Dr. Abir Riad Tahsildar,
English Department, Faculty of Letters and Human Sciences, Lebanese University, Lebanon
Abstract
This article examines the paradox of female agency and anonymity in Rajaa Alsanea’s Girls of Riyadh (2005), arguing that while the novel appears to celebrate women’s emancipation through digital self-expression, its very reliance on anonymous e-mail narration reveals the enduring power of patriarchal silencing in Saudi society. The narrator’s decision to conceal her identity, even as she exposes the intimate lives of other women, underscores a complex negotiation between empowerment and fear, visibility and censorship. Thus, Girls of Riyadh becomes not merely a tale of liberation but a testament to the incomplete realization of female agency in a culture that continues to control women’s voices. Adopting a feminist literary and postcolonial approach, this study explores how Alsanea’s narrative form reflects the broader struggle of Arab women writers to claim authorship within restrictive cultural frameworks. The methodology is grounded in close textual and thematic analysis, with particular attention to narrative voice, characterization, and the construction of female subjectivity. Drawing on theories of female authorship (Gilbert and Gubar), the politics of voice (Spivak), and cyberfeminism, the research situates Girls of Riyadh within the continuum of Arab women’s literature that oscillates between resistance and compliance. By foregrounding the contradiction between the appearance of voice and the reality of concealment, this article challenges triumphalist readings of Alsanea’s work and instead positions Girls of Riyadh as a reflection of a society in transition—one in which women’s voices are emerging, yet still constrained by the invisible boundaries of patriarchy.
Keywords: Girls of Riyadh, Anonymity, Agency, Patriarchy, Arab Women’s Fiction
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- Introduction
1.1 Background of the Study
In recent decades, Arab women have increasingly sought to assert their presence and agency across various domains, particularly within the Gulf region and most notably in Saudi Arabia. The question of social openness and transformation in Saudi society has emerged as a central topic of public and academic discourse, finding powerful expression in contemporary literary production. Among the works that address this theme is Girls of Riyadh by Rajaa AlSanea, first published in Arabic in 2005 and later translated into English in 2007. The novel provoked both acclaim and controversy, as it portrays a Saudi society undergoing profound transition. Through its depiction of the complex experiences of Saudi women, Girls of Riyadh reveals the persistent tension between tradition and modernity and illustrates the ways in which women negotiate and challenge the restrictive boundaries imposed upon them by their cultural context.
Rajaa AlSanea, born in 1981, is a Saudi Arabian novelist and dentist. She holds a bachelor’s degree in dentistry from King Saud University and a Ph.D. in Endodontics from the United States. Motivated by her passion for literature, AlSanea authored her first novel, Banat Al-Riyadh (2005), which was later translated into English in 2007 under the title Girls of Riyadh. The novel offers a revealing portrayal of Saudi society, presenting aspects of women’s lives that had seldom been exposed to Western audiences. Although it initially faced censorship in Saudi Arabia due to its controversial themes, Girls of Riyadh ultimately achieved international recognition and became a bestseller (Wahab, 2006).
The novel’s plot centers on four young Saudi women whose lives are narrated through weekly e-mails sent by an anonymous female narrator. These e-mails document their struggles with love, social expectations, and the restrictive norms of their society. Three of the main female characters experience social rejection as a result of their personal choices. Gamrah enters into an arranged marriage and travels with her husband to the United States, only to discover his infidelity upon arrival. She eventually returns to Saudi Arabia, burdened by the pain of betrayal and further marginalized by society for being a divorced woman. Similarly, Sadeem faces societal condemnation after her fiancé ends their engagement when she violates the traditional expectation of maintaining her virginity until marriage. In contrast, Michelle, who is of mixed Saudi and American heritage, embodies a more liberal and independent spirit. Her romantic relationship with a Saudi man fails due to his family’s disapproval of her bicultural background, prompting her to move abroad in pursuit of personal and professional fulfillment. Lastly, Lamees dedicates herself to her studies and career, ultimately marrying a man who respects her ambitions. Her relationship represents the most balanced and mutually supportive partnership among the group, symbolizing a more progressive vision of womanhood within the novel.
