In Algeria, an African country, there is a civil war raging. The radicles are ruthless and will do anything to ensure their victory. Their ultimate goal is to take over the country, to rule it on their own (Hafez). They were ruthless and heartless and did not care who got in their way. This country has been struggling to maintain civilization to no prevail. This country has been struggling for quite some time now it is about time for it to pull itself back together and regroup. If it does not the results could possibly be catastrophic. The country could fall to the radicles and become a total anarchy. Meaning there is no government and everyone lives with their own rules. During this civil war the government is falling to the radicles. There are too many radicles and not enough soldiers. The radicles are using force to get control, and Algeria’s military is not keeping up with stopping these Islamic radicles. They are all over the country and look just like every other person in the country; therefore, it is hard to determine who is and who is not a Islamic radicle. The terrorism going on in this country seemed unstoppable. There was massacre after massacre and there was nothing anyone could do. These men were way to into what they were doing. They were so pent on getting their way. We should care about Algeria because there is sexism, the government is not helping and, unlawful killing is going on.
The women in Algeria are being treated different just because they are women. “On May 26, 1993, one of Algeria’s greatest writers, TaharDjaout, was gunned down leaving his apartment in Bainem, a Western suburb of the capital Algiers where I lived as a child” (Bennoune). These were some of the sexist actions going on in Algeria. Women ...
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...sion we can help this country if we do it the right way, but, if we do not do it the right way we could just make things even worse.
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Assia Djebar, in her novel, Women of Algiers in Their Apartment experiments with multiple, fragmented voices in creating a polyphonic background for the cinematic imagery in her explosive, unapologetic deconstruction of Orientalist images of Algerian women as passive, exotic, sexualized ‘others.’ The above section of “For a diwan of the water carrier,” begins on page 38 at line 30 and continuing on page 39 on lines 1 and 2. I contend that, in the water carrier’s feverish dream, the author employs the oral tradition of Algerian women, symbolic female body imagery, and a cinematic de-centering of post-colonial Algerian women’s identities in deconstructing Orientalist myths of the objectified female ‘other.’ In order to prove this thesis, I begin with a brief expositional segment pertaining to the water carrier’s dream.
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8. Nawal El-Saadawi, "The Hidden Face of Eve, Women in the Arab World," translated and edited by Sherif Hettata, Zed Press, London, 1980, pg.33
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