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The Sheik has an omniscient third-person narrator, but that narrator spends most of the novel elucidating only Diana’s feelings, meaning that the reader is trapped inside her head during those rapes. While, yes, Hull uses words which traditionally serve as signifiers of sexuality—words like “flaming,” “burning” and “throbb[ing]” (Hull 57)—Diana’s overwhelming feeling is terror: “Terror, agonising, soul-shaking terror such as she had never imagined, took hold of her. [ . . . ] She understood his purpose with a horror that made each separate nerve in her system shrink against the understanding that had come to her” (Hull 57-8). After her first rape, she scrubs herself in the bath, “striving to rid herself of the contamination that seemed to have saturated her” (Hull 63). I do not think that this bodily self-disgust can be considered part of a romantic fantasy.

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Considering the novel’s otherwise fantastical treatment of the situation, the lengthy, in-depth exploration of the humiliation, self-disgust, and self-blame which follow Diana’s rapes is jarring. Many feminist scholars have interpreted the rapes merely as a way for Diana (and the reader living vicariously through her) to experience sexuality without having to accept responsibility for it (Teo 90). However, I find this argument inadequate to describe Hull’s intentions because of the very brutality of those rapes. Diana never enjoys them, and the amount of page time they take up signify their thematic importance to the novel. Free of the forced impartiality of the camera, a novel, unlike a film, can easily inhabit a character’s interiority

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The novel’s characterization of Lady Diana Mayo—with her boyish independence, her defiant refusal to ever marry, and her “thick crop of loose, red-gold curls that she wore short” (Hull 4)—positions her as a woman who aspires to being treated like a man. Diana is seen by scholars like Billie Melman as an early incarnation of the flapper and by scholars like Ann Ardis as a late incarnation of the New Woman (Teo 89). Diana becomes symbolic of the hopes of women after World War I—around the time of the granting of women’s suffrage in Britain—for a more egalitarian society, which makes her quick downfall such a depressing commentary on real-life women’s potential. When Diana decides to take a trip into the desert with only an Arab guide for company, the sheik Ahmed Ben Hassan, a mysterious figure whom Diana has never seen but who is obsessed with breaking her, bribes her guide to bring her to him instead.

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