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A Woman is Political
Arab Women are Speaking.
Why is mainstream media ignoring us?
When my book A Woman Is a School was released, it sold 3,000 copies in the first three months—a remarkable feat for an independently published work. Yet, despite its success and the critical conversations it sparked about womanhood, diaspora, and resistance, mainstream media outlets remained largely silent. Not silent, as in the story wasn’t a good fit — silent, as in, writers were excitedly pitching the book to their editors, only for us to experience the same bottleneck every time: these stories would go through a rigorous review, before ultimately being rejected by editors whose hands seemed to be tied.
This is not an anomaly. It is a pattern.

Arab women in the United States, whether authors, activists, or artists, have long been excluded from the national conversation, particularly when our narratives challenge dominant Western frameworks. Our voices are either ignored or tokenized, erased or exoticized. Rarely are we granted the full complexity, nuance, and visibility afforded to other women of color in the literary and media landscape.
The reality is that Arab women’s stories—our authentic, unfiltered stories—are often perceived as too inconvenient, too political, or too radical for mainstream platforms. When we write about our histories, our struggles, and our liberation, we are met with polite dismissals or outright rejection. We are seen as a risk, with our perspectives too disruptive to neatly fit into pre-approved narratives of diversity and representation. This isn’t new necessarily; we had seen a guilt-driven burst of inclusion during the 2020 movement behind Black Lives Matter. The ongoing erasure of Black, Indigenous and Minority Ethnic women, including Arab women, was just the norm up until that point.
Take the case of my book. A Woman Is a School is an exploration of womanhood through an Arab lens, weaving together personal and collective memory, history, and futurism. It is a book about resilience, about love, about the ways in which women shape the world around them. But it is also a book that refuses to flatten its identity to fit a Western framework. It does not ask for permission to exist. It simply exists. It doesn’t want to be labeled as a victim. It refuses the identity of a subjugated woman needing the Western gaze to be freed, it is liberated from and in fact liberating the West by just existing in its totality. Our identities as Arabs break the Western mindset of Black & White and the over-simplification and flattening of foreign identities into a “good or bad” bucket. Arabs are not a monolith; we are our own culture, but a highly diverse, multi- faith and multicultural group of people who are, imposing by their very existence, an expansion into Western popular consciousness. Ultimately, they’re forcing an expansion of concepts that go beyond the West as the center of the world. By challenging colonial paradigms and demanding justice, they are showing the world as a powerful biodiverse universe.
And that, perhaps, is the problem.
Mainstream media has long dictated which stories about Arab women are acceptable for public consumption, often limiting their appearance as a stereotype of their own culture to justify a white savior’s lens as the eternal occupier of our Lands. We are only allowed visibility when we are victims—when our pain can be used to justify interventionist policies or to reinforce Western narratives of saviorism. We are granted space when we denounce our own cultures, when we serve as proof of the “backwardness” of the places we come from.
But when we speak on our own terms—when we center our agency, our joy, our wisdom, or our defiance—the doors close.
This is not just about me or my book. It is about the larger forces that determine whose voices matter. The media, as a gatekeeper, plays a significant role in shaping public discourse, and its refusal to engage with Arab women’s narratives, contributes to a cycle of erasure.
If we are only visible when we conform to predetermined roles—either as oppressed or as exceptional tokens—then we are never truly seen. And if the publishing and media industries continue to sideline us, then they are complicit in maintaining the structures that silence us.
The irony is that despite this exclusion, Arab women continue to create, to write, to resist. We are speaking. And we have always been speaking.
The question is: when will the media start listening?
