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Unveiling American Muslim women in Rolla Selbak’s Three Veils (2011)
Alberto Fernández Carbajal

in its invariably supportive depiction of Leila’s plight. 2 Arguably, an Arab American community might have forced her to marry Ali and to put family honour before women’s rights. However, Selbak’s fictional gesture advocates a growing sensitivity towards the plights of women, while challenging Western perspectives on Muslim communities which label them as inexorably patriarchal. Selbak thus attempts to strike a representational balance, enacting a critique of Islamic patriarchal attitudes while challenging calcified Western views on Islam and Muslims

in Queer Muslim diasporas in contemporary literature and film
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Thinking across
Alberto Fernández Carbajal

heterosexist, is also tuning itself to the diverse plights of women. Finally, interrogating the position of the Muslim self in queer time and place allowed us to investigate Abdellah Taïa’s postcolonial queer melancholia, triggered by social injustice in the postcolonial nation and by systemic homophobia, while offering Sufism, women’s religiosity, and queer diasporic fraternity as places of safety against the strictures of racism and Islamicate heteronormativity. We then examined how Rabih Alameddine’s Druze sensibility sutures religious traditions

in Queer Muslim diasporas in contemporary literature and film
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David Murphy and Patrick Williams

than one might originally imagine. Equally, in Den Muso , Baara and Yeelen , there is sympathy for the plight of women but they are, by and large, victims of men with little possibility of altering the conditions in which they live. Except for Nandi, Cissé does not envisage new models of behaviour that might allow them to break free from the constraints within which they live. Overall, then, Cissé’s work might be said to

in Postcolonial African cinema