“Infidel” by Ayaan Hirsi Ali

Feminist Criticism
Ayaan Hirsi Ali’s memoir, “Infidel,” is a powerful story about her life. She grew up in a
strict Islamic culture in Ayaan Hirsi Ali's memoir, "Infidel," is a powerful story about her life.
She grew up in a strict Islamic culture in Somalia and later became a strong supporter of
women's rights. The literary work shows how being a woman in this culture can be very
challenging. By sharing her own experiences, Hirsi Ali gives us a better understanding of what
it's like to be a woman in traditional Islamic societies. The literary work also talks about her dual
identity - both her cultural background and her gender. It looks at how "Infidel" adds to
discussions about feminism, and how it could help women become more powerful and challenge
the current power structures. This literary work is examined through a feminist perspective,
looking at the conflicts and similarities that come up in modern feminist theory. In simple terms,
this review tries to understand the complex experiences of Ayaan Hirsi Ali as a woman dealing
with culture and gender., exploring the clash between her Islamic heritage and the liberal values
of her new Western home. Ayaan’s intellectual journey takes center stage as she grapples with
questions of identity, religious dogma, and the role of women in society. Infidel serves as a
poignant critique of Islam, offering a firsthand account of the struggles faced by women within
conservative Muslim communities. Ayaan’s story becomes a powerful testament to the
importance of individual agency and the pursuit of one’s beliefs, even in the face of formidable
cultural and religious barriers.
Through her narrative, Ayaan Hirsi Ali invites readers to reflect on the broader issues of
cultural relativism, religious freedom, and the ongoing struggle for gender equality. Infidel
stands as a courageous exploration of personal and ideological transformation, making it a
thought-provoking read that resonates with themes of resilience, intellectual independence, and
the pursuit of a more inclusive and equitable world. “People ask me if I have some kind of death
wish, to keep saying the things I do. The answer is no: I would like to keep living. However,
some things must be said, and there are times when silence becomes an accomplice to injustice.”
Ayaan Hirsi Ali demonstrates agency by rejecting the notion of a death wish and
expressing a desire to live. The statement “The answer is no: I would like to keep living” asserts
her personal agency and a commitment to her own existence. Ali argues that silence can be
complicit in perpetuating injustice. The phrase “there are times when silence becomes an
accomplice to injustice” suggests her refusal to remain silent in the face of perceived
wrongdoing, aligning with feminist principles of speaking out against oppression. Ali’s decision
to speak out aligns with feminist ideals of empowering women’s voices. By choosing to address
controversial topics and challenge societal norms, Ali demonstrates a feminist commitment to
breaking free from traditional constraints on women’s expression. It’s important to acknowledge
diverse feminist perspectives, particularly in the context of issues related to religion and culture.
Ali’s background as a Somali-born woman who has experienced the complexities of Islamic
culture adds layers to her feminist perspective, emphasizing the need for intersectional analysis
in feminist critique. The acknowledgment that “some things must be said” reflects a nuanced
approach to addressing contentious issues, showcasing a feminist commitment to engaging in
dialogue rather than perpetuating silence.
“An excellent instance of such questioning occurs in the first third of this book, when
Ayaan is sitting through yet another dull rant about the need to cover up all the distinctive
features of the female, lest women commit the unpardonable sin of arousing male desire. She
gets up to ask “What about the men? Shouldn’t they cover? Don’t women also have desire for
male bodies? Couldn’t they be tempted by the sight of men’s skin?” Of course, this inescapable
question is considered ridiculous, and, anyway, the Prophet didn’t allow any latitude for it to be
asked, so that must be the end of the matter.”
In this passage, Ayaan Hirsi Ali challenges traditional gender expectations by questioning
the unequal burden placed on women to cover their bodies. Her question, “What about the men?
Shouldn’t they cover?” challenges the assumption that only women need to modify their
behavior to avoid arousing male desire, reflecting a feminist critique of gendered expectations.
Ali challenges the notion that only men have desires by asserting women’s potential attraction to
male bodies. The question “Don’t women also have desire for male bodies?” challenges the
traditional narrative that positions men as the primary subjects of desire, highlighting a feminist
perspective that recognizes and validates female desire. The dismissive response to Ayaan’s
question reflects the rigidity of religious doctrines in addressing gender-related inquiries. The
statement “Prophet didn’t allow any latitude for it to be asked” suggests a restrictive religious
environment where questioning established gender norms is not tolerated, which can be critiqued
from a feminist standpoint advocating for open dialogue and inquiry. The response to Ayaan’s
question underscores the suppression of dissenting voices, particularly those challenging gender
inequalities. The dismissal of the question as “ridiculous” implies a silencing of alternative
perspectives, reinforcing feminist concerns about the suppression of women’s voices within
patriarchal structures. A feminist critique should consider the intersectionality of Ayaan’s
experience, given her background as a Somali woman within an Islamic cultural context. Ayaan’s
questioning occurs within the specific framework of Islamic teachings, emphasizing the need for
feminist analysis to consider the diverse experiences of women within various cultural and
religious settings.