In Conversation:
Illustration by:
More from: Céline Semaan
Keep reading:
Global Echoes of Resistance:
Artists Harnessing Art, Culture, and Ancestry
Danny Aros
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"title" : "A Woman is Political",
"author" : "Céline Semaan",
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"date" : "2025-03-21 17:36:00 -0400",
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"excerpt" : "Arab Women are Speaking.",
"content" : "Arab Women are Speaking.Why is mainstream media ignoring us?When my book A Woman Is a School was released, it sold 3,000 copies in the first three months—a remarkable feat for an independently published work. Yet, despite its success and the critical conversations it sparked about womanhood, diaspora, and resistance, mainstream media outlets remained largely silent. Not silent, as in the story wasn’t a good fit — silent, as in, writers were excitedly pitching the book to their editors, only for us to experience the same bottleneck every time: these stories would go through a rigorous review, before ultimately being rejected by editors whose hands seemed to be tied.This is not an anomaly. It is a pattern.Arab women in the United States, whether authors, activists, or artists, have long been excluded from the national conversation, particularly when our narratives challenge dominant Western frameworks. Our voices are either ignored or tokenized, erased or exoticized. Rarely are we granted the full complexity, nuance, and visibility afforded to other women of color in the literary and media landscape.The reality is that Arab women’s stories—our authentic, unfiltered stories—are often perceived as too inconvenient, too political, or too radical for mainstream platforms. When we write about our histories, our struggles, and our liberation, we are met with polite dismissals or outright rejection. We are seen as a risk, with our perspectives too disruptive to neatly fit into pre-approved narratives of diversity and representation. This isn’t new necessarily; we had seen a guilt-driven burst of inclusion during the 2020 movement behind Black Lives Matter. The ongoing erasure of Black, Indigenous and Minority Ethnic women, including Arab women, was just the norm up until that point.Take the case of my book. A Woman Is a School is an exploration of womanhood through an Arab lens, weaving together personal and collective memory, history, and futurism. It is a book about resilience, about love, about the ways in which women shape the world around them. But it is also a book that refuses to flatten its identity to fit a Western framework. It does not ask for permission to exist. It simply exists. It doesn’t want to be labeled as a victim. It refuses the identity of a subjugated woman needing the Western gaze to be freed, it is liberated from and in fact liberating the West by just existing in its totality. Our identities as Arabs break the Western mindset of Black & White and the over-simplification and flattening of foreign identities into a “good or bad” bucket. Arabs are not a monolith; we are our own culture, but a highly diverse, multi- faith and multicultural group of people who are, imposing by their very existence, an expansion into Western popular consciousness. Ultimately, they’re forcing an expansion of concepts that go beyond the West as the center of the world. By challenging colonial paradigms and demanding justice, they are showing the world as a powerful biodiverse universe.And that, perhaps, is the problem.Mainstream media has long dictated which stories about Arab women are acceptable for public consumption, often limiting their appearance as a stereotype of their own culture to justify a white savior’s lens as the eternal occupier of our Lands. We are only allowed visibility when we are victims—when our pain can be used to justify interventionist policies or to reinforce Western narratives of saviorism. We are granted space when we denounce our own cultures, when we serve as proof of the “backwardness” of the places we come from.But when we speak on our own terms—when we center our agency, our joy, our wisdom, or our defiance—the doors close.This is not just about me or my book. It is about the larger forces that determine whose voices matter. The media, as a gatekeeper, plays a significant role in shaping public discourse, and its refusal to engage with Arab women’s narratives, contributes to a cycle of erasure.If we are only visible when we conform to predetermined roles—either as oppressed or as exceptional tokens—then we are never truly seen. And if the publishing and media industries continue to sideline us, then they are complicit in maintaining the structures that silence us.The irony is that despite this exclusion, Arab women continue to create, to write, to resist. We are speaking. And we have always been speaking.The question is: when will the media start listening?"