The novel has elicited diverse critical responses, most of which commend its boldness—particularly its portrayal of female characters who demonstrate agency and the determination to confront societal constraints and assert their identities. The following selected quotations, taken from the first page of the novel (AlSanea, 2007), reflect various critical perspectives:
“Girls of Riyadh is so juicy it’s been called Saudi Arabia’s Sex and the City.” __ Glamour
“A taboo-breaking novel.” __ The Washington Post
“Girls of Riyadh….is one of those rare books with the power to shake up an entrenched society.” __Los Angeles Times
1.2 Statement of the Problem
As observed in the quotations above, Girls of Riyadh is frequently praised for its portrayal of female agency and its bold representation of women who challenge social conventions. However, this study contends that despite these apparent signs of empowerment, the novel simultaneously exposes the persistence of female subordination in Saudi society. The fact that the women’s stories are narrated anonymously underscores the enduring limitations imposed on women’s voices. This narrative choice suggests that the Saudi woman remains in a subaltern position—silenced, marginalized, and constrained by cultural expectations. Consequently, rather than presenting complete liberation, Girls of Riyadh reveals the ongoing tension between visibility and suppression that continues to shape Saudi women’s experiences.
1.3 Purpose of the Research
The aim of this study is to demonstrate that women in Saudi Arabia continue to live under social and cultural constraints, despite their ongoing efforts to assert their agency and voice. It emphasizes the persistent influence of societal norms and expectations on women’s choices and behaviors, illustrating how the collective perception of women within Saudi society continues to shape and define the trajectories of the female characters’ lives.
1.4 Research Questions
- How does the depiction of anonymity in the novel reinforce the idea that Saudi women’s liberation remains incomplete and conditional?
- How does the anonymous narrative voice in Girls of Riyadh reflect Spivak’s notion of the subaltern woman who “cannot speak” or who “are not being heard”?
- Literature Review
2.1 Previous Studies
This section reviews a selection of literary studies on Girls of Riyadh in order to highlight the main concepts explored in previous research and to identify the scholarly gap that the present study seeks to address.
Several studies emphasize the themes of female agency and voice. For instance, a recent study conducted in 2025 by Yahya Al-Wadhaf, entitled “Girls of Riyadh Narrating the ‘Velvet Class’ in Saudi Arabia,” examines the novel through Bakhtin’s concept of double-voiced discourse. By applying Bakhtin’s notions of dialogism and double-voiced discourse, Al-Wadhaf demonstrates how the novel both interrogates and engages with prevailing patriarchal and tribal ideologies. The interplay among the voices of the author, narrator, and characters generates a counter-narrative that challenges the presumed singular authority of traditional discourse.
Similarly, the study “Islamic Feminism at the Crossroads between Apologetics and Defending Women: Rajaa Alsanea’s Girls of Riyadh in Context” (2023) explores how the female characters seek independence while remaining connected to their cultural and religious values. The study concludes that Islamic feminism, as represented in the novel, prioritizes the defense of women over the defense of Islam.
In a postmodern reading of the novel, ElHadji C. Kandji (2007) highlights how the female narrator’s cyber-activism challenges dominant sociocultural norms and dismantles patriarchal discourse in Saudi society. Within the novel, the Internet emerges as an effective platform for giving voice to the silenced and for navigating restrictive social structures.
Further research examines the role of cyberspace as a medium of feminist empowerment. The study “Internet and Cyberspace as a Means of Feminist Empowerment: A Cyberfeminist Study of Girls of Riyadh by Rajaa Alsanea” investigates how female characters use virtual spaces, particularly e-mails, to subvert patriarchal norms and expectations. By leveraging anonymity and connectivity, these women create spaces for self-expression, mutual support, and resistance, demonstrating that cyberfeminism can serve as a powerful tool for women in conservative contexts to articulate their voices and advocate for social change.
