Between Ramziya al-Iryani's 1970 novel "The Victim of Greed" and Noha Al-Kazemi’s novel "Al-Diyanna" in 2024, a myriad of experiences and transformations have shaped the landscape of Yemeni women's literary writing. These works have tackled social themes, extending beyond personal feminine concerns to engage with political matters alongside women's and societal issues.
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Before the Yemeni revolutions of September and October had barely completed their first decade, Yemeni women began igniting the flames of creativity and initiating a new era in which they would have their own presence and voice. The first milestone was set in 1969 with the publication of 'Al-Qat Yaqtuluna' (Qat is Killing Us), the first novel by a Yemeni woman, authored by Ramziya al-Iryani. The novel boldly confronted societal issues, marking the women's determination to penetrate the literary and narrative arenas. Al-Iryani reinforced this breakthrough with her 1970 novel 'Dahiyat al-Jasha' (The Victim of Greed). Consequently, these two works represented a powerful and courageous entry into a field that, though relatively new to both men and women, was still largely dominated by men at the time.
The Emergence of Feminist Narratives in Aden's Newspapers
Dr. Abdulhakim Baqais, an Associate Professor of Literature and Criticism at the Faculty of Arts, University of Aden, explains that the beginnings of women's narrative writing in Yemen, particularly the emergence of female-authored short stories in the city of Aden, are closely tied to the 1960s and 1970s. These developments were influenced by the city's civil environment, which had its roots in the late 19th and early 20th centuries. Aden's modern characteristics were shaped by British colonial influence, which brought about early advancements in journalism and girls' education in the Arabian Peninsula. This, in turn, helped raise awareness about women's participation in society. By the mid-20th century, a women's movement had emerged, characterized by protests and sit-ins led by women in Aden. During this period, in early September 1961, F. Ahmed published the first female-authored short story titled "Oppressive Society" in the newspaper "Sawt al-Janoub". This work was followed by a series of writings by women, such as Fawzia Abdulrazzaq, who published her first short stories in "Al-Rai Al-Aam" newspaper in 1963, Samia Mahmoud in "Al-Ayyam" newspaper in January 1967, and I'tidal Diriyya, who published her stories in Adeni and Arab newspapers throughout the 1960s.
Baqais emphasizes that despite the relatively distant time gaps between these writings, they do not indicate a stumbling in progress but rather a continuity in the attempts at literary creation. In this context, the writings of Shafeeqa Zouqari emerged, culminating in the publication of her short story collection "Heartbeats" in the 1960s. Thus, the literary landscape of the 1960s, with its pioneering female voices making their debut, appears as a natural extension of the broader cultural struggle linked to the liberation movement, national consciousness, and the drive for both individual and collective independence. This was further facilitated by the civil environment in Aden at that time, which provided the conditions, and perhaps even encouragement, for women to engage in writing.
According to Dr. Baqais, the emergence of a republican, civil political regime with a nationalist and leftist orientation in the South following the independence in the 1970s had a profound impact on raising awareness about women's participation and empowering them across various fields. Moreover, this period provided women with platforms for expression, leading to the rise of new voices such as Afrah Suleiman, Huda Abdullah, Zahra Rahmatullah, Thuraya Manqoush, Iftikhar Mohammed, and others. The 1980s saw the emergence of additional names like Shifa Munassar, Amal Abdullah, Najiba Haddad, and Huda Alawi.
In his interview with "Khuyut", Baqais adds, "Narrative writing served as a tool for defending women and their various social rights. Most female writers in the South during that period were also active in social, cultural, and media spheres, with a presence that complemented their writing. This means that short story writing was not merely a personal desire but a means of conveying feminist discourse. As a result, some of these writers shifted from short stories to working in various other fields."
“One of the fruits of the transformations Yemen has experienced is the emergence of new generations of writers who have carried Yemeni narrative to new horizons, including the emergence of female writers who entered the literary world for the first time in the 1990s.”
