I was astounded by how much vitriol my piece generated from Muslims who, to paraphrase, told me I had no right to question why some of their women appeared to live more constrained lives than men. I was falsely accused of being a Muslim-hater, of conjuring up spurious conclusions based upon my own, unrepresentative story. This collective anger which led some women to email me privately to tell me how devotedly they loved their faith erupted even though I had stressed in my piece that I saw this primarily as a question of women's rights, being an example of males imposing values of obey and protect upon females, which happens in non-Muslim arenas too. Because of the backlash, which I had not expected, believing I was simply involved in a debate about women of all faiths and cultures being free to live as they choose, I have avoided the subject ever since, with a self-imposed vow of silence. Until now - because, last week, I saw a new film whose themes include the rights of women under Islam, but this time from the point of view of a film-maker who is both Pakistani and male. Khuda Kay Liye In the Name of God revolves around the story of a British Pakistani girl, whose dad tricks her "back home" on the pretext of a holiday, before forcing her to marry her fundamentalist first cousin.
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He tried his best lines to charm her and they worked. But as she smiled and the two made conversation, one thought tormented her: It was at this time that she came to the United States. But it was too late. She was already falling for Saks; soon enough, the two were making plans to see each other again. The date went so well that he postponed his flight for a week later; the two met every day while he was in Redwood City. There was no turning back; hereon their relationship went from strength to strength.
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