Celebrating International Women’s Day at the NGL! 

As another March has come around, not only has that brought longer, lighter days, but also International Women’s Day and the opportunity to celebrate the lives and work of brilliant women around the world! Here at the NGL is a wonderful place to do so with collections covering many, many geographical regions including but not limited to South Korea, the Philippines, India, Egypt, Algeria, Turkey, Palestine, Senegal, and Kazakhstan. In both this blog and the display that goes with it, there are books on women’s experiences covering genres and subjects from activism, religious history, novels, drama, and poetry. 

I was particularly inspired by the variety of books on women’s activism, such as Wrapping Authority: Women Islamic Leaders in a Sufi Movement in Dakar, Senegal, and The History of Doing: An Illustrated Account of Movements for Women’s Rights and Feminism in India, 1800-1990.  

One such book – Uyghur Women Activists in the Diaspora: Restorying a Genocide which tells the stories of ten Uyghur women’s experiences and advocacy – particularly stood out to me as an example of how women’s stories in the NGL collections often show the intersection between feminism and anticolonial critique. Other examples include the poetry of Suheir Hammad, who challenges orientalist stereotypes through her work, and the book Writing Women in Korea: Translation and Feminism in the Colonial Period which highlights how Korean women writers used translation to exercise agency while under Japanese rule.  

I also especially want to highlight the Turkish novelist Elif Shafak, who was elected President of the Royal Society of Literature at the end of last year. She is represented in the display by several books including her debut title, Pinhan, and Three Daughters of Eve – a story which I highly recommend and which oscillates in setting between Istanbul and Oxford.  

I really hope you are also inspired by the voices of the women featured in this display and that you continue to explore the women’s narratives that can be found throughout the NGL and the Bodleian Libraries’ collections – because this display is far from the full story!  

Bibliography 

M. Abisaab and M. Hartman, What the War Left Behind: Women’s Stories of Resistance and Struggle in Lebanon, trans. C. Nasrallah, Syracuse NY, Syracuse University Press, 2024. 

M. Bano and H. Kalmbach, Women, Leadership and Mosques: Changes in Contemporary Islamic Authority, Leiden, Brill, 2012. 

B. Baron, The Women’s Awakening in Egypt: Culture, Society, and the Press, New Haven, Yale University Press, 2009. 

Z. Batayeva and S. Fairweather-Vega (eds.), Amanat: Women’s Writing from Kazakhstan, New York, Gaudy Boy LLC, 2022. 

K. Bhasin and R. Menon, Borders & Boundaries: Women in India’s Partition, New Brunswick NJ, Rutgers University Press, 1998. 

N. Bhatia, Performing Women/Performing Womanhood: Theatre, Politics, and Dissent in North India, New Delhi, Oxford University Press, 2010. 

P. Chang, Women’s Experiences and Feminist Practices in South Korea, Seoul, Ewha Womans University Press, 2005. 

M. Díez and J. Mathews (eds.), Daughters of the Bear: An Anthology of Korean Women’s Stories, Dallas, University Press of America, 2004. 

S. Furayḥ, Creativity & Exuberance in Arab Women’s Poetry: (From the Sixth to the Twentieth Centuries), Kuwait, Ministry of Information Government Printing Press, 2005. 

J. S. Ḥaddād, I Killed Scheherazade: Confessions of an Angry Arab Woman, London, Saqi, 2010. 

S. Hammad, Born Palestinian, Born Black, Brooklyn NY, UpSet Press, 2010. 

N. Handal (ed.), The Poetry of Arab Women: A Contemporary Anthology, New York, Interlink Books, 2001. 

S. Haqqani, Feminism, Tradition and Change in Contemporary Islam: Negotiating Islamic Law and Gender, London, Oneworld Academic, 2024. 

F. Hasan, Voices in Verses: Women’s Poetry and Cultural Memory in Nineteenth Century India, Cambridge, Cambridge University Press, 2024. 

J. Hill, Wrapping Authority: Women Islamic Leaders in a Sufi Movement in Dakar, Senegal, Toronto, University of Toronto Press, 2018. 

