Djebar has artfully created a uniquely Islamic "ecriture feminine" that revises and revisits early Islamic herstory. Far from Medina was recently adapted as an opera in Europe with Djebar writing the libretto; unfortunately they had a difficult time casting due to Rushdie-esque fears of fundamentalist reprisals.

About life in front of and behind the veil, this book presents a compelling read: the body becomes the battleground for men and women to take ownership of their own bodies, and in some ways, consequently their own minds. I was considering this book for a world literature class, but the sex scenes are a little risque for 10th grade. However, those scenes are not gratutious--they have their place in this book. Perhaps, however, not for 15 year olds, just yet. Djebar writes the book in both first person narrative and directive narrative (second person)--what results is that we're inside the head of one woman and the commanding voyeur with the other. Djebar makes us uncomfortable looking in and directing a woman who clearly wants to escape such structures. What we're left with is an uncomfortable with our positions, but the wiser for having become uncomfortable. A great read! Well worth it.

I thought this book was pretty good. It is a story that follows two women, both wives of the same man. When Hajila sees an "unveiled woman," she too, wants a life "beyond the veil." This book does a good job of describing some of the traditional restraints placed on these women, and how they work to escape them.

I bought this book hoping to find info about the algerian writers mentioned on the back cover, what I found was more interesting.. detailed info about the turbulance in algeria, personal experiences,stories and very important history of a sister country our arab jounalism failed to report and/or bring to us. I was happy to have bought the book.

This is the first novel written by an Algerian, man or woman, that I have ever read. I suspect that could be true for many readers. As a new voice in my world of literature, then, it's an important book. I saw FANTASIA as a kaleidescope, though, always producing patterns and colors, always arranged, but not always understandable. I found it very hard to judge this work because it has many facets, like a shifted kaleidescope.

***** Five stars for the idea or conception of the novel, for language (if it is well-translated), for the whole effort of bringing a woman's perspective on colonialism, on revolutionary struggle, and on tradition. Djebar is obsessed with the "word", especially the written word and its strength. "The word is a torch; to be held up in front of the wall of separation or withdrawal..." Words preserve and pass on memories, tragedies, pain, love and lack of love. Words hold the keys to Algeria's past, the world shattered by the French invasion and conquest of the mid-19th century, when 25 years of war ruined the country. But the French conquerers wrote of it, much more than the Algerian defenders. Their words must be mined for the reality, we must forge the Algerian view from the 'ore'. Words again unite the Algerian women and men who fought France in the 1950s. But those very French words, the language of the conquerers and destroyers, are used to pass on here, in this novel, the very heartfelt, most intimate emotions of the author. She speaks of this. Perhaps silence is more powerful, implying resistance. "Writing does not silence the voice, but awakens it, above all to resurrect so many vanished sisters." Those are the sisters who didn't know French, who could not speak out from their cloistered existence.

****For bringing Algerian history to life from an Algerian perspective, and an Algerian woman's view at that, a woman who, through an educated father and schooling escaped the enclosed future that awaited her. The struggle, the never-ending resistance to the occupation of their land.

***The plot of a novel is a fishing line with some attractive hooks for catching readers. If this line is broken too often, no fish can be caught. The novel becomes a collection of beautiful fragments, leaving the reader to imagine what it could be if it were all joined somehow. FANTASIA suffers from a too intricate sub-division of the voices. It is a layered approach, the conflict between two worlds---a conflict that entered even into the author's soul--- it is effective poetically, but not as prose....we lose track of who is saying what, who is related to whom, where everyone fits in. Overall Djebar reaches us, but the novel has an abstract quality that does not emotionally involve us much with any characters.

This book is a waste of paper. It is extremely hard to follow and it actually puts me to sleep when I read it.

I started reading this book with the expectation that I would learn about women in a culture totally different than mine. Instead, I read the story of a lusty, rich, worldly woman with no sense of morality. Then it gets incredibly dry as the author launches into a historical story from the middle ages. Very boring, and I heartily do NOT recommend this book.

I read the book without knowing what the subject would be. I was happy to find the same style Assia Djebar has acustomed us with. True I didn't see myself in the main character but I could see Algerian women of pre and post-revolution, mostly the city women. I don't think that this book gives a picture of another culture like the previous previewer was hoping to find. Also, the book was translated from French. I would recommend this book to anyone who is interested in reading about an Algeria that is not darkened by the stereotype of today, fundamentalist, terrorist...