Desert Flower: The Extraordinary Journey of a Desert Nomad

“Barefoot, and wearing only a scarf draped around me, I ran off into the black desert night. I didn’t know which direction led to Mogadishu, so I just ran.”

At only 13 years old, Dirie runs into the desert, traveling for miles with no possessions, food, or water. Dirie’s resilience through this journey, part of the broader theme of Resilience and Determination, is signaled here, as is her determination to improve her life rather than accepting her betrothal to her father’s 60-year-old friend. Though she doesn’t know what she’s running toward—symbolized by the black desert night—she knows it is better than the future her family has planned for her.

“‘Oh, please, please, no,’ I begged. I wrapped my skinny legs around each other like pretzels and locked them shut. He grappled with me and tried to force them apart. Then, as he wasn’t successful with this attempt, he drew back his hand and slapped me hard across the face. I let out a shrill scream that the air carried away as the truck sped into the night. ‘OPEN YOUR FUCKING LEGS.’”

Dirie is raped as a very young child, and attempted rapes, including this one, happen twice on her journey to Mogadishu. Dirie believes that the culture of FGM is perpetuated by the aggression and ego of men and their desire to control women. She suggests that the culture of rape that exists in Somalia is rooted in this same misogyny, which characterizes women as objects to be used for male pleasure and control.

“Those evenings are my favorite memories of Somalia: sitting around with my mother and father, sisters and brothers, when everybody was full, everybody was laughing.”

Dirie fondly remembers evenings with her family after long days of work and simple dinners of camel’s milk. The happiness of her family despite their poverty and lack of a permanent home supports Dirie’s belief that a simple life lived in nature leads to contentment and peace. She contrasts this with the relative wealth and comparative unhappiness of so many people in America. This alludes to the theme of The Cultural Differences Between Africa and the Western World.

“Our greatest pleasure, though, was pure joy at being a child in the wilderness, the freedom to be a part of nature and experience its sights, sounds, and smells.”

Once again, Dirie emphasizes that a simple life and connection to nature bring peace and happiness. This is illustrated through her childhood in Somalia, spent playing with her siblings and enjoying the sensory experience of the desert. This alludes to the theme of The Cultural Differences Between Africa and the Western World.

“Having food was not something we took for granted; I always appreciated mine, savoring each bite with pleasure.”

Dirie further characterizes the poverty of her childhood through their excitement and gratitude at having food to eat; usually, camel’s milk was their only sustenance. This contextualizes Dirie’s later amazement at the grocery stores and department chains in London and New York. This quote alludes to the theme of The Cultural Differences Between Africa and the Western World; Dirie later marvels at the unhappiness of Americans despite their relative wealth and access to plentiful food.

“Abruptly, Guban’s face came between me and the Milky Way; he squatted between my legs and yanked up the little scarf wrapped around my waist. Next I felt something hard and wet pressing against my vagina. I froze at first, not understanding what was happening, but I knew it was something very bad. The pressure intensified until it became a sharp pain.”

Resilience and Determination are showcased tragically through Dirie’s rape by Guban at around five years old; she survives this incident but must see her rapist frequently throughout her childhood. This incident also illustrates the misogynistic culture surrounding women in the nomad communities of Somalia; according to Dirie, women are viewed as chattel to be controlled and exploited by men. This prevailing view and the widespread nature of rape contribute to the practice of FGM, which is viewed as a way to safeguard women’s virginity and prevent extra-marital sex. This scene proves that FGM doesn’t even achieve this goal, as it doesn’t prevent Guban from raping Dirie.

“When I first came to London, I was mystified by the connection between people staring at their wrist, then crying, ‘I’ve got to dash!’ I felt like everyone was rushing everywhere, every action was timed. In Africa there was no hurry, no stress. African time is very, very slow, very calm.”

Dirie identifies watches as symbolic of the Western world’s time-poor culture, where people are constantly rushing from one appointment to another. She contrasts this perception of time as finite and carefully planned with the African perception of time as infinite and flexible. She believes that the lack of strict time-keeping in her childhood in Somalia led to a more peaceful life and critiques the stressed and strung-out lifestyles of the Western world.

