Rewriting the Nation: Women’s Archives, Memory, and Feminist Historiography in Ahdaf Soueif’s The Map of Love
DOI:
https://doi.org/10.69980/ks.v9i2.4121Keywords:
feminist historiography, archive theory, gendered nationalism, postmemory, Ahdaf Soueif, postcolonial memory, women's writing, The Map of LoveAbstract
This paper examines Ahdaf Soueif's The Map of Love (1999) as a work of feminist historiographic metafiction that reconstructs Egyptian national history through the recovered archive of a woman's private papers. Reading the novel's dual-timeline structure — the 1900s narrative of Anna Winterbourne and Sharif al-Baroudi and the 1990s narrative of Isabel Parkman and Amal al-Ghamrawi — through archive theory (Derrida, Stoler, Burton, Trouillot, Steedman), theories of gendered nationalism (Chatterjee, Kandiyoti, Yuval-Davis, Ahmed), feminist historiography proper (Chakravarti, Kabeer, Scott, Kelly, Lerner, McClintock), postcolonial critique (Mohanty, Spivak), memory studies (Hirsch), and the criticism on Soueif's genre practice (Boccardi, Heilmann and Llewellyn, D'Alessandro, Malak), this paper argues that Soueif stages the trunk of letters, diaries, and journalism as a counter-archive that displaces the colonial and nationalist historical record with a genealogy of female textual labour. The essay contends that memory, translation, and embroidery function in the novel as feminist historiographic methods that recover women not as objects of history but as its custodians and authors, and it situates this recovery within the actual historiography of the Egyptian women's press (Baron, Booth) to test the novel's claims against the documented record. At the same time, the paper subjects the novel's recuperative wager to sustained theoretical pressure, drawing on Saidiya Hartman's notion of critical fabulation, Joan Wallach Scott's critique of experience as historiographic evidence, Joan Kelly's periodisation critique, and Anne McClintock's account of the gendered and racialised exclusions constitutive of nationalist family narrative, to argue that the novel's narrative wholeness and genealogical continuity are historiographic choices with their own costs rather than neutral effects of the materials it happens to recover.
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