DEPICTION OF MATERIAL CIRCUMSTANCES OF WOMEN IN JEAN SASSON’S NOVELS

The postmodern American novelist, Jean Sasson, the voice of Islamic women, depicts minutely and graphically the material circumstances of women in her novels. She has presented the material graph of women in the Middle East, escalating to the skyline and the downtrodden life of low pattern of life. The paper specifically explores the material status of women ranging from the Princesses of Saudi Arabia to the level of maids who struggle for existence amidst tortures and variegated stresses. All the women protagonists in her novels continue their struggle with a specific aim of their lives in Islamic pattern of life. Jean Sasson has presented a rich gallery of women portraits in their specific material pattern of life Princesses, Middle class women struggling to achieve their dreams and lower strata of women.


Material Circumstances of Women in Jean Sasson's Works
As a supporter of women, Jean Sasson, in her novels, has presented a rich gallery of women portraits in their specific material pattern of life, varying from royal princesses of Saudi Arabia to maid-servants working in the palatial houses undergoing vicious circles designed by the chauvinistic Muslim society. From a functional viewpoint, social stratification is inevitable in individual differences. As per principles of social stratification, there are three classes in every society-(I) the people with power, prestige, and property (royal class), (II) the people aspiring for power, prestige, and property (middle class) and (III) the people without power, prestige and property (poor class).
A number of earnings and associated consumption patterns often identify the social status of the individuals. The royal people enjoy an affluent life style that combines conspicuous consumption with institutional arrangements that preserve their status. Women of such royal families lead a relatively lavish life style, although not all engage in displays of conspicuous consumption on a massive scale. They are free from hardships of routine life. The middle class people struggle and aspire for such a life style which may allow them prestige, power, or property as symbols of social status. The poor, who barely get sufficient or less to support themselves, struggle for their existence and have no such aspirations. Poverty remains a major problem primarily affecting women, children and members of racial and ethnic minority groups. Historically, the crude oil made Arabian Peninsula governments extremely rich. This richness grows wildly due to continual oil price rise all over the world. The Saudi kingdom's oil wealth ensured an opulent life style by the privileged class. The representing families of the kingdom wield power, earns royal prestige and a source of endless fascination to the millions below them.

Princesses of Royal Families
The royal families are known by the status symbols which manifest their position in their respective society. Highly majestic villas, opulent ceremonies and rich celebrations, frequent foreign travels to enjoy holidays, unique collections-jewellery, costumes, luxuries, Mercedes & Limousines and varied household-a wide range of professionals, including catering, housekeeping, accountancy, secretarial, art curator , world class medical help, expert pilots, etc. all are the consumption patterns which exhibit royal status. Jean Sasson has depicted the royal princessessisters, cousins and friends of Princess, Sultana in her Princess, Desert Royal and Daughters of Arabia. About the tantalizing beauty of Sultana, the royal princess, Jean Sasson exquisitely records her portrait in Desert Royal in the following words: "However, Sultana was unlike any royal I had met. She was young and beautiful. Her dark hair fell over her shoulders and her eyes sparkled with curiosity. Her lips frequently opened wide in spontaneous laughter. Dressed in expensive clothes and decorated with eye-catching jewels, Sultana captured the undivided attention of everyone around her." (1) Jean Sasson introduces the reader to the protagonist, Sultana of her Princess trilogy-Princess, Daughters of Arabia and Desert Royal in a graceful manner. Sultana is shown here equal to Juliet or Ophelia or Rosalind of Shakespeare's world.
Sultana's brother, Prince Ali Al Sa'ud's wife, Nada is depicted as royal princess in Daughters of Arabia in the following manner: "Nada swept into the room, her hair fashionably coiffured; she had a haughty expression, and her opulent bosom was crammed into a blinding gold lame dress." (P-290, Desert Royal) In Desert Royal, Jean Sasson portrays another royal princess, cousin of Sultana, Khalidah in the following words: "She was dressed in a gown covered with tiny pearls, in a shade of green that perfectly set off her chestnut-coloured hair and her amber eyes which were flecked with gold. Her light coloured skin was too heavily made up for my liking, but it did nothing to lessen the impact of her lovely features." (P-100, Desert Royal)

Marriage Celebrations with Royal Show
Jean Sasson presented a show of royals in Sultana's marriage. In Princess, the princess explains how her elder sister Nura's enormous marble palace was decorated. Hundreds of Filipino, Thai and Yemeni labourers supervised by unsmiling German contractors, had worked around the clock for months to create their monstrosity. The painters, the woodworkers, the metal workers and architects did not speak with one voice; as a result, the palace conflicted within itself. The halls were gilded and richly adorned. About 180 paintings were hanged in the entry hall alone. Garish carpets with embroidered birds and beasts of every type lay across floors.
