Factory Girl: Dora the Explorer and the Dirty Secrets of the Global Industrial Economy by Lois Leveen

Throughout her adventures, Dora enjoys an unusual geographic mobility, crossing landscapes but never distinct borders, always returning home rather than staying somewhere new. Her animated domain is devoid of references to social class, labor, or a currency-based economy. 
But in reality, Dora is less a global citizen than a global commodity, a marketing dream of multicultural merchandise that simultaneously appeals to Anglo and Latino parents and children. Ultimately, Dora is the product of a global television market and serves the transnational capital interests of Viacom …[and]… the Dora franchise has earned over $3.6 billion dollars in retail sales since debuting in 2000 … The animated adventures of Dora the Explorer may seem very distant from the harsh realities of factory labor, but the connection between the multibillion-dollar television franchise and imperiled workers in a global industrial economy is both distinct and disturbing. Like Osito in ‘City of Lost Toys,’ Dora herself has appeared on the list of toys gone missing: In 2007, numerous Dora the Explorer playsets were recalled because they contained lead paint … With its emphasis on porous borders and foreign threats to the home and homeland, the dialogue surrounding the toy scare has pronounced parallels to anti-immigrant debates. In her incarnation as a lead-contaminated toy, Dora shares something with Latina factory workers after all—albeit not with the women of the maquiladoras so much as with the women (and men) who have been targeted by Immigration and Customs Enforcement raids on factories in the United States. And, just like unsafe toys, undocumented immigrants have entered our homes, with many U.S. households relying on both foreign-born domestic laborers and foreign-made plastic playthings as inexpensive conveniences. The concurrent toy scare and immigration backlash together imply that there’s a Trojan My Little Pony headed your family’s way, and whether it manifests as their toy or their caretaker, your kids may not be safe.
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See also: Dora The Explorer, Constructing “LATINIDADES” and The Politics of Global Citizenship by Nicole M Guidotti-Hernández.

- Anne

John Paskievich has been photographing the North End of Winnipeg for more than thirty years, and the body of work that he has built up in that time is a revelation of the particularity of people and place… The North End was a culture of cultures long before multiculturalism was a national catchphrase; but ‘official’ Canada perceived the people of the North End to be a homogeneous population, an unassimilated chunk of Winnipeg cut off from the rest of the city and the rest of the country by language, religion, politics, class, ethnicity, and the racket and the physical barrier of thou­sands of freight cars shunting along 120 miles of track in the world’s largest urban railyard—a separation of neighbourhoods and cultures that remains today deeply etched into the psyche of the city.

That someone can be from the “wrong side of the tracks” clearly indicates railways divide both physical and social space, but I’m not familiar with the origin of the phrase. I’d love to know why poor people ended up on the other side… What were the connections between railroad engineering and urban planning?

- Anne

This is a map of mostly fictional Arabian countries that appear in the “sheikhs and desert love” genre of romance novels. Until recently I had no idea these books even existed, but thanks to Christy McCullough’s article in the Summer 07 issue of Bitch Magazine, my latest pop culture crush is on romance novels dedicated to hot encounters with sheikhs.

According to this 2006 Chicago Tribune article by Patrick T. Reardon,

Since 2000, the number of sheik romances published each year in North America has more than quadrupled [...] But that doesn’t explain why they kick butt. Or why they happen to be kicking butt at a time when U.S. soldiers are fighting in Iraq and Afghanistan and when fears of Middle East-inspired terrorism on U.S. soil remain high. Or why they remain popular after 9/11…

From Saskatchewan, Canada, where she edits the Sheikhs and Desert Love Web site, Erika Wittlieb tells our sleuth that ‘these novels [now] are quite generous in portraying Arab men, sheiks, as larger-than-life, virile, ultra-masculine heroes with a strong moral code.’

Although the 9/11 trauma had little impact on sheik romance sales, Wittlieb says that, since the attacks, ‘romance novel sheiks were not often featured [on book covers] in their traditional Arab headdress or robes.’ Now, they appear in Western-style clothing. Or shirtless.

From Harlequin headquarters, Katherine Orr, vice president for public relations, says the jump in sheik romances is simply a coincidence, having has nothing to do with world news. As if to underline that, Marilyn Shoemaker, a sheik romance fan in Seattle, says, ‘I don’t think about Iraq and Iran when I’m reading them’.”

Well, I don’t know what’s going on here either but I suspect it’s more complicated than fetishising the exotic. In any case, Sheikhs and Desert Love: A Database of Romance Novels is a totally brilliant fan site.

Sheikhs and Desert Love “features romance novels with a Sheikh (or an Arab or desert prince) as the primary male character. By and large, most of the Arab countries described in these books are fictional. Sometimes these lands are socially repressive, but their leaders usually strive to change them into more modern societies that treat women equally. In some cases, the skills or talent of the beautiful heroine often may help this effort along, particularly if she entered the country for the purpose of taking a temporary professional position (i.e. hospital administrator, conference planner, headhunter). The people of the desert, the Bedouins, often occupy a special place in the hearts of Sheikhs. This is because Sheikhs in romance novels tend to be virile descendents of the Bedouins, and the desert is considered to be a refuge from palace life. More often than not, romance novel heroines come to appreciate the stark beauty of the desert in order to share the joy with their husbands-to-be.”

What makes a sheikh romance hot?

1. Having an exotic (and somewhat dangerous) desert kingdom as the backdrop.
2. When the sheikh makes a change from wearing Western style clothing to the traditional robes of his country.
3. When unusual circumstances force a woman to wed a handsome sheikh.
4. When kismet is the driving force that keeps two lovers together.
5. A dramatic rescue from the clutches of a rotund, slovenly sultan.

If that’s not enough to get your attention, how about the feature articles that finally helped me understand some of the appeal?

“Abduction and Forcible Confinement: Human Rights Violation or Frisky Romantic Adventure?”

“Being Sold for a Bride Price May Not Be as Bad as it Sounds!”

“Sometimes Sheikhs Can Be Really Nice Guys!”

No wait. It was these descriptions that actually got me:

“Their first night of passion seems promising, except when he announces ‘It is done’ immediately afterwards. Talk about a mood-killer. Naturally, Leah assumes Sharif really did just want to seek revenge against her brother and, not surprisingly, ends up feeling humiliated and used. To his credit, however, he treats Leah pretty tenderly that night, despite her efforts to stab him in the chest with a knife she had kept hidden.”

“Things start to improve for Josie when she is settled in her own luxurious house (with private garden and pool!) and begins the task of improving the medical facilities in Abdu Resaba. When she notices that women have a much lower level of care at the Civil Hospital, for example, changes are initiated so that the facility can start providing adequate health care to women, and not just men. There are a few more conversations here and there about her work and the country’s health care needs, but after a few terrorist attacks and a brief kidnapping, the focus shifts to scented baths, nights of unbridled passion, and a magical trip to the desert.”

Okay, enough already! Clearly the heat’s getting to me. But how’s that for space and culture?