Influential Sociological Factors
Dr. Baqais does not favor separating the literary scene in Yemen into North and South. However, he acknowledges that there are justifications for such a division when considering the sociological factors affecting literary production at specific historical moments, which are connected to political, intellectual, and local peculiarities. Based on the major transformations Yemen underwent following the unification, and the adoption of political openness on both sides of the scene—including freedoms for parties, the press, and more positive environments for expression—this period saw the emergence of new generations of writers who advanced Yemeni narrative to new horizons. Likewise, this phase included the rise of female writers entering the literary world for the first time in the 1990s.
Actually, the impact of these changes and disparities has been more pronounced in the North than in the South, when considering both quantitative and qualitative sociological factors, an area requires further research and study. However, if we focus solely on the emergence and development of female novelists, we encounter a paradox: the delay in the rise of women's novels in the South compared to their development in the North. This discrepancy is evident from the historical moment of the first Yemeni female-authored novel, irrespective of the artistic and aesthetic aspects of Ramziya Abbas al-Iryani's "The Victim of Greed" in the early 1970s. By the late 1990s, feminist narrative in Yemen began to show a notable upward trajectory, as evidenced by Aziza Abdullah's three novels—"Noble Dreams, Arkanha al-Faqih , and Taif Wilaya"—published between 1997 and 1998, followed by Nabila al-Zubair's "It is My Body" in 2000. Subsequently, the number of voices and names in Yemeni women's novel writing increased from rarity to abundance. This indicates that the beginnings and spread of the novel writing as a literary genre of interest to female writers began in the early 2000s, supported by new factors that facilitated awareness and dissemination of women’s narratives. Thus, the development of this phase must be analyzed in the context of the broader shifts in the Yemeni narrative discourse, as emphasized by critic Baqais.
Bibliography of Feminist Narratives
As of the end of March 2024, women's novels in Yemen accounted for 17% of the total Yemeni novels, which numbered 620. Of these, 71 women authored 128 novels, representing 55 years of female narrative contributions, according to a bibliography prepared by the short story writer and author Zaid al-Faqih, with the first part published in 2021 by Dar Anaween for Publishing.
Throughout their narrative journey spanning over half a century, Yemeni women have established their presence in the literary field and addressed societal issues from their own perspectives, particularly those affecting Yemeni women, influenced by religious, societal, cultural, and traditional factors.
In an interview with "Khuyut," Al-Faqih notes that the artistic techniques employed in Yemeni women's novels are on par with those used by male writers. Despite the superiority of experienced male novelists in modern narrative techniques, such as Wajdi al-Ahdal, Samir Abdel-Fattah, al-Gharbi Imran, Ahmed Zain, Ali al-Muqri, Abdullah Abbas al-Iryani, Habib Sourour, Bassam Shamseddin, Ahmed al-Ariqi, and Abdulnasser Mujali, there are female authors whose skills match those of the male novelists . Notable among these are Noha Al-Kazemi, Shatha Al-Khateeb, Nadia Al-Kawkabani, Aryaf Al-Tamimi, and Nabila Al-Zubair.
According to Al-Faqih, who is currently working on the second part of the bibliography of Yemeni novels, the past decade has seen a significant increase in female narrative production in Yemen. He noted that "the feminist narrative production in the last two years has been remarkable and unprecedented," as he describes.
On the other hand, Yemeni women are making significant contributions in various fields, including literature. In fact, their current novelistic output almost surpasses that of their male counterparts, thanks to the revolution in technology, communication, and connectivity, which has provided them with full opportunities to express themselves and discuss issues of concern to Yemeni society.
"Al-Diyanna" is one of the most recent Yemeni women’s novels, published by author Noha Al-Kazemi in 2024. The novel recounts events related to the 2015 war and dissects the ideological dimensions of society through characters that reflect the contending intellectual perspectives influencing and still dominating the political conflict in Yemen. Its narrative dialogues embody the divisions between members of society.
Al-Kazemi explains that the novel provides a focused narrative on racism. It portrays how the "self"—a phenomenon that has emerged in society, saturated with regionalism—wields its power over the "other," based on the notion that the other (the newcomer) is "from there, not from here." This is one of the issues that has come to the forefront due to the war, which has affected every city in Yemen, as she noted in a previous statement published by "Khuyut".
