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         | Edwina Nearingaka Qamar el Moulouk and Eddy the Sheikh
(Photo coming)Orientalist/Journalist; former feature writer and Middle Eastern Affairs 
        Editor under the name "Qamar El-Mulouk" for Habibi Magazine; 
        former ghaziyya with Banat Mazin of Luxor, Egypt; currently writing for 
        gildedserpent.com; reincarnated as a cat.
I began writing professionally in 1972 as an advertising copy writer for 
        the Daily Star, the Middle East's largest English-language newspaper, 
        while I was a student at the American University of Beirut. My main qualification 
        for the job was extensive exposure to shampoo, toothpaste and used-car 
        advertisements on late-night television in the U.S. (I guess the TV ads 
        were effective -- not only did I get the newspaper job, but I have been 
        buying shampoo, toothpaste and used cars ever since.).
My chief claim to fame is as a crafter of run-on sentences, purple prose, 
        and what the San Francisco Chronicle's iconic columnist Herb Caen termed 
        "three-dot journalism."
At school I majored in Near Eastern Studies. My interests and research 
        encompass the history, arts, languages, "cultural anthropology," 
        etc., of an area extending from North Africa through China. This is a 
        range which would be readily understood by 19th-century orientalists such 
        as Sir Richard Burton, but which in this age of micro-specialization would 
        be considered outrageously presumptuous (but it's all connected!). As 
        "orientalist" is the only term I can find which seems to cover 
        this range, and I admire the wonderful curiosity and audacity of the 19th-century 
        explorers and researchers, I have no problem with ignoring Edward Sa'id 
        and calling myself an orientalisst.
 I'm currently at work on a book entitled "Raqs Sharqi and the Western 
        Gaze: Deconstructing the Myth of the Colonialist Agenda's Nuancing of 
        the Feminist Discourse in the Gendering of Postmodern Oriental Dance." 
        (Just kidding! I'll stick with the purple prose.)
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