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Syrian immigrant Khadra Shamy is growing up in a devout, tightly knit Muslim family in 1970s Indiana, at the crossroads of bad polyester and Islamic dress codes. Along with her brother Eyad and her African-American friends, Hakim and Hanifa, she bikes the Indianapolis streets exploring the fault-lines between “Muslim” and “American.”
When her picture-perfect marriage goes sour, Khadra flees to Syria and learns how to pray again. On returning to America she works in an eastern state — taking care to stay away from Indiana, where the murder of her friend Tayiba’s sister by Klan violence years before still haunts her. But when her job sends her to cover a national Islamic conference in Indianapolis, she’s back on familiar ground: Attending a concert by her brother’s interfaith band The Clash of Civilizations, dodging questions from the “aunties” and “uncles,” and running into the recently divorced Hakim everywhere.
Beautifully written and featuring an exuberant cast of characters, The Girl in the Tangerine Scarf charts the spiritual and social landscape of Muslims in middle America, from five daily prayers to the Indy 500 car race. It is a riveting debut from an important new voice.
- Sales Rank: #94587 in Books
- Brand: PublicAffairs
- Model: FBA-|293359
- Published on: 2006-09-12
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x 5.25" w x 1.00" l, 1.00 pounds
- Binding: Paperback
- 448 pages
From Publishers Weekly
In comp lit professor Kahf's fiction debut, Khadra Shamy recalls growing up in an immigrant Syrian family in 1970s Indianapolis. Khadra's devout parents raise Khadra and her older brother, Eyad, to be observant of Islamic customs. The inevitable culture clashes ensue, from taunts of "raghead" and "go back where you came from" to the varying interpretations of Islamic code among the community's other Muslims. The mutability of ordinary cultural crossroads—along with the shock of violent ones, such as the rape and murder of one of Khadra's friends—force Khadra to continually question what it means to be "Muslim" or "American." After a short and disastrous marriage to an overbearing husband (he forbids her to ride a bike; she has an abortion), Khadra travels to Syria—now mired in political and religious strife—and returns to the United States in the late '80s to continue searching for her own way in the world. Khadra is a compelling protagonist, and the supporting cast is varied and believable, but Kahf's authorial incursions—critiques of religion and society—are heavy-handed. However, Khadra's ever-evolving view of herself and her religion resonate and provide a valuable portrayal of an oft-misunderstood faith. (Oct. 10)
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Review
" A sensitive, passionate and occasionally lyrical book."--Dr. A Yemisi Jimoh -- Dr. A Yemisi Jimoh
"A refreshingly human look at growing up Muslim in America…. clean American prose that shows brilliance."--Daniel Abdal-Hayy Moore -- Daniel Abdal-Hayy Moore
"Mohja Kahf is a clear-eyed, nervy, and passionate writer…. This is a bright, vivid, and important book."--Molly Giles -- Molly Giles
About the Author
Born in Damascus, Syria, Mohja Kahf came to the U.S. as a child. Kahf is an associate professor of comparative literature at Rutgers. Her first book of literary scholarship is Western Representations of the Muslim Woman: From Termagant to Odalisque (University of Texas Press, 1999). She is also the author of a book of poetry, E-mails from Sheherazad (University Press of Florida 2003). Kahf is a member of the national group RAWI (Radius of Arab American Writers).
Most helpful customer reviews
0 of 0 people found the following review helpful.
Three Stars
By Kim Meinzer
It was OK
35 of 39 people found the following review helpful.
Muslim American life, in a nutshell. With a "Progressive Islam" ending, though.
By Purple Strawberry
I am an American Muslim who went through many of the same experiences as the book's protagonist, although I am not the child of immigrants. I found the first half of the book to be a sensitive and generally accurate depiction of American Muslim life, very parallel to my own experiences in the '90s. My enjoyment dropped off a cliff however once Khadra's divorce (all of which was perfectly reasonable) was finalized and the character of the book changed dramatically. The book becomes preachy, clearly aimed at convincing the reader of the "rightness" of Khadra's denial of "conservative religion".
While in Syria, Khadra's angst suddenly becomes apparent even though the book doesn't give any specific reason why she should be angst-y in the first place. Nobody forced her to marry that particular Kuwaiti dude. In fact, there were warning signs that he wasn't a good match for her but she just shrugged her shoulders and figured he was "just as good as anybody else who would ask". Wow. Nobody forced her to take "medical technology" as her major in school. She went to public school and had non-Muslim friends and co-workers throughout her young life and I find it hard to believe that she never had any serious exposure to other belief systems, career paths in life, personality types, etc. Yes, I know many Muslim immigrant families who are poor, science/technology-focused and literature/arts-deaf, there is a lack of appreciation for "beauty" (leaving the definition of that aside), and I know full well the type of Muslims who say you should marry "anyone with a good religion and good character" but none of this really comes to the surface in the beginning of the book. Khadra does seem to come to some appreciation of WHY that is the case at the end of the book-- poverty, oppression in the political situations in Muslim countries, etc., but this is not fully explored.