“It was only when I got to Holland that I appreciated that coexistence on terms of gender
equality and casual dress was possible.”
Ayaan Hirsi Ali implies that her appreciation for coexistence and gender equality was
realized in the specific cultural context of Holland. The statement “It was only when I got to
Holland” suggests that the author recognizes the role of cultural surroundings in shaping her
understanding of gender equality. Ali positively acknowledges the possibility of coexistence on
terms of gender equality in Holland. The phrase “appreciated that coexistence on terms of gender
equality” indicates a recognition of a societal framework that aligns with feminist principles,
suggesting a positive evaluation of the Dutch approach to gender relations.
The association of gender equality with "casual dress" suggests that the author sees a
correlation between attire and societal attitudes towards gender roles, providing a potential
feminist lens to interpret cultural norms. Societal norms often dictate what is considered
appropriate clothing for different genders. The mention of “casual dress” hints at a departure
from the structured and gender-specific clothing norms that may prevail in other cultural
contexts. By associating gender equality with a less formal dress code, the author may be
suggesting a reevaluation of societal expectations regarding how men and women should present
themselves. Traditional gender roles are often reinforced through prescribed modes of dress,
where women may be expected to adhere to modesty standards more than men. “Casual dress”
challenges these stereotypes by suggesting a more equal and less prescriptive approach to how
individuals, regardless of gender, express themselves through clothing. The association with
gender equality and “casual dress” aligns with feminist ideals of empowering individuals to
express themselves without conforming to restrictive gender roles.
In conclusion, Ayaan Hirsi Ali’s memoir unveils significant experiences that challenge
traditional gender norms, religious expectations, and cultural constraints. Through an exploration
of key excerpts, it becomes evident that the author’s narrative is deeply entwined with feminist
themes that resonate with struggles for agency, equality, and the dismantling of oppressive
structures. Ali’s interrogation of gendered expectations within her cultural and religious context
serves as a catalyst for feminist analysis. Her refusal to accept the imposition of restrictive dress
codes on women, as exemplified in the questioning of the need for female coverings while men
remain exempt, underscores a feminist critique of patriarchal norms embedded in religious
doctrines. The dismissive response to her inquiry not only reveals the rigid confines of
established norms but also reflects the broader issue of silencing dissenting voices within such
patriarchal structures.
 Furthermore, the author’s revelation that she appreciated the possibility of coexistence on
terms of gender equality and casual dress in Holland adds another layer to the feminist
interpretation. The association of gender equality with “casual dress” suggests a correlation
between attire and societal attitudes towards gender roles. The symbolism of embracing less
formal attire becomes a powerful expression of resistance against traditional expectations,
embodying a feminist ethos of breaking free from prescribed norms and stereotypes.
Ayaan Hirsi Ali’s memoir is not only a personal narrative but also a platform for
interrogating broader feminist concerns. The intersectionality of her experiences as a Somali
woman within Islamic cultural contexts underscores the importance of considering diverse
perspectives within feminist discourse. The text prompts us to reflect on how feminist ideals
manifest differently in various cultural settings and the complexities involved in navigating
gender dynamics within religious frameworks.
Ultimately, “Infidel” invites readers to engage critically with the complexities of Ayaan
Hirsi Ali’s journey, prompting discussions on agency, cultural relativism, and the transformative
power of challenging established norms. Through a feminist lens, her memoir becomes not only
a testament to personal resilience but also a call to action for dismantling oppressive structures,
advocating for equality, and amplifying the voices of those who resist conformity in the pursuit
of freedom and justice.
 “Scent of Apples” by Bienvinido N. Santos
Historical Biographical Criticism
Bienvenido Santos, a distinguished Filipino-American author and diplomat, crafts a
poignant narrative in “Scent of Apples,” a short story that serves as a reflection of his own
experiences as an immigrant navigating the complexities of cultural displacement. Born in 1911,
Santos embarked on a literary journey that not only showcased his literary prowess but also
became a testament to the challenges faced by Filipino immigrants in the United States. This
critique delves into the biographical elements of Santos’ life, exploring how his background as an
immigrant and diplomat influenced the narrative structure, character development, and
overarching themes in “Scent of Apples.” By examining Santos’ personal journey, we gain
valuable insights into the layers of cultural identity, nostalgia, and the nuanced depiction of the
Filipino experience in a foreign land.