}
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"title" : "Black Liberation Views on Palestine",
"author" : "EIP Editors",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/black-liberation-on-palestine",
"date" : "2025-10-17 09:01:00 -0400",
"img" : "https://everythingispolitical.com/uploads/mandela-keffiyeh.jpg",
"excerpt" : "",
"content" : "In understanding global politics, it is important to look at Black liberation struggles as one important source of moral perspective. So, when looking at Palestine, we look to Black leaders to see how they perceived the Palestinian struggle in relation to theirs, from the 1960’s to today.Why must we understand where the injustice lies? Because, as Desmond Tutu famously said, “If you are neutral in situations of injustice, you have chosen the side of the oppressor.”{% for person in site.data.quotes-black-liberation-palestine %}{{ person.name }}{% for quote in person.quotes %}“{{ quote.text }}”{% if quote.source %}— {{ quote.source }}{% endif %}{% endfor %}{% endfor %}"
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"title" : "First Anniversary Celebration of EIP",
"author" : "EIP Editors",
"category" : "events",
"url" : "https://everythingispolitical.com/readings/1st-anniversary-of-eip",
"date" : "2025-10-14 18:01:00 -0400",
"img" : "https://everythingispolitical.com/uploads/WSA_EIP_Launch_Cover.jpg",
"excerpt" : "Celebrating One Year of Independent Publishing",
"content" : "Celebrating One Year of Independent PublishingJoin Everything is Political on November 21st for the launch of our End-of-Year Special Edition Magazine.This members-only evening will feature a benefit dinner, cocktails, and live performances in celebration of a year of independent media, critical voices, and collective resistance.The EventNovember 21, 2025, 7-11pmLower Manhattan, New YorkLaunching our End-of-Year Special Edition MagazineSpecial appearances and performancesFood & Drink includedTickets are extremely limited, reserve yours now!Become an annual print member: get x back issues of EIP, receive the End-of-Year Special Edition Magazine, and come to the Anniversary Celebration.$470Already a member? Sign in to get your special offer. Buy Ticket $150 Just $50 ! and get the End-of-Year Special Edition Magazine Buy ticket $150 and get the End-of-Year Special Edition Magazine "
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{
"title" : "Miu Miu Transforms the Apron From Trad Wife to Boss Lady: The sexiest thing in Paris was a work garment",
"author" : "Khaoula Ghanem",
"category" : "",
"url" : "https://everythingispolitical.com/readings/miu-miu-transforms-the-apron-from-trad-wife-to-boss-lady",
"date" : "2025-10-14 13:05:00 -0400",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_MiuMiu_Apron.jpg",
"excerpt" : "Miuccia Prada has a habit of taking the least “fashion” thing in the room and making it the argument. For Spring 2026 at Miu Miu, the argument is the apron; staged not as a coy retro flourish but as a total system. The show’s mise-en-scène read like a canteen or factory floor with melamine-like tables, rationalist severity, a whiff of cleaning fluid. In other words, a runway designed to force a conversation about labor before any sparkle could distract us.",
"content" : "Miuccia Prada has a habit of taking the least “fashion” thing in the room and making it the argument. For Spring 2026 at Miu Miu, the argument is the apron; staged not as a coy retro flourish but as a total system. The show’s mise-en-scène read like a canteen or factory floor with melamine-like tables, rationalist severity, a whiff of cleaning fluid. In other words, a runway designed to force a conversation about labor before any sparkle could distract us.From the opening look—German actress Sandra Hüller in a utilitarian deep-blue apron layered over a barn jacket and neat blue shirting—the thesis was loud: the “cover” becomes the thing itself. As silhouettes marched on, aprons multiplied and mutated—industrial drill cotton with front pockets, raw canvas, taffeta and cloqué silk, lace-edged versions that flirted with lingerie, even black leather and crystal-studded incarnations that reframed function as ornament. What the apron traditionally shields (clothes, bodies, “the good dress”) was inverted; the protection became the prized surface. Prada herself spelled it out: “The apron is my favorite piece of clothing… it symbolizes women, from factories through to serving to the home.”Miu Miu Spring 2026 Ready-to-Wear. SuppliedThis inversion matters historically. The apron’s earliest fashion-adjacent life was industrial. It served as a barrier against grease, heat, stain. It was a token of paid and unpaid care. Miu Miu tapped that lineage directly (canvas, work belts, D-ring hardware), then sliced it against domestic codes (florals, ruffles, crochet), and finally pushed into nightlife with bejeweled and leather bibs. The garment’s migration across materials made its social migrations visible. It is a kitchen apron, yes, but also one for labs, hospitals, and factories; the set and styling insisted on that plurality.What makes the apron such a loaded emblem is not just what it covers, but what it reveals about who has always been working. Before industrialization formalized labor into factory shifts and wages, women were already performing