“In their narrative achievements, the Yemeni female authors have addressed social issues that extend beyond personal feminine concerns. They have delved into political matters alongside addressing women’s challenges, their relationship with society, their stance on ignorance and extremism, and critiquing certain restrictive customs and traditions.”
A Phenomenon Affecting Some Female Writers
The novelist al-Gharbi Imran asserts that in the world of literature, women's contributions are on par with those of men, not only in quantity but also in quality. He notes that there are dozens of female short story writers, novelists, and poets whose outstanding works match the depth and quality of those written by men.
In his interview with "Khuyut," al-Gharbi Imran cites several female writers who have produced astonishingly brilliant works. Among them are Nadia Al-Kawkabani, Fikriya Shahra, Shatha Al-Khateeb, Aryaf Al-Tamimi, Fatima Mawu’dhah, Nabeeha Mahdhoor, Thikrayat Aqlan, Layla al-Sayaghi, Hooria Al-Iryani, Nabila Al-Zubair, and Noha Al-Kazemi.
He noted a phenomenon—perhaps social in nature—that has overshadowed some female authors who have ventured into novel writing and achieved notable presence, such as Arwa Othman and Lamya Al-Iryani. This phenomenon affects many Yemeni creative women across various fields, often pushing them out of the spotlight shortly after their emergence and success.
According to Imran, "There is no specific golden period; yesterday was beautiful for the Yemeni women in the field of novel writing, and today is even more so." He anticipates that their future presence will be marked by even greater creativity, astonishment, and impressiveness.
He further added, "Women face exclusion in our society. However, in my observation of recent publications, I find them working to overcome restrictions and misconceptions about women's roles as mere homemakers." He pointed out that literary writing is an individual endeavor; as a particular topic may influence the writer, but it remains a personal pursuit. Moreover, individuals can write and publish more freely, especially with the availability of electronic communication and publishing networks.
A Platform for Political and Social Struggle
In this regard, the writer Suhair Al-Samman states, "Yemeni women have embraced narrative as a means of asserting their existence, resisting erasure and invisibility. From the storytelling of mothers and grandmothers, women found their calling in ink over fifty years ago, when they were given the opportunity to establish their presence in a society that once avoided speaking about women, let alone hearing their voices."
During this period of their narrative achievements, Yemeni female writers have addressed social issues that extend beyond personal feminine concerns. They have delved into political matters alongside addressing women’s challenges, their relationship with society, their stance against ignorance and extremism, and criticizing certain obstructive customs and traditions. This is evident in Aziza Abdullah's novels "Arkanha Al-Faqih" and "Noble Dreams," where she discusses patriarchal themes.
Al-Samman points out that topics such as "marriage, sex, and religion" were central themes in Aisha’s novel "A Pair of Shoes". The novel also delves into social issues such as "qat" and its rituals (extravagant feasts), examining the rituals of these social customs, their moral implications, and the consequences associated with these practices. The novel remains focused on women's issues and their realities in Yemeni society, exposing what is often left unspoken, such as child marriage, polygamy, and the exploitation by prostitution networks and their intermediaries, who were often connected to the state. Moreover, the novel's narrative ventures into the private sphere and bedrooms, capturing aspects of marital relationships based solely on sex, devoid of love—relationships that represent a form of rape, albeit a legally sanctioned one.
“The feminist novel, in its multiplicity and diversity over the last two decades, has not yet been thoroughly studied. This issue is related to the broader problem of Yemeni literary criticism, which has significantly lagged in keeping pace with these transformations, except for a few individual efforts. Amid the recent wave of writing, female authors will draw attention to their presence through new forms and styles of literary writing.”
Evolution and Characteristics of Women's Writing
When examining the quantitative index of novels written by women, it becomes evident that this indicator has seen significant growth in the last two decades, especially when compared to women's literary output in previous decades. Dozens of novels have been written by female authors belonging to the first wave of the 1990s generation, many of whom transitioned from poetry or short stories to the realm of novel writing, such as Nadia Al-Kawkabani and Nabila Al-Zubair, as well as those from the second wave in the last ten years. However, in terms of qualitative indicators, many of these writing experiences still require deeper reflection and study. Dr. Abdulhakim Baqais pointed out that it is natural for feminist discourse to be one of the most deeply explored narratives, as women write from within the same circle that shapes their suffering. Even when addressing broader and more general topics, women often approach these issues from the perspective of women's suffering.
