I’m not interested in your words that undress me

Hijaab is about protecting one’s beauty, not enhancing it. To enhance implies a lack and a striving to accentuate to others what feels lackluster within. You don’t enhance something you embody, only something you idealize. The very feeling of not being good enough as is, is what’s harmful and not necessarily the methods of enhancement. So hijaab is not an externalization of the spiritual aspect in that one is protecting or dimming one’s beauty in the eyes of others so as not to draw attention. That mindset is still operating under the same assumption of the displacement of the self at the hands of others. It still places the locus of control on the outside.

Rather, hijaab is an external boundary to keep the profane and the mundane out, and to preserve the sacred feminine within. It’s to subvert the ways in which dominance establishes itself as an authority, by making a statement that waits for no answer. It’s self-defining and self-sustaining as it refuses to meddle in the pernicious nature of the lustful assessment of one’s being by others. Hijaab is a stopgap that prevents the internalization of conditionality and being consumed (by the gaze of others) in compartmentalized parts. It ties together the holism inherent to the divine feminine like a circle with no beginning or end. It’s a reminder that there is a hidden aspect to everything, and that sensory perception isn’t omniscient. It puts the mind in its lane and reminds it of its capacity because it was never meant to gauge and decipher the higher meanings of life. And the woman is a higher meaning of life.

A still from the romantic thriller Rebecca (1940). Directed by Alfred Hitchcock

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