     “When we got up in the morning, we decided what we’d do that day, then did that task the best we could until we finished or the sky grew too dark for us to see.”

Dirie’s life has allowed her to identify The Cultural Differences Between Africa and the Western World, one of which is timekeeping. Dirie praises the task-focused and calm way of life in her childhood in Somalia and juxtaposes it with the time-focused, rushed style of living in London and New York. As watches and clocks symbolize this regimented, Western view of time, this description uses natural imagery of the sky growing dark to signify a day’s end. Similarly, she contrasts the idea of business with her tribe’s focus on a single task each day, specifically using the singular pronoun “that.”

“The actual details of the ritual cutting are left a mystery—it’s never explained to the girls. You just know that something special is going to happen to you when your time comes.”

Girls are intentionally shielded from the distressing and traumatic details of FGM, as it is considered a necessity and therefore easier to perform without preexisting terror or reluctance. This means that Somali girls often look forward to their FGM with excitement and anticipation, eager to be viewed as women rather than as unsanitary girls.

“I saw dried blood on the jagged edge of the blade. She spat on it and wiped it against her dress. While she was scrubbing, my world went dark as my mother tied a scarf around my eyes as a blindfold. The next thing I felt was my flesh, my genitals, being cut away. I heard the sound of the dull blade sawing back and forth through my skin.”

Dirie intentionally depicts her FGM procedure in vivid and disturbing detail, emphasizing The Pain and Trauma of Female Genital Mutilation. This reflects her belief that publicizing the issue, particularly to those in the Western world who are largely unaware of it, is an important strategy in eradicating the practice. Furthermore, this description illustrates the cruel manner in which this major procedure is usually carried out. 

“I turned my head toward the rock; it was drenched with blood as if an animal had been slaughtered there.”

The extent of Dirie’s blood loss is emphasized through the verb “drenched,” which carries connotations of enormous hemorrhaging. The reader is positioned to recognize the severity and invasiveness of this procedure through the extent of Dirie’s blood loss. The simile comparing the procedure to animal slaughter reinforces the dehumanizing nature of FGM.

“My genitals were sealed up like a brick wall that no man would be able to penetrate until my wedding night, when my husband would either cut me open with a knife or force his way in.”

Dirie explains that the violence of FGM inherently necessitates further violence on the girls who are subjected to this traumatic procedure, as their future husbands need to reopen their wounds, one way or another. Typical romantic notions about wedding nights are juxtaposed with the vicious reality, reinforced through Dirie’s use of simile in comparing her genitals to an impenetrable brick wall. Dirie illustrates that The Pain and Trauma of Female Genital Mutilation is a lifelong affliction.

“I barely remember my sister Halemo. I was around three, and I remember her being there, then she wasn’t there anymore, but I didn’t understand what had happened to her. Later I learned that when her ‘special time’ came, and the old gypsy woman circumcised her, she bled to death.”

Dirie’s sister, Halemo, is a symbol of the broader loss of life among the girls who are subjected to FGM. Furthermore, there is intentional silence in communities that engage in FGM around the pain, trauma, and loss of life that occurs as a direct result of the procedure. It is significant that Dirie only learns later, after her own FGM, that her sister died of the procedure. Dirie uses a euphemism, “special time,” to reinforce the silence and deception required to maintain FGM as a cultural practice.

“‘And besides’—Papa grinned proudly—‘do you know how much he’s paying for you? ‘How much?’ ‘FIVE camels! He’s giving me FIVE camels.’ Papa patted my arm. ‘I’m so proud of you.’”

Dirie establishes the status of women as commodities and chattel to be bartered for by men, revealing that she is to be sold to her future husband in exchange for five camels. According to Dirie, FGM is perpetuated by the status of women as sexual objects to be controlled. The Pain and Trauma of Female Genital Mutilation is obliquely referred to as an important theme here.

“I can clean! Tell him to take me to London, Auntie! I want to GO!”

Dirie’s determination to leave Somalia for England, part of the broader theme of Resilience and Determination, is characterized by her passionate insistence that her aunt advocates for her. This opportunity changes the course of Dirie’s life. The exclamation points and use of all caps in “GO” emphasize the urgency of her desire to leave.