While Nura had failed miserably in decorating her home, her gardens were a masterpiece. Nearly a mile of lakes and lawns decorated with beautifully arranged flowers, shrubs and trees encircled her palace. There were many surprises to delight the eye: sculptures, colourful bird-houses, fountains spouting water, and even a children's merry-go-round.
Sultana in Princess informs: "I was going to be married to Kareem in the garden at nine o'clock in the evening. Nura knew that I loved yellow roses, and thousands of them, flown in from Europe, were now floating on the lake beside the rose-covered pavilion where Kareem would come to claim me. Nura proudly announced that people already whispering that this was the wedding of the decade." (2) Further, Sultana tells that her bridal dress was made of the brightest red lace. An expensive wedding dress was offered to her with 'delicate buttons'. Sultana's fiancée, Kareem's 'gift of rubies and diamonds was draped by her sisters around Sultana's neck.' In Daughters of Arabia, Jean Sasson describes the beauty and elegance of Sultana's palace in Jeddah, a lively port city of Saudi Arabia. In this palace, she depicts the Turkish style of architecture in the following words: "We entered our large beautiful courtyard that had been designed by a famous Italian fashion designer, and over the years many of our Royal cousins had attempted to unsuccessfully copy the loveliness of this unique 'Turkish' room. The first thing one sees is a flowing waterfall at the back of the room. Clear water falls from it into a large circular pool full of exotic fish. A stone path encircles the pool and beautiful flowers tenderly cared for by our staff of gardeners, line the walkway. There are two raised sitting areas to left and right. Lush green foliage that was imported from Thailand drapes over the Rattan furnishings which are scattered with pastel colored cushions. Glass topped tables are set about in the sitting areas------a pleasant spot for family to enjoy morning or evening coffee." (3) There is a detailed description of the Turkish bath: "The Turkish bath house contains four baths, each one set in a different style and size. There are steps that led to each bath, and over one of the larger baths is an arched bridge made of stone. Steam was rising from the water and dissipating in the cool air".  "Kareem had awarded the physician with a new Jaguar and 50,000 pounds and his nurses were presented with gold jewellery from the souq along with 5,000 pounds each. The jubilant hospital administrator from Egypt received a substantial contribution to be used for the maternity wing. He was overjoyed with a bonus of three months' salary." (P-199, Princess) Before the delivery Sultana was taken to the hospital in Limousine car to cater her luxury and good health. The use of highly luxurious cars is a status symbol for the royals.
In Daughters of Arabia, there is special clinic for the royal members of Saudi Arabia for the treatment of princesses. Sultana's sister, Reema was getting her treatment in private so that common people could never learn about diseases and ill-health of the royal people. The clinic was often frequented by royal members when confidentiality was desired. It is mentioned that the clinic was acquainted with three princesses who routinely entered the clinic for treatment of alcohol abuse. Sultana informs how royals were always at a distance from the common people: In Mayada, Daughter of Iraq, Jean Sasson has presented the royal status of women belonging to such families. Mayada's mother, Salwa Al-Husri inherited the royal habits from her grandmother, Melek who was the first cousin of the Sultan of Ottoman Empire. Jean Sasson explains the grace and beauty of Melek in the following word: " Melek was a famous beauty with skin so white that it was guarded carefully from the rays of the sun and green eyes so brilliant that it was sad they flashed bright lights when she was angry.
Melek was so exceedingly wealthy that her riches made her arrogant......She was known to burn money, because she enjoyed the astonishment on the faces of the observers, and her home was so massive, with more than 70 bedrooms that after her death it was converted into an enormous hotel." (4) As the only daughter of Melek, Jamila inherited her mother's possessions, which she passed onto her daughters-Salwa, who passed those treasured items onto her own daughters-Mayada and Abdiya. Mayada inherited some valuable heirlooms and still possessed "Decoration of Perfection" presented to Melek by the Ottoman Sultan. This proclamation, consisting of document with the seal of the Sultan, was written in gold and said that on the occasion of Melek's eighteenth birthday she would be bestowed with various districts of land. The document came with cash and medal made of diamonds, pearls, rubies, sapphires and emeralds. Mayada had inherited one of the large diamonds and the document, but she was forced to sell the diamond in 1996 when she was living through sanctions in Iraq and desperate to feed her children. But Mayada kept the rare Ottoman document and hoped to pass it on to her own daughter, Fay.