invisible labour, the kind that doesn’t exist on payrolls but sits at the foundation of every functioning society. They were cooking, cleaning, raising children, nursing the ill. These tasks were foundational to every economy and yet absent from every ledger. Even when women entered the industrial workforce, from textile plants to wartime assembly lines, their domestic responsibilities did not disappear, they doubled. In that context, the apron here is a quiet manifesto for the strength that goes unrecorded, unthanked, and yet keeps civilization running.The algorithmic rise of the “tradwife,” the influencer economy that packages domesticity as soft power, is the contemporary cultural shadow here. Miu Miu’s apron refuses that rehearsal. In fact, it’s intentionally awkward—oversized, undone, worn over bikinis or with sturdy shoes—so the viewer can’t flatten it into Pinterest-ready nostalgia. Critics noted the collection as a reclamation, a rebuttal to the flattening forces of the feed: the apron as a uniform for endurance rather than submission. The show notes framed it simply as “a consideration of the work of women,” a reminder that the invisible economies of effort—paid, unpaid, emotional—still structure daily life.If that sounds unusually explicit for a luxury runway, consider the designer. Prada trained as a mime at Milan’s Piccolo Teatro, earned a PhD in political science, joined the Italian Communist Party, and was active in the women’s rights movement in 1970s Milan. Those facts are not trivia; they are the grammar of her clothes. Decades of “ugly chic” were, essentially, a slow campaign against easy consumption and default beauty. In 2026, the apron becomes the newest dialect. An emblem drawn from leftist feminist history, recoded into a product that still has to sell. That tension—belief versus business—is the Miuccia paradox, and it’s precisely why these aprons read as statements, not trends.The runway narrative traced a journey from function to fetish. Early looks were squarely utilitarian—thick cottons, pocketed bibs—before migrating toward fragility and sparkle. Lace aprons laid transparently over swimmers; crystal-studded aprons slipped across cocktail territory; leather apron-dresses stiffened posture into armor. The sequencing proposed the same silhouette can encode labor, intimacy, and spectacle depending on fabrication. If most brands smuggle “workwear” in as set dressing, Miu Miu forced it onto the body as the central garment and an unmissable reminder that the feminine is often asked to be both shield and display at once.It’s instructive to read this collection against the house’s last mega-viral object: the micro-mini of Spring 2022, a pleated, raw-hem wafer that colonized timelines and magazine covers. That skirt’s thesis was exposure—hip bones and hemlines as post-lockdown spectacle, Y2K nostalgia framed as liberation-lite. The apron, ironically, covers. Where the micro-mini trafficked in the optics of freedom (and the speed of virality), the apron asks about the conditions that make freedom possible: who launders, who cooks, who cares? To move from “look at me” to “who is working here?” is a pivot from optics to ethics, without abandoning desire. (The aprons are, after all, deeply covetable.) In a platform economy that still rewards the shortest hemline with the biggest click-through, this is a sophisticated counter-program.Yet the designer is not romanticizing toil. There’s wit in the ruffles and perversity in the crystals; neither negate labor, they metabolize it. The most striking image is the apron treated as couture-adjacent. Traditionally, an apron protects the precious thing beneath; here, the apron is the precious thing. You could call that hypocrisy—luxurizing the uniform of workers. Or, strategy, insisting that the symbols of care and effort deserve visibility and investment.Of course, none of this exists in a vacuum. The “tradwife” script thrives because it is aesthetically legible and commercially scalable. It packages gender ideology as moodboard. Miu Miu counters with garments whose legibility flickers. The collection’s best looks ask viewers to reconcile tenderness with toughness, convenience with care, which is exactly the mental choreography demanded of women in every context from office to home to online.If you wanted a season-defining “It” item, you’ll still find it. The apron is poised to proliferate across fast-fashion and luxury alike. But the deeper success is structural: Miu Miu re-centered labor as an aesthetic category. That’s rarer than a viral skirt. It’s a reminder that clothes don’t merely decorate life, they describe and negotiate it. In making the apron the subject rather than the prop, Prada turned a garment of service into a platform for agency. It’s precisely the kind of cultural recursion you’d expect from a designer shaped by feminist politics, who never stopped treating fashion as an instrument of thought as much as style.The last image to hold onto is deceptively simple: a woman in an apron, neither fetishized nor infantilized, striding, hands free. Not a costume for nostalgia, not a meme for the feed, but a working uniform reframed, respected, and suddenly, undeniably beautiful. That is Miu Miu’s provocation for Spring 2026: the work behind the work, made visible at last."
}
]
}