“In ‘Scent of Apples,’ Bienvenido Santos masterfully intertwines his personal experiences
as a Filipino-American immigrant and diplomat with literary artistry, illuminating the narrative
with a profound exploration of cultural displacement, nostalgia, and the complexities of identity.
Through a biographical lens, this critique analyzes how Santos’ unique background shapes the
story, enriching it with nuanced characters and intricate themes, ultimately showcasing the
profound impact of the author’s life on the evocative tapestry of ‘Scent of Apples.’’
Bienvenido Nuqui Santos was born in March 22, 1911. He was a Filipino-American
fiction, poetry and nonfiction writer. He was born and raised in Tondo, Manila. His family roots
are originally from Lubao, Pampanga, Philippines. He lived in the United States for many years
where he is widely credited as a pioneering Asian-American writer.
Santos received his Bachelor of Arts degree from the University of the Philippines where
he first studied creative writing under Paz Marquez Benitez. In 1941, Santos was a government
pensionado (scholar) to the United States at the University of Illinois, Columbia University, and
Harvard University. He had arrived in San Francisco on October 12, 1941, aboard the Ruth
Alexander leaving his wife and three daughters in the Philippines. When war in the Pacific came
to the Philippines on December 8 (December 7 Hawaii time) he feared he would never see his
family again—a reality that “not only interrupted his study of realism; it was overwhelming it”
leading to a transformation in his sense of national consciousness and identity. That crisis
changed the nature of his writing into a less carefree style to one mixing Laughter and pain;
described by Florentino Valeros as “a man hiding tears in his laughter.”
During World War II, he served with the Philippine government in exile under President
Manuel L. Quezon in Washington, D.C., together with the playwright Severino Montano and
Philippine National Artist Jose Garcia Villa. Santos left for home on January 17, 1946, aboard
the Uruguay arriving in early February.
In 1967, he returned to the United States to become a teacher and university
administrator. He received a Rockefeller fellowship at the Writers Workshop of the University of
Iowa where he later taught as a Fulbright exchange professor. Santos has also received a
Guggenheim Foundation fellowship, a Republic Cultural Heritage Award in Literature as well as
several Palanca Awards for his short stories. Scent of Apples won a 1980 American Book Award
from the Before Columbus Foundation.
“Scent of Apples” by Bienvenido Santos is part of a short story collection of the same
name published in 1978 by University of Washington Press. “Scent of Apples” tells the story of
ne man and his family’s unique experience as Filipino immigrants to the United States. It’s a
unique story, as Santos himself is a character in it. Since the story is told from Santos’s point of
view. Santos wrote “Scent of Apples” during the Rebirth of Freedom—a period of activism
following WWII and the restoration of independence to the Philippines.
The fact that Santos is a character in the story suggests a potential intertwining of the
author’s experiences with fiction. His role in the narrative invites exploration into how his
personal journey as a Filipino immigrant may have influenced the portrayal of the protagonist’s
immigrant experience. The mention of Santos writing during the Rebirth of Freedom, a period of
post-WWII activism and the Philippines’ restoration of independence, adds layers to the analysis.
Biographically, Santos’s engagement with this historical context may have shaped the narrative’s
tone and themes. It becomes a canvas where his own observations and sentiments about the era,
activism, and the Filipino diaspora find expression.
The title “Scent of Apples” itself holds biographical significance. Apples are not native to
the Philippines but are associated with the United States. This choice of imagery could reflect
Santos’s own encounters with cultural dissonance, exploring themes of identity, belonging, and
the clash of two worlds. His role as a character in the story, and the historical backdrop o of the
Rebirth of Freedom collectively shape the unique narrative of “Scent of Apples.” The work
becomes a literary reflection of both individual experience and broader historical currents.
Santos’s dilemma in responding to the question about Filipino women reflects the
author’s own uncertainties about cultural comparisons. Bienvenido Santos, the author, was an
immigrant to the United States. The hesitation and concern Santos exhibits in responding to the
question about Filipino women may parallel the author’s own challenges in navigating cultural
differences and stereotypes as an immigrant.
