they go back to the agency, the blame is with them, not the sponsor. They can jump the wall and flee to their employers but if their embassies won’t help them – and there are a lot of them that don’t have the political capital to be much help – then they are off the grid. Off the grid, needing to make money for children, mothers, fathers, siblings, husbands, and the most vulnerable.
What you won’t find out right away, but becomes readily apparent, is that there is an entire network of people from the domestics’ home countries waiting to make their cut off the exploitation of these undocumented workers.
5000 QR, about $1400 USD, and I can get a sponsorship transfer, or so the promise goes. But the guy, an acquaintance, takes much longer than the month he promises to deliver the papers. One turns into six and then suddenly, he can’t pay you back your money. No visa either.
Or you talk at the playground with other domestics, women you see everyday, who you share recipes and festive occasion with, women who for all intents and purposes are as close to you as family. You talk to them as you watch your charge swing or slide. You mention how you’d like to get a family member a job. Someone offers you help, saying they can get a visa. You accept. Once your relative arrives, the friend now becomes a broker. She wants thousands of riyals for the privilege of being the go-between. And she threatens to call the police if you don’t pay up. Your relative will be deported if you ignore her. The threats and intimidation carry over to your workplace; she works in your neighborhood, remember. She knows where you live.
I can vouch for the veracity of a few of these stories, having seen the scenarios play out first hand. There must be hundreds.
In all the coverage about low income labor, I haven’t seen anyone interview the agents themselves. The ones who poach men from villages in Nepal and India, promising lavish salaries and accommodation, procuring a year’s salary in advance. I want to ask them if they know the reality of the jobs they’re overselling. How much do they know about what really happens when they hand over the documents, and money, to travel?
Clearly the agencies know, otherwise they wouldn’t charge such an astronomical finder’s fee upfront. The commission on these contracts leaves many families wanting to make up the fee when they pass the sponsorship of the maid on. She can’t get another job unless her new sponsor is willing to pay 10000 QR to release her.
In any of the scenarios, the laborer incurs all the risk, financially, mentally, and physically.
The worst kind of trafficker has to be a same country informant. Like cockroaches, in an unmonitored system that doesn’t reward those who come forward, and punishes those who need justice the most, they thrive.
You’ve heard the expression – or used it yourself.
“Didn’t your mother teach you any manners?”
“Where is your mother?”
“What was his mother thinking?”
Whether good or bad – mostly in the bad instances – we call questions down on people’s upbringings. And that usually leads to questions about parenting. Which are directed most often at mothers.
The worst types of insults involve mothers: motherf*cker or son of a b*tch.
I can’t figure out if this pervasive reference to motherhood and by default women, means we are all powerful or if we are the bane of humanity. I ruminated on the toll mothering takes on a woman in my momoir for first time mothers, Mommy But Still Me.
In either case, until scientists really get that cloning thing going, you’re stuck with us.
Hope today you get a chance to shower some attention on a positive female figure in your life. After all, doesn’t she deserve some praise to go with all that blame?
If you alienate the middle, where the moderates are, all you’ll have left is the extreme. We’ve seen this happening in American politics as the Republicans and Democrats hurl insults at each other like parents at a toddler football game. And it’s happening in contemporary society in Qatar in the way people view or sanction behavior.
Take for example the decision banning of my paperback Love Comes Later in March. People in Doha, D.C. and everywhere in between, keep asking me why. Why was it banned? There are a few speculations based on the feedback my distributor gave me: “Because it’s about Qatar and Qataris.” A novel in English, about Qatar, written by an expat. A book that was researched for 3 years, in which the author attempts to represent Qatari life, as accurately as possible for an outsider, without the objectionable sex, politics or atheism, is still unpalatable.
Love Comes Later pops up among a list of titles that include Teaching Abdulla the Terrorist and If the Sun Doesn’t Kill You, the Washing Machine Will. Or more recently The Best Ever Book of Qatari Jokes: Specially Re-purposed for You Know Who. The description reads: “if you don’t burst out laughing from at least one Qatari joke in this book, there’s something wrong with you. This book has so many Qatari jokes; you won’t know where to start. For example: Why do Qataris wear slip-on shoes? You need an IQ of at least 4 to tie a shoelace.”