Conversely, other studies argue that reliance on cyberspace and anonymity also underscores the continued oppression of Saudi women. The act of expressing oneself from behind a virtual or concealed identity reveals the persistent limitations imposed by patriarchal structures. Joel Gwynne (2013), in “The lighter that fuels a blaze of change: Agency and (cyber)spatial (dis)embodiment in Girls of Riyadh,” contends that the belief that young women can freely express their identities simply because they have access to new technologies is illusory.
While numerous studies have examined the ways in which female characters in Girls of Riyadh resist patriarchal norms, research also indicates that even when these characters utilize cyberspace as a platform for expression, their voices remain constrained. Building on this perspective, the present study situates the female characters as a subaltern group, following Spivak’s framework. Their use of anonymity to narrate personal experiences simultaneously mutes their voices; even when expressed, these voices are only partially heard. Consequently, this research contributes to the field by analyzing Girls of Riyadh through the lens of Spivak’s Can the Subaltern Speak? a perspective that, to the best of current knowledge, has not yet been applied to this novel.
2.2 Theoretical Framework
Spivak’s essay “Can the Subaltern Speak?” was written in response to the practice of sati, a ritual in which a South Asian woman—particularly within Hindu communities—was expected to immolate herself on her husband’s funeral pyre (Jain, 2018). Although the practice was officially abolished in 1987, four instances were still recorded between 2000 and 2015 (Jain, 2018). This reality underscores Spivak’s critical assertion that “the women actually wanted to die” (Spivak, 1988), a statement she employs to expose the complex layers of coercion and representation that silence subaltern women. In her essay, Spivak ultimately concludes that subaltern women cannot truly “speak,” as their voices are either suppressed or mediated by dominant power structures—namely colonial authorities and patriarchal systems. Even when they attempt to express themselves, their voices remain unheard or misrepresented.
As a result, Spivak’s point of view is relevant to fulfil the objective of this research which is to demonstrate that the female characters in Girls of Riyadh are not genuinely heard, even when they attempt to express themselves within the ostensibly liberating space of cyberspace. Although the digital realm provides women with a platform for self-expression and a degree of freedom unavailable in their physical environment, it simultaneously reinforces existing forms of oppression. One indication of this is the women’s reluctance to write under their real names, opting instead for anonymity or pseudonyms to voice their experiences. Furthermore, despite their virtual presence, women continue to feel constrained by patriarchal control—for instance, a woman’s extended online activity may provoke suspicion or questioning from her male partner, reflecting the persistent surveillance and authority of men even within digital spaces.
- Methodology
This research employs a qualitative, interpretive literary approach grounded in postcolonial theory. Using Gayatri Chakravorty Spivak’s concept of the subaltern from Can the Subaltern Speak? (1988) as its main theoretical framework, the study analyzes how Girls of Riyadh (2005) negotiates the tension between voice and silence, empowerment and subjugation, within the context of Saudi patriarchy.
The analysis is based on close textual reading of the English version of Girls of Riyadh (2007), focusing on narrative voice, characterization, and representations of female subjectivity.
The study proceeds through three main stages: first, identifying the relevant excerpts from the novel and narrative strategies that construct female subalternity; second, examining the themes of anonymity through digital communication and social restriction; and third, applying Spivak’s framework to assess how the novel reflects the subaltern woman’s struggle for agency.
This approach enables a deeper understanding of how Alsanea’s narrative both challenges and reproduces patriarchal power through its portrayal of women’s mediated voices.