According to Baqais, we can cite examples of how novels like "Souq Ali Mohsen", " Mahyoub's Revolution," and "Zainab's Well," approached the subject of the Revolution of Change as a public event, yet narrated it through a feminist lens and consciousness. Similarly, many texts where female writers mark their presence in the literary scene reflect this awareness, including addressing themes such as war and its repercussions. Notable examples include "Years of Passion" by Shatha Al-Khateeb, and "The Smiling Man" by Fekriya Shahra. Additionally, many of these works exhibit a tendency toward "subjectification"—for instance, "My Sana'a (Sana'ai)" by Nadia Al-Kawkabani, "Vacant Bed To Die" by Asmaa Suleiman, and "Echo of Pain" by Elham Manea. The approach of addressing events and issues from the perspective of the narrative self lends the novels a greater ability to delve deeply into the intricacies of the narrated matters. This inclination often leads to the transformation of the self and its experiences into the subject of the narrative, as seen in "My Father’s House" by Amina Youssef, which stands as a pioneering work in autobiographical fiction—especially in the Yemeni context, where this genre of writing is rarely seen.
Likewise, Baqais believes that the feminist novel, in its multiplicity and diversity over the last two decades, has not yet been thoroughly studied. This issue is related to the broader problem of Yemeni literary criticism, which has significantly lagged behind in keeping pace with these transformations, except for a few individual efforts. Amid the recent wave of writing, female authors are beginning to assert their presence through new forms and styles of literary writing, such as the fantastical narrative seen in works like "The Right to Scent is Reserved" by Serene Hassan, "Your Land, O Stranger" by Aryaf Al-Tamimi, and "A Journey of the Soul" by Shurooq Atifah.
Looking at the recent publications by female authors, there is a noticeable abundance of work, with many of these writers increasingly preferring to be identified as "novelists" rather than "poets." This preference, aside from the inherent allure of the novel itself, likely stems from the authors' desire to express bolder and more provocative thoughts within the structure of fictional narratives. To avoid the pitfall of listing too many names, I'll limit myself to mentioning the latest entrants into the novel-writing scene: Mayassa Al-Nakhlani, who won the Hazawi Award for her novel "I Named Her Fatima," and Noha Al-Kazemi, who recently authored the feminist novel "Al-Diyanna," which, among other themes, explores the brutality of war and its psychological and social impacts.
The Need for Translation and Promotion
The increasing presence of women's novels on the local scene has become notable, as they have started to compete for awards. For instance, "The Big House" novel by Mayasa Al-Nakhlani won first place in the "Hazawi" Award's first edition in 2022 for the category of unpublished manuscript novels, while Shurooq Atifa's published novel "A Journey of the Soul" won second place in the same Award edition and cycle.
It can be said that Yemeni women's novels have reached a level of maturity where they are now poised to compete with male authors in Arab and international literary contests and forums. To achieve international recognition and presence, these works will need translation. So far, only one Yemeni women's novel, "I Named Her Fatima" by Mayassa Al-Nakhlani, has been translated into English by Dr. Hatim Al-Shammaa.
In conclusion, it can be said that between Ramziya al-Iryani's novel "The Victim of Greed," published in the 1970s, and Noha Al-Kazemi's novel of this year, many experiences and transformations have shaped the landscape of Yemeni women's literary writing. Some have continued to create a creative accumulation, while others have succumbed to the curse of producing only a single novel, as noted by Dr. Baqais. He emphasized the need for a re-evaluation and reconsideration of Yemeni literature, particularly feminist narratives. Moving forward, we must transition from merely encouraging and advocating for writing to an actual assessment that truly contributes to the development of the novel-writing experience in Yemen, which is approaching the centennial mark of its literary history.