It seems that Khadra is whipped into a state of angst after meeting a nameless poet on Qasiyoun mountain who spews typical meaningless and/or cliched poet drivel. She becomes a perpetually dissatisfied twentysomething, and suddenly becomes convinced that all paths lead to God and that her goal should be to never offend anyone else by insisting on any moral standards. (Why did she have to back down when Seemi insisted that if she believes sex outside of marriage is wrong, then she must believe that she is an "immoral person" and if that is the case then she must abandon her view?)
Don't get me wrong, I am a big fan of Kahf's writings and her writing style and I appreciate her sensitive eye and the way she has put many sensitive and intelligent observations about American Muslim life to paper, but I stop being a fan at the point where she seems to imply, as many others do, that being "conservatively religious" and having firm standards about what constitutes appropriate outward behavior in life are somehow completely incompatible with "cherishing youself", appreciating beauty, being able to appreciate and live with other religous traditions, etc. I have many friends who took the same path as Khadra and I find they have the same bias.
One of the unique things I personally see about our experience as Muslim in America is that our religion does in fact allow us (as I believe Kahf is trying to say, ultimately) to be full participants in life while still observing our belifs both outwardly and inwardly. I think the fact that Muslims, even those who outwardly observe public prayer, hijab, formal gender interaction rules, etc., while still being visible participants in full American lives is unique. Unlike most Orthodox Jews, Mennonites, Amish, etc., we do not isolate ourselves in ghettos and subcultures.
As a "conservatively" religious person myself (And we could debate the meaning of "conservative" but I consider hijab to be a religious requirement for example so most people would label me "conservative") I reject and am offended by the implication that this insistence on my outward observances and standards (despite my full participation in public and private life) makes me a "fundamentalist", an intolerant person, or a person who has denied important parts of who I am to fit into a certain "program" or that others must need to do the same. For example I don't see why Hanifa couldn't have raced in the Indy 500 while wearing hijab or, heck, niqab even (I know some pretty tenacious niqab-wearers who would do it!) Why also was it only the "Fallen" Muslims who seem to accomplish the "Big Things"?
Finally, as a side note I do get tired of Kahf's obsession with bathroom humor and sexual references. The bathroom humor drags down the quality of the book some. I would have understood one or two incidents of it related to Muslim bathroom habits as remembered by a child, but the repetitive use of it was really too much.
14 of 14 people found the following review helpful.
An illuminating book - addressing some of the central issues of our times
By John P. Jones III
A book that yields rich insights on several dimensions. The dominant one is what it is like to grow up as a minority within the American culture - and not just any old minority, but as a Muslim, which parts of American society are actively trying to demonize. It was the "flip-side" of my own experience, living as a non-Muslim in the very heartland of Islam, Saudi Arabia, for a quarter century. While I was never forced to deal with issues of assimilation, Ms. Kahf's character, Khadra, must wrestle with the parts of her heritage that are essential, and those that can be jettisoned. How many religious injunctions are merely codified fetishes, illustrated by the refusal to eat any meat from the deli because of the meat-cutter?
There are numerous important sub-themes. The timeless subject of male-female relations, with that "Islamic twist" is shown in a realistic light, covering a spectrum of possibilities. Through her characters, Blu and Bitsy, who were Khadra's roommates at various periods, Ms. Kafh is able to illustrate nuances in beliefs that are all too often generalized. Blu is Jewish, and there is much agreement between these "daughters of Abraham," except on that haram subject of Israel and Palestine. Bitsy is Iranian, and leaves notes around the apartment blaming "the Arabs" for all of Iran's problems.
Khadra's trip to Saudi Arabia, to complete the Haj, was more uneven. There is no question that cocaine exists in the Kingdom, but I found the particular scene in which it was depicted playing heavily towards that stereotypical view of rich, decadent Saudis. More realistic, and more insightful are her dealings with the mutawaa (the religious police), and in particular how various Saudi males refuse to confront their arrogance and inappropriate behavior.
Ms. Kafh is clearly erudite, in a most important trans-cultural way. Her epigraphs ground her novel in the wider world of ideas, and these selections range from Rumi and Al-Arabi to James Baldwin and Leonard Cohen.
A strong book, which addresses some of the central issues of our times.... And is strongly recommended.
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