K. Hossein, A History of Islam in 21 Women, London, Oneworld, 2020. 

U. Hüsken, Laughter, Creativity, and Perseverance: Female Agency in Buddhism and Hinduism, New York, Oxford Unversity Press, 2022. 

T. Hyun, Writing Women in Korea: Translation and Feminism in the Colonial Period, Honolulu, University of Hawaii Press, 2003. 

R. Khanna, Algeria cuts: Women and Representation, 1830 to the Present, Stanford CA, Stnford University Press, 2008. 

Y. Kim (ed.), Gendered Landscapes: Short Fiction by Modern and Contemporary Korean Women Novelists, trans. Y. Kim, Ithaca NY, East Asia Program Cornell University, 2017. 

R. Kumar, The History of Doing: An Illustrated Account of Movements for Women’s Rights and Feminism in India, 1800-1990, London, Verso, 1997. 

D. Mahmut, S. J. Palmer, and A. Udun, Uyghur Women Activists in the Diaspora: Restorying a Genocide, London, Bloomsbury Academic, 2024. 

L. S. Majaj, T. Saliba and P. W. Sunderman (eds.), Syracuse, Syracuse University Press, 2002. 

R. Roded, Women in Islamic Biographical Collections: From Ibn Sa’d to Who’s Who, Piscataway NJ, Gorgias Press LLC, 2018. 

B. Shaaban, Voices Revealed: Arab Women Novelists, 1898-2000, Boulder CO, Lynne Rienner Publishers, 2009. 

E. Shafak, Pinhan, Istanbul, 1997. 

E. Shafak, Bit Palas, İstanbul, Metis Yayınları, 2004. 

E. Shafak, Three Daughters of Eve, London, Viking, 2016. 

E. Shafak, On Dakika Otuz Sekiz Saniye, Istanbul, Doğan Kitap, 2019. 

C. I. Sobritchea, Gender, Culture & Society: Selected Readings in Women’s Studies in the Philippines, Seoul, Ewha Womans University Press, 2004. 

St. Anne’s College University of Oxford, Congratulations to St Anne’s Honorary Fellow, Elif Shafak, on her election as President of the Royal Society of Literaturehttps://www.st-annes.ox.ac.uk/congratulations-to-st-annes-honorary-fellow-elif-shafak-on-her-election-as-president-of-the-royal-society-of-literature/ (Accessed 12/03/26). 

P. Yi, Women in Korean History, Seoul, Ewha Womans University Press, 2008. 

Black History Month 2025 @ the Nizami Ganjavi Library: Book Recommendation for Born Palestinian Born Black

This Black History Month, I wanted to take the opportunity to highlight the book Born Palestinian Born Black – a powerful poetry volume from Palestinian-American poet Suheir Hammad in the NGL’s collection.

Book cover for Born Palestinian Born Black.

Hammad’s poetry is deeply inspired by and speaks up for the Black Brooklyn communities within which she grew up. For example, as Kenza Oumlil states in his essay “Talking Back”: The poetry of Suheir Hammad, Hammad ‘[inscribes] Brooklyn and hip-hop language on the page in an effort to revalue its aesthetic merit as a form of orality’.[1]

Hammad also writes in the introductions to Born Palestinian Born Black explicitly of the inspiration she owes to African American poet and activist June Jordan – how, ‘The last stanza in June Jordan’s “Moving Toward Home” changed her life’[2]. One of her descriptions of her own writing process is also as ‘a new embroidery, stitched in june jordan’s dark’[3]. As Sirène Harb argues in her essay, Naming Oppressions, Representing Empowerment: June Jordan’s and Suheir Hammad’s Poetic Projects, ‘these resonances and echoes [between the two poets] originate from a shared commitment to coalition-building, solidarity, and the fight against various oppressions and injustices, which reflects the spirit and analytical project of women of color feminism.’[4]

Black and white portrait photograph of June Jordan

This focus on coalition-building is apparent through Hammad’s poetry in different ways – including not only the communities she writes about, but also community-building between speaker and audience. And nowhere in the collection is this made more explicit than in we spent the fourth of July in bed, as Hammad declares ‘my sincere love         for real / is for my peeps         my family        humanity’.[5]