“‘I just want you to know that all I want to do is take her picture.’ He pointed at me. ‘I’ve been following this little girl for over two years, and never have I had such a hard time just to take a photograph.’ I stared at him with my mouth hanging open. ‘That’s it?’”

Dirie is suspicious of Malcolm Fairchild’s motivations for following her. This is shaped by Dirie’s formative experiences, which have led her to believe that men are predatory and dangerous. She is relieved to learn that Malcolm just wants to take her photo. This signals the beginning of Dirie’s modeling career, as Malcolm sends the photos to agencies, which leads to her first job.

“It was as if the stitches prevented any man from entering me—physically or emotionally.”

This illustrates that Dirie’s FGM has become a metaphorical as well as a literal block to forming emotional or romantic connections with men. This fuels Dirie’s loneliness and stymies her hopes of a romantic relationship and a family. The Pain and Trauma of Female Genital Mutilation is referred to as an important theme here; Dirie emphasizes the long-term consequences that the procedure had on her.

“The menstrual blood backed up in my body the same way the urine did. But since it was continuously flowing—or trying to—for several days, the pressure of the blockage was excruciating. The blood came out one drop at a time; as a result, my periods usually lasted for at least ten days.”

Dirie continues to emphasize the long-term consequences of FGM on her life as an adult, including extremely painful menstrual periods. Dirie intentionally exposes her readers to the details of her physical and emotional pain, using ethos and pathos to raise awareness about the damaging practice and work toward abolishing it.

“He said to me, ‘Well, if you really want it, they can open you up.’

I just stared at him.

‘But do you know this is against your culture? Does your family know you’re doing this?’

‘No. To tell you the truth, no.’

‘Who do you live with?’

‘My aunt and uncle.’

‘Do they know you’re doing this?’

‘No.’

‘Well, the first thing I’d do is discuss it with them.’”

The desire of certain individuals to conceal FGM from the Western world is established in this interaction with the Somali hospital cleaner, who disapproves of Dirie seeking medical advice. Furthermore, the cleaner’s advice illustrates his belief that Dirie does not have the right to make this autonomous choice; he believes that her family should be making her decisions, establishing the misogynistic culture around FGM in Somalia. The cleaner, parroting beliefs he has learned culturally, believes that female virginity, assured through FGM, should be prized above all. While this man’s presence is necessary for translation, his involvement in this intimate decision highlights the absurdity of FGM and women’s lack of bodily autonomy in cultures that practice it.

“Shortly after we discovered Mr. O’Sullivan rotting in his kitchen, Nigel and I were married. The British government stopped proceedings to deport me, but made no secret of the fact they thought our marriage was a crock.”

Dirie’s Resilience and Determination are illustrated by her string of marriages, which allow her to apply for work visas, travel visas, and English passports. These are all necessary steps in allowing Dirie to progress in her modeling career and thereby achieve a level of independent financial security.

“‘My God! What is wrong with your feet! Why do you have all those ugly black marks all over them?’ What can I say? They’re referring to the scars caused by stepping on hundreds of thorns and rocks in the Somalian desert.”

The contrast between Dirie’s childhood in Somalia and her life as a supermodel is epitomized in the scars on Dirie’s feet from the Somalian desert, which are noticed by photographers and stylists before the Parisian catwalk show. The scars symbolize how drastically Dirie’s life has changed.

“I would close my eyes, smell the sweetness of the flowers, feel the sun on my face, listen to the birds, and pretend I was back in Africa. I would try to recapture that feeling of peace and tranquility I remember from Somalia, and pretend I was back home again.”

Dirie is profoundly influenced by her childhood in Somalia. Even though she leaves at 14 years old, she retains the association of nature with Somalia, which conjures feelings of calm and contentment. This alludes to the theme of The Cultural Differences Between Africa and the Western World; Dirie believes that a life lived simply and in touch with the natural world leads to more contentment than the pace of life in the Western world.

“I accepted the UN’s offer to become a Special Ambassador and join its fight.”

Dirie finds her life’s purpose in working with the United Nations to raise awareness about the trauma experienced by girls and women due to FGM. The Pain and Trauma of Female Genital Mutilation is signaled as an important theme here; Dirie hopes to end the practice forever.