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- Discussion and Analysis
This section addresses the research questions outlined at the beginning of the study by examining the novel and, in particular, the excerpts that reveal the continued limitations placed on Saudi women’s freedom. Contrary to many previous studies—which have predominantly celebrated the novel’s depictions of taboo-breaking behaviors and the apparent transcendence of social restrictions—this analysis argues that Saudi women remain subject to pervasive patriarchal control, regardless of the degree of liberation they appear to attain. Moreover, this section demonstrates that, despite their attempts to articulate their experiences, Saudi women continue to be rendered unheard, echoing Spivak’s assertion in “Can the Subaltern Speak?” that the subaltern woman’s voice is structurally denied meaningful recognition. This discussion is organized into two subsections: the first examines the ways in which Saudi women’s freedom remains constrained, and the second explores the mechanisms through which their voices continue to be silenced.
4.1 Constrained Liberation
The first indication that the Girls of Riyadh experience a form of growing—yet still constrained—liberation appears in the narrator’s decision to compose and disseminate anonymous emails through a listserv. She declares, “I’ve decided to change all the names of the people I will write about…” (Alsanea, 2007, p. 2), using the email account seerehwenfadha7et (meaning “the secret is revealed”). This constitutes a deliberate act of self-censorship: although the narrative is articulated, the identities of both narrator and subjects remain obscured to evade social and legal punishment. The anonymous email thus functions as a counter-narrative, offering a platform for voices and experiences that are otherwise silenced.
Similarly, Michelle’s car serves as a symbolic representation of the partial freedom available to Saudi women. Driving the SUV constitutes a tangible violation of gendered social norms; however, the dark-tinted windows simultaneously create a shielded, private interior that reflects the conditional nature of her mobility. Michelle’s professional achievement—working in media and becoming a producer—further illustrates this incomplete emancipation. She experiences a sense of genuine liberation: “for the first time she felt truly liberated from all the restrictions that had always been imposed on her” (Alsanea, 2007, p. 207). Nonetheless, her father initially prohibits her from hosting a program in Saudi Arabia, a role later assigned to a “young Lebanese woman.” Patriarchal authority thus denies her access to a local public platform and restricts the scope of her voice.
Gamrah’s experience further exemplifies this phenomenon of curtailed autonomy: “Gamrah was not even allowed to leave the house by herself. And in her rare visits to Sadeem’s house, her mother insisted that one of her brothers deliver her in person and bring her back even though the driver was always around” (Alsanea, 2007, p. 174). These constraints extend beyond physical mobility to digital surveillance and emotional control, as reflected in Firas’ messages to Sadeem: “Why are you avoiding me? Why do you take so long to answer my message? … I don’t want you to talk to anyone but me. … I’m a very jealous man” (Alsanea, 2007, p. 154). Such communication underscores the pervasive authority men exert over women, reinforcing expectations of obedience and exclusive loyalty.
This dynamic is further exemplified by men’s preference for women who appear fragile, inexperienced, and compliant—“a bird with a broken wing”—signifying an idealized femininity rooted in powerlessness. As the narrator explicitly states, “the Girls of Riyad have been forbidden many things” (Alsanea, 2007, p. 231), underscoring the structural limitations that persist despite appearances of modernity or autonomy.
Through the lens of Spivak’s theory, the women in the novel exhibit moments of attempted expression and partial liberation, yet the overarching system continually mitigates, redirects, or silences their voices. Their liberation remains incomplete precisely because the structures governing their lives do not allow their speech to carry authoritative weight.
4.2 Being Unheard
The subaltern woman in the novel is marginalized not only through patriarchal authority and restricted freedoms but also through a systemic erasure of her presence and voice. Within the legal framework of marriage, for example, female agency is institutionally diminished: “… not being allowed to sign her name was dismissed… The men are the only ones who sign their names” (Alsanea, 2007, p. 31). Sadeem’s use of a fingerprint in lieu of a signature symbolizes her reduction from a legal subject to a passive object—an entity whose identity and will are deemed irrelevant. This transformation reflects her subaltern position within a national and social structure that does not recognize her autonomy.