It is also in this poem that Hammad rhetorically weaves together a community of victims of US violence, in Iraq, Malaysia, the Philippines, Puerto Rica, Yemen, Japan, and Palestine. This is a device that she uses throughout the book, as again and again, she connects sites of injustice. She also finds kinship in marginalisation with her African American neighbours, as in open poem to those who rather we not reador breathe, she constructs a ‘we’ that connects ‘taino and arawak bodies’, ‘children of children exiled from homelands’, ‘descendents of immigrants’, and ‘survivors of the middle passage’ – all linked in opposition to fascism and imperialism.[6]However, Hammad does not draw one-to-one comparisons between African American and Palestinian experiences, instead presenting each side-by side, connecting them often to illustrate how the trials faced in both are the product of many of the same structural forces.

She also makes clear that these kinships are not only born of suffering. For example, manifest destiny details how Hammad and three of her friends defied the expectations of society and family to forge their own paths and find one another, ‘creating a family’.[7]

A frustrated attempt to establish this sort of connection is furthermore present in fly away. This poem tells of a ‘young brother man’ who decides to escape ‘bein high / and forced / into the back of a police car’ by joining the US Air Force, as Hammad confronts him with the ways that that organisation has inflicted trauma on ‘saigon beirut   greneda’ and asking ‘what if you have to kill people’. He in turn argues that ‘he’s gotta support his moms / give up donations / for the next funeral’ and that he cannot consider these issues ‘cause he’s dealin with / a different kinda fear’. In doing so, she makes a powerful argument about how oppressive systems force the marginalised into competition with one another and for the importance of ‘revolution and peace’ and solidarity as a corrective.[8]

Indeed, I hope that this message of solidarity, enhanced rather than diminished by the acknowledgment of intense suffering worldwide, and this homage to African American communities is one that we can all take from Suheir Hammad’s work this October. I could never do full justice to all of the textures of this poetry collection, so, if anything at all that I have said here has interested you, I can only recommend that you have a look for yourself.

Suheir Hammad reading at PalFest 2010

Bibliography

K. Andrews, K. Crenshaw, and A. Wilson, Blackness at the Intersection, London, Bloomsbury Academic, 2022.

S. Hammad, Born Palestinian Born Black, Brooklyn NY, UpSet Press Inc., 2010.

S. Harb, ‘Naming Oppressions, Representing Empowerment: June Jordan’s and Suheir Hammad’s Poetic Projects’, Feminist Formations, vol. 26, no. 3, 2014, pp.71-99.

J. Jordan, Moving Towards Home: Political Essays, London, Virago, 1989.

J. Jordan, Directed by Desire: The Collected Poems of June Jordan, Port Townsend, 2007.

D. Moore, ‘“Breaking language”: Performance and community in Suheir Hammad’s poetry’. Journal of Postcolonial Writing, vol. 56, no. 1, 2020, pp.110-125.

K. Oumlil, ‘“Talking Back”: The poetry of Suheir Hammad’, Feminist Media Studies, vol. 13, no. 5, pp.850-859.


[1] K. Oumlil, ‘“Talking Back”: The poetry of Suheir Hammad’, Feminist Media Studies, vol. 13, no. 5, p.855

[2] S. Hammad, Born Palestinian Born Black, Brooklyn NY, UpSet Press Inc., 2010, p.12: The stanza itself is also quoted on that page:

 I was born a Black woman

and now

I am become a Palestinian

against the relentless laughter of evil

there is less and less living room

and where are my loved ones?

It is time to make our way home

[3] Ibid., p. 9

[4] S. Harb, ‘Naming Oppressions, Representing Empowerment: June Jordan’s and Suheir Hammad’s Poetic Projects’, Feminist Formations, vol. 26, no. 3, 2014, pp.72.

[5] S. Hammad, idem., p.72

[6] Ibid., p.73-75

[7] Ibid., p.72

[8] Ibid., 46-47