The encounter with Celestino Fabia serves as a reflection of Santos's real-life connections
with the Filipino diaspora in the U.S. Santos’s willingness to engage with Celestino Fabia, a
fellow Filipino living on farmland in Kalamazoo, mirrors the author’s potential interactions with
members of the Filipino community. The detailed description of Fabia’s life and his journey to
hear Santos speaks to the shared cultural bonds and the desire for connection among Filipino
immigrants.
The nostalgia triggered by apple trees underscores Santos’s internal struggle with
assimilation and the longing for home. Santos’s emotional reaction to apple trees, reminiscent of
his homeland, aligns with the author’s personal experience as an immigrant. This suggests that
Santos’s struggle to balance memories of home with the challenges of building a new life in the
U.S. may echo the author’s own sentiments.
Santos’s conflicted feelings about Ruth reflect societal expectations and biases, possibly
influenced by the author’s own cultural background. Santos’s embarrassment and internal
conflict when meeting Ruth may reflect the societal expectations and biases ingrained in the
author’s cultural upbringing. The emphasis on Ruth’s physical appearance and Santos’s
discomfort alignswith potential cultural norms that could influence perceptions of beauty and
social expectations.
Fabia’s reluctance for Santos to visit his hometown may reflect the author’s own concerns
about the changing landscape and memories of his homeland. Fabia’s reluctance to have Santos
visit his hometown, expressing concerns about being forgotten, might reflect the author’s own
worries about how time and change impact one’s connection to their roots. This hesitation could
be an exploration of the author’s feelings toward revisiting his past in the Philippines.
Santos’s empathy towards Fabia’s financial struggles and lack of concern for superficial
details align with the author’s values and perhaps personal experiences as an immigrant. Santos’s
understanding of Fabia’s financial challenges and lack of superficial judgment resonates with the
author’s potential experiences as an immigrant facing similar hardships. This empathy suggests
that the character’s values may reflect the author’s own beliefs and attitudes towards materialism
and genuine human connections.
The decision to include Santos’s future plans, expressing a desire to return home, reflects
the author’s ongoing connection to his roots and the impact of the immigrant experience on
identity. Santos’s intention to visit Fabia’s town and his reluctance to have Fabia remember it as
it is now may mirror the author’s own yearning for a connection to his homeland and a desire to
preserve certain memories. This illustrates the enduring impact of the immigrant experience on
one’s sense of identity and belonging.
The contrast between Santos's Internal turmoil and Fabia’s nostalgic sharing highlights
the complexity of immigrant experiences and the multifaceted nature of cultural adaptation. The
juxtaposition of Santos’s emotional struggle with Fabia’s open expression of nostalgia
underscores the diversity of responses within the immigrant experience. This complexity may be
a reflection of the author’s understanding that individuals navigate cultural shifts and
assimilation differently, adding depth to the portrayal of Filipino immigrants in the story.
In conclusion, a biographical analysis of the passage from “Scent of Apples” by
Bienvenido Santos provides a rich understanding of the intricate interplay between the author’s
life, experiences, and the narrative elements. The author’s immigrant journey becomes a lens
through which we perceive the complexities of cultural adaptation, identity, and the evolving
Filipino diaspora in the United States. Santos’s portrayal of himself as a character in the story
and his response to questions about Filipino women reflect the author’s own uncertainties and
challenges as an immigrant navigating cultural differences. The encounter with Celestino Fabia,
a fellow Filipino, serves as a poignant reflection of the author’s real-life connections within the
Filipino diaspora, capturing the shared cultural bonds and desire for connection.
The theme of change and nostalgia, especially triggered by the sight of apple trees,
deepens our understanding of Santos’s internal struggle and resonates with the broader historical
context of post-WWII Philippines. The portrayal of Ruth and Santos’s conflicted feelings about
her appearance provides insight into societal expectations and biases that may stem from the
author’s cultural background. Santos’s empathy towards Fabia’s financial struggles, lack of
concern for superficial details, and the expressed desire to return home reveal the author’s values
and ongoing connection to his roots. The contrast between Santos’s internal turmoil and Fabia’s
open expression of nostalgia adds a layer of complexity to the immigrant experience, illustrating
that individuals navigate cultural shifts and assimilation differently.
Overall, analyzing the biographical background of the author enhances our appreciation
of “Scent of Apples,” transforming it into a layered exploration of the author’s personal journey,
cultural identity, and the multifaceted experiences of Filipino immigrants. Bienvenido Santos
skillfully weaves elements of his own life into the narrative, offering readers a poignant and
authentic glimpse into the challenges and joys of cultural adaptation and the enduring ties to
one’s homeland.