Middle Class Women in Jean Sasson's Works
Hierarchically middle class people strive to gain position and prestige in the society by virtue of which they can cast their influence. Prestige depends on the respect we earn from the society. Some societies honor the wise and the humble, while the others the boastful and warlike. In modern technological societies, prestige is based largely on occupation and income. The professionals can earn good income and prestige thereby.
Jean Sasson has depicted a large number of women in her novels and works who strive and aspire for prestige, authority and influence. Mayada, daughter of Iraq, is portrayed in the same style. She belongs to the family of the Sultan of Ottoman Empire, but her present position is not out of common. Mayada wishes to lead a respectable life which her mother Salwa Al-Husri once enjoyed. Salwa's grandmother, Melek was the sister of the Sultan of Ottoman Empire. As a middle class woman, she aspires to rise to such a position where she can attain position, prestige and thereby cast influence her unique talents.
Due to her meager economic conditions after her marriage, she had to pursue the profession of journalism. Mayada Al-Askari makes mention of about 20 women in cell 52, Baldiyat prison-Samara, Roula, Wafae, Asia, Safna, Ahmed, Rasha, Eman, Sahr Siri, Dr. Sabah. Jean Sasson depicted these portraits of the middle class women who gained respect, prestige and influence in their respective societies but the autocratic regime of Saddam Hussein put them to tortures. These common women were all aspirants of prestige, respect and influence in the society of Iraq, but they were somehow denied by the cruel Iraqi rulers.
In Mayada, Daughter of Iraq, Jean Sasson presents these middle class women with lot of sympathy for one another in the prison. Mayada comments "We are comrades-in-tears." (P-179, Mayada, Daughter of Iraq) The shadow women in cell 52 of Baladiyat prison were all respectable women of middle class families. Jean Sasson describes these women who attained vulnerability but they were charged with false cases and put behind the bars.
Dr Sabah was born in a poor family; father, a simple worker in a cigarette factory on the outskirts of Baghdad and mother, an illiterate housewife. With the gift of intelligence and hard work, she earned Ph.D. degree in engineering. She explains her elevation in the following words: "She worked so hard at her new job that she was promoted to department head at the bank, which was a happy, happy day for her" (P-270, Mayada, Daughter of Iraq) But as ill-luck would have been, Munna and Safana, even being good and true, were dragged to Baladiyat prison. All the inmates of the 'cell 52' were good middle class women who could make their life comfortable through dedication, commitment and hard work. They were the source of joy and prosperity in their respective families. But despotic rulers of Iraq victimized the essential goodness of their characters and made them suffer intolerable tortures in Baladiyat prison. Jean Sasson presents the same middle class women in For the Love of a Son. Maryam, the protagonist of the novel, rebelled against the terrible second class existence that was her destiny as an Afghan woman. She knew what happened to her grandmother, Mayana and her three aunts. The terrible lives of her grandmother and her three aunts made her wish, she was a boy! As a feisty teenager in Kabul, she was outraged when the Russians invaded her country. She had to flee the country of her choice after she made a public show of defiance. She had a new lease of life in the States where she followed an arranged marriage. But she was always true to the aspirations of her father Ajab. She always loved and respected her father's voice, his conscience and his principles.