Take for another, the story of my friend Fatma. She is a dutiful Qatari daughter; she choose a mainstream major as a university student which is when I first met her. She wrote an essay for the Qatar Narratives anthology which was included in the book that became Qatari Voices. Fatma is not a rebel: “Many girls my age feel that they were born at the wrong time and in the wrong place—a place sealed with traditions and at a time that lies in between. But I could not be happier. I have traditions that keep me secure, definite, and relieved at a time that is full of risky choices.”
Fatma is proud of being Qatari. She wears her hijab “properly” (you can’t see any of her hair, her veil comes to her forehead). She’s so thin, Kate Moss would likely cut Fatma to avoid any chance of competition. But you’d never know because her abayas are not shaped to her body but hang loosely. She also loves jazz.
We exchanged a few messages about going out to Jazz at Lincoln Center Doha, the club at the St. Regis hotel in Qatar.
They don’t let Qatari women in I messaged.
I’ve taken off my abaya and they do she replied.
You did? I asked sounding like a shocked grandmother. Taking off your abaya is something Qatari women do when they want to go incognito. Ironically it’s a way of hiding in plain sight: Qataris scan crowds for other Qataris, skipping over expats. I’ve known other friends who have done this to go out with people their families would disapprove of. In Fatma’s case, she wasn’t hiding from family in public, she was doing the necessary, as mandated by law, in order to do something else she loved: listen to live jazz music with female friends.
The week was long, and the nights short with the baby, so I lost track of the conversation and went to bed early. The next day she told me what happened. And her intention to write about it. “I, a Qatari woman, was banned from an event that celebrated the women of jazz. The obvious irony aside, I also was embarrassed when the guest relation’s manager politely, but firmly denied my entrance. What really embarrassed me though was the thought that as a citizen of Qatar, I was banned from enjoying this unique art form…in Qatar!”
The first few days, people rallied to her cause. Other women agreed the rule that no Qatari women are allowed in the club – Qatari men not in national dress are – was unfair and silly. Men supported her for speaking out. All of this conversation was in English, on Facebook, or the original blog that posted her piece, JustHere.qa.
Not everyone appreciated the irony that jazz appreciation, like so many other specialized new activities in Qatar, cannot be enjoyed by half the citizens in the country. As Fatma says: “Nonetheless, I tolerated that no ‘national dress’ rule, donned a colorful hijab, modest shirt and skirt and went for one purpose: to enjoy jazz as it’s meant to be heard – live. Now, it would seem that ‘national dress’ is no longer an issue. Women are the issue. Qatari women.”
Others joined the conversation in full force, her critics posting under nicknames.
Commentators on an Arabic site asked how dare a Qatari woman go to a club that serves alcohol and take off her abaya.
She was called “an infidel, atheist, slut, will never get married, should burn in hell, ignorant, outcast who belongs to here on papers only, a shame to her tribe.” She was told she “should leave.” One commentator deduced “this is what studying abroad does to women.”
Fatma completed her degree at the national university that has separate campuses for male and female students.
There are multiple layers of conversation here; about what is acceptable behavior for women, either in written or physical form, whether expat or Qatar. On both levels we see a society that has many ambivalent attitudes towards women’s place in the public sphere.
Yellow sun. Orange sun. What has she done? At first glance everything seems so ho-hum. Etel Adnan in All Her Dimensions is not an exhibit that grabs your attention like other work in the same building. You may hate or love performance Mona Hatoum, for example, or find Manal Al Dowayan’s project on Saudi teachers is too narrow, but at least they elicit a visceral reaction.
With Adnan, there’s nothing to offend or excite: no human shapes, no bifurcated animals, no female genitalia. All these have been present and offended members of the public in recent examples of public art in Qatar. Only endless empty landscapes: yellow, orange, red, and green. The primary colors appear again and again in unmediated, unrelenting, unapologetic repetition in effect creating a visual blindness. “Sweet,” you might murmur to a friend. “I don’t get you,” someone said hovering over a Josephesque tapestry.
Etel Adnan doesn’t mix her paints, you see. The oils come out of their tubes and onto the canvas. Her angles, her shapes, her instinct feels like my three year old on a Saturday morning: carefree, oblivious of the fact he should be interesting to warrant an entire floor of the Arab Museum of Modern Art.
On the surface her art is sweet, even feminine, acceptable to the public Islamic register. Her pleated, accordion fold leporello are playful; the Arabic poetry inscribed upon on them borrowed for Adnan, long an exile of the Arab world, has lost fluency in her mother tongue.
At the tune of 50,000 USD a canvas, these are worth much more than the thumb tacked paintings in my children’s playroom.