The emotional and social invisibility of women is equally evident. After Gamrah’s wedding, Rashid repeatedly disregards her presence and emotions: he acts “as if she didn’t even exist…” (Alsanea, 2007, p. 77). Similarly, Sadeem’s worth becomes invalidated once she is labeled a divorcee. Her anguish at Firas’s marriage to another woman highlights this erasure: “How was it possible for Firas to marry someone other than her? … Did it make any sense that a man of Firas’s strength and resourcefulness was unable to convince his family that he could marry a divorced woman?” (Alsanea, 2007, p. 209). Regardless of her love or suffering, Sadeem is excluded from the decision-making process; she is neither consulted nor considered. Her voice is rendered ineffectual within a patriarchal system designed to center male authority.
This condition mirrors Gayatri Spivak’s assertion that the subaltern “cannot speak” in the political and epistemic sense—not because she lacks the capacity for speech, but because the surrounding structures prevent her voice from producing consequence. In Girls of Riyadh, the female characters’ attempts at expression are continually muted, dismissed, or overridden, reinforcing their position as unheard subjects within both private and public spheres.
- Conclusion
This study set out to examine Girls of Riyadh through the lens of Gayatri Chakravorty Spivak’s concept of the subaltern, with the objective of demonstrating that the novel, despite its seemingly progressive portrayal of Saudi women, ultimately reveals the persistence of structural silence and patriarchal domination. Through the analysis of anonymity, constrained mobility, digital expression, and the gendered distribution of authority, this research has shown that the liberation depicted in the novel is partial, conditional, and continually mediated by social expectations. While earlier scholarship has often highlighted the empowering dimensions of cyber-activism, taboo-breaking behaviors, and female agency within the text, this study argues that such expressions remain embedded within—and limited by—the patriarchal mechanisms that shape Saudi women’s lives.
The novel’s reliance on an anonymous narrator encapsulates the central paradox examined in this paper: the women’s stories are told, yet the tellers cannot fully reveal themselves. Their speech is voiced but lacks authoritative presence; their experiences are communicated but not recognized within the structures that govern their social existence. This echoes Spivak’s assertion that the subaltern woman “cannot speak” in any meaningful political sense, as her voice does not generate consequences, disrupt dominant discourse, or alter the conditions of her marginalization. The characters’ reliance on concealed identities, encrypted communication, and private spaces—whether physical or digital—underscores the limits of their agency and the ongoing need to negotiate their autonomy within restrictive cultural frameworks.
Moreover, the close reading conducted in the analysis section highlights how patriarchal authority continues to shape the trajectories of the female characters’ lives. Their movements, choices, relationships, and futures remain subject to familial, social, and legal constraints. Even in moments where they appear to exercise independence—such as driving, pursuing careers, or narrating their experiences—these actions are framed by conditions that reaffirm their subordinate position. Their voices are expressed only to be dismissed, questioned, or overshadowed, revealing the subtle yet pervasive mechanisms through which female subjectivity is marginalized.
By applying Spivak’s theoretical framework to Girls of Riyadh, this study contributes a new perspective to existing scholarship by illuminating the tension between visibility and erasure that characterizes the novel’s portrayal of Saudi women. The text does not simply celebrate women’s resistance; it exposes the fragility of their gains and the entrenched nature of the structures that silence them. Ultimately, the novel reveals that Saudi women’s liberation remains incomplete—not for lack of aspiration or expression, but because the discursive and institutional systems surrounding them continue to deny their speech the power to be heard.
In presenting this tension, Girls of Riyadh emerges as a work that not only narrates women’s lives but also critiques the very conditions that confine them. The novel underscores the urgency of reimagining social, cultural, and legal frameworks in ways that allow women to speak without concealment and to be recognized as authoritative subjects of their own experiences. Until such recognition is achieved, the voices of Saudi women—as depicted by AlSanea and interpreted through Spivak—will continue to resonate from the margins, heard only partially and received without full consequence.
References
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