Jean Sasson gives us another woman portrait-the portrait of Maryam's mother Sharifa Hassen in the following words: "Sharifa Hassen was from a wealthy family held in high regard in Kabul. In fact her father held influence with the Royal family. Her family appeared modern and happy compared with my father's conservative family. She was an unusually ambitious girl. She had been one of the first women to enroll in medical school, although she had switched over to education. After graduation, she postponed marriage to assume a position teaching history and geography at the prestigious Malalai High School built specially for girls." (5) Maryam's mother was highly fashionable, broad minded, optimistic and highly affectionate lady. She describes her mother, Sharifa in the following words: "Her desire to emulate Sophia Loren influenced her makeup and dress sense too. Mother claimed that Sophia never appeared in public without full make-up and beautiful clothes so mother was extremely particular and never left home without a light powder on her face, her eye brows fashionably plucked and her lips perfectly lined with her favourite shade of dark pink." (P-60, For the Love of A Son) Jean Sasson depicts Kurdish middle class women in Love in a Torn Land with regal beauty and core hospitality. In this novel, Joanna's mother Kafia was endowed with exceptional qualities as described in the following passage: "She was a selfless mother, a devoted wife, a devout Muslim and an accomplished cook. She was so welcoming to visitors that our home was always filled with visiting relatives....... She was a regal beauty. Her skin was fair and her eyes dark and lively.... Even her hands were exquisite, with slender fingers and perfectly palmed nails. It was no surprise to me that she had won her husband's affection, despite the fact their marriage was arranged." (6) Jean Sasson in 'Love in a Torn Land', portrays middle class Kurdish women as highly hospitable to their guests. Joanna tells about her brother-in-law Hadi's aunty in Kurdistan that the family of Joanna was taken as honoured guests. Hadi's aunty cheerily escorted the guests to the back porch where she pointed out a bucket of fresh spring water, urging them to take a drink, wash and take a seat so that she could serve them food. The aunt told the guests warmly-"Guests bring good luck with them.... A visitor comes with ten blessings, eats one and leaves nine." (P-47, Love in a Torn Land) The writer describes Kurdish women in all their bravery and beauty living in a beautiful ambience of Sulaimaniya. Joanna, the protagonist of the novel, is presented as brave, bold and enterprising in taking the decision to be Peshmarga, the Kurdish fighter along with her husband, Sarbast. She exhibits the patriotic zeal as much as Sarbast does.
In Growing Up Bin Laden, Jean Sasson presents Najwa Bin Laden and her wives of Osama Bin Laden as middle class women of the Arabian Society. Najwa presents herself and her background in the following manner: vegetables. Our backyard was abundant with green trees bursting with delicious fruit." (7) All the wives of Osama Bin Laden were friendly to one another, as Najwa narrates, "Over the years the wives of Osama had become uncommonly dear to one another, considering we were married to the same man." (P-91, Growing Up Bin Laden) Further she tells, "Every morning the four wives of my husband would visit each other and chat for a while and then read religious texts." (P-96, Growing Up Bin Laden)

Women of Lower Strata-Maid Servants
Poverty stems from a person's location in labour markets and from broad changes in the economic system itself that have reduced the availability of certain types of employment in the specific region. That is, the poor are poor because they compete for jobs in sectors the economy that offers little security and pay very low wages. Most of today's poor are females. Girls and women-teenage mothers, single parents, divorced women of any age and elderly widows-are especially likely to have low incomes and exploitation. Even when they work full-time, and millions do, their wages are minimal and their bare needs are rarely covered in their income groups. Hence they remain standing on the threshold of poverty. As a result, the Saudi King Fahd had become furious at this insulting restriction. As such, under pressure, President Acquino failed in his noble effort. Young Pilipino was hired as housemaid. So they serve our men as sex slaves in addition to her household duties. As per Maha's information, Sultana found the heavenly harem of her cousin Faddel in his Paradise Palace and met them personally. Sultana describes the meeting of the girl of the harem in the following words: "The moment we stepped into the interior of the pavilion, we were surrounded by a large number of excited young women. Most looked Asian...... I looked closely at the young girls. Each one was beautiful, but their tawdry attire drew the eye to more than their beauty. Some were dressed in western style, halter tops and jeans, others wore sheer nighties. There was nothing glamorous about their harem apparels. Sadly, all of them were unbearably young." (P-129, Desert Royal) They were helpless prisoners in the harem. Their pathetic predicament could make any human heart melt. One of the younger girls informed Sultana about her helplessness in the following words: "But ma'am my own parents sold me to this man." (P-130, Desert Royal) Sultana feels the dismal plight of the girl and bewails there is no legality against the establishment of the harem, when she says; "Dismal thoughts flooded my thinking. Oh, Allah! What a land! What a people... We are so normally corrupt that young women are routinely held captive as sex slaves and incredibly, there are no legal means available for decent people to free these women. I felt hot with shame for my country and my countrymen." (P-137, Desert Royal)