The price tag makes you take notice, if the landscapes or black and white sketches do not. You do some digging. Adnan’s strength, many argue, is as a writer who dabbles in painting. 89 years old, a lightening rod for her politics, she is a feminist Lebanese American writer, filmmaker and activist. Her private life, illegal in most Middle Eastern countries, is private in the exhibit itself; an interesting move to support alternative lifestyles while at the same time covering it.
A wall of quotes in English, Arabic, and French illuminates Adnan’s politics: “I tell myself that it would be better to let loose a million birds in the sky over Lebanon, so that these hunters could practice on then, and this carnage could be avoided.” Perhaps this is why the relentless, endless landscape: empty of humans who can wreck so much violence.
Regardless of the reason, you’ve spent this much time thinking about her. Which in itself says something.
A week ago my novel, Love Comes Later, the first novel in English set in Qatar was banned from distribution inside the emirate. The reasons the officials gave were murky and you can catch up on why here. Or here. And here.
I wrote the first one with an eye to seeing it on the shelves in the stores in Doha. Now that I know that’s unlikely for the rest of the Qatar books, I’m wondering what shape the sequel will take.
The sequel, as yet unnamed, shifts the focus away from the three main characters of the first book, Abdulla, Sangita and Hind.
We narrow in on Luluwa, the younger cousin. She’s a twentysomething, university age student, someone at the nexus of change, the “hinge” generation, and as a woman, even more pressured to satisfy social obligations.
And her adventures are many. Including a tall, dark gentleman who keeps lurking around her uncle’s house.
Here’s an excerpt. Title suggestions welcome!
“I saw guys dangling from threads,” Luluwa said, grateful for the change of subject. “On at least the fortieth floor or higher in West Bay. The ropes were tied to the roof.”
“That’s the least of their problems,” Sangita snorted. “Those guys may not want to work but at least they have jobs. Those poor bastards who have no IDs and no way home are much worse.”
“Sangita,” Abdulla said sharply.
“What? Like she’s so innocent,” Sangita said, sitting up straight. “Open your eyes,” she said. “Can’t you see she’s a woman? When she hallucinates, she dreams of strange men.”
The silence was absolute. Luluwa didn’t bother breathing for a full minute. Abdulla’s gaze turned to her.
“I’m not seeing anyone,” she said.
“I can tell you’re lying,” he snapped.
“Like it’s okay for you to judge me,” Luluwa said. She jumped up from her seat. “Look at you. You were making eyes at someone while engaged to our cousin.”
Abdulla’s palm hit the top of the table, sending all the utensils rattling. “That’s not the point and you know it,” he said. “There are consequences. Things are different because —“
“Because I’m a girl!” Luluwa spat. Tears filled her eyes. “I can’t drive because I’m a girl. I can’t study abroad I’m a girl. God knows why he made me this way if he wanted to make my life a misery.”
“Luluwa,” Sangita hoisted herself up. “It’s not that bad. Look at all the freedom you have. You’re at uni and you come and go as you please. You live with us not your parents.”
Luluwa laughed, a sound that reverberated through the kitchen. “My cheating father or my vengeful mother didn’t set a very high standard, did they?”
Sangita began to speak.
“Don’t flatter yourself,” Luluwa said. “Look what they’ve done to you in less than a year. You’re as bad as any of us.”
“Enough,” Abdulla thundered at the shocked expression on Sangita’s face. “To your room,” he said.
Luluwa blinked, a tear coursing down her cheek. The room spun slightly; she couldn’t think what brought her to say such awful things.
“Out,” Abdulla repeated, leaning across her line of vision. “Now.”
Sally came in, picking up plates as quietly as possible.
Luluwa spun around and left the kitchen. She stormed through the living room and then into her room. Unable to stop herself, in the grip of emotions she hadn’t know she had, she flung the door closed behind her. The wood gave a satisfying smack and shudder into the frame. She threw herself on the bed, as she had a hundred times before, waiting for Noor to launch into a story about her latest gossip. This time it was only Luluwa on the lavender bedspread. The thought of her best friend brought on the tears in earnest. Ever since Abdulla’s wedding, Noor had grown even more distant, even though they lived only a few meters from each other, the roofs of their houses in the family compound almost touching.
Luluwa sobbed, her eyes alighting on the photo of her sister. She had never felt alone with Fatima was alive; she always had someone to listen and give her counsel, someone patient, kind, loving, maternal, everything their mother was not. Her shoulders shook with the force of her fatigue. “Come back, Fatoom,” she said, her voice breaking. “Come back.”
“She can’t,” a man’s deep voice answered. “She can’t.”
Luluwa raised her face, meeting the eyes of the man she had seen in the courtyard. He was sitting on the bed beside her. She sat up in a rush, scrambling away from him, in her haste falling off the edge of the bed. This is a dream, a dream, a dream, she thought, clutching the edge of the bedspread. Wake up!
A head of curly black hair peered over the edge after her. The eyes, the irises not red but amber, peered over at her.
“How did you get in here?” She whispered.
“Same way you did,” he said. He smiled and the whiteness of his teeth blinded her. “Well, I walked through the door.”
She followed his gaze to the closed door. “If anyone finds out you’re here,” she said.
“Like that man in the kitchen who was yelling at you?” The stranger’s eyes turned dark, smoldering.
She could smell something burning, like chicken left in the oven too long. “Abdulla will be furious,” she said. She sat up, hoping this was the moment in the dream that he would dissipate. Luluwa willed herself to wake up in a pile of sweaty sheets.
“I’ll go if you want me to,” he said.
“Yes, yes, go.” She stood pulling him up with her from the edge of her bed. The instant she touched his skin she gasped. The heat emanating from his arm scorched the inside of her palm as though she had grabbed a pan too quickly from the oven. She fell back against the wall, cradling her right hand.
“Sorry,” he said. He hovered over her.
The feeling of heat drew closer and she averted her face, the warmth causing a flush to spread across her cheeks.
“I’m doing it again,” he muttered. “Sorry. You can’t come that close to me yet. I have to learn to control it.”
“How?” She asked. “How are you doing that?”
He gave her a small smile. “I’m not like you,” he said.
“If Abdulla calls the police, they’ll find out an Indian was in my room,” she said. “All hell will break loose. They’ll deport you.”
He laughed. The sound wasn’t musical but she couldn’t say she had ever heard anything like it.
“If they try to remove me before I want to go,” the skin around his eyes crinkled. She realized he was older than she had thought at first glance. “ Yes, as you have said, hell will break loose.”
Another rush of heat, warmth trailing up her arms, causing all the fine hair to stand at attention, the back of her neck growing sweaty. She felt drowsy, which didn’t make any sense, because wasn’t she already dreaming? He hovered over her again, lips close to her neck.
“Are you a vampire?” She breathed.
He laughed, again a sound warm yet eerie, drawing her further outside herself so she felt as though she were hearing her own voice from a spot on the ceiling.
“Nothing so modern or western as all that,” he said. Or did she hear him think it? Luluwa was having a hard time figuring out where his arm ended and hers began.
“I’m a jinn,” he said.
“What’s your name?” She asked, entranced by the rings of fire that had appeared in his pupils.
“You can not speak it in any of your human tongues,” he said or more like sighed, a whisper into her mind. “But it sounds like Javed.”
She shuddered, her body overwhelmed by the heat of him, sweat beading across her forehead.
“You came to punish me?”
His laugh echoed in her head, reverberating in her ears.
“No, my darling,” Javed said, his breath caressing her skin like a touch. “I came to save your grandfather. And I fell in love with you by mistake.”
She fell into him, her knees soft, her palms stinging at the direct contact with the skin of his chest. She couldn’t draw away, though the heat was increasing, the feeling now like a thousand stinging nettles.
“Careful,” he said, pulling away her hands, the touch of each of his fingertips singeing her wrists. “Don’t get to close to me.”
“Or you’ll burn me?” She lay back on the bed, like a doll, her limbs devoid of her will.
“No,” he said, hovering over her, his eyes now glowing flames. “If we’re not careful I will possess you. And then we’ll have real problems.”
Join us today online on Tuesday, March 11th 5pm-7pm AST as actors at the University of Baghdad link up with the University of Iowa to present Book Wings, a marathon of 6 specially commissioned short plays, in Arabic and English, on the theme of “courage,” including works by prominent Iraqi journalist and playwright Hassab Allah Yahya, David Kranes, long-time artistic director of Robert Redford’s Sundance Playwrights Lab, and Catherine Filloux, co-founder of Theatre Without Borders.
Live digital videoconferencing plus live Q&A with actors, directors, and playwrights.
Watch online and tweet questions and comments @UIIWP #bookw.