Desert Ballad: A Playlist for Yasmina

I often do readings while listening to sad playlists full of tragic love songs. While reading Yasmina, I found myself sympathizing with her even more because the music added an extra melancholic element. Her story moves like music, beginning with quiet innocence, swelling with passion, and ending in heartbreak and collapse. These five songs, for me, capture Yasmina’s journey.

  1. “Young and Beautiful” – Lana Del Rey

This song reflects the way Yasmina begins: innocent, dreamy, and living her life as a shepherdess among the ruins. She doesn’t fully understand what’s coming, and when Jacques enters her world, she’s swept along almost without a choice. The line “Will you still love me when I’m no longer young and beautiful?” mirrors Yasmina’s fate. Jacques is captivated by her youth and beauty, but those qualities fade in his memory once he returns to France, leaving her devotion behind.

2. “Love Will Tear Us Apart” – Joy Division

Yasmina and Jacque’s love is doomed before it even begins. She even tells him it’s impossible for a Muslim girl and a French officer to be together. But instead of stopping, they give in, which makes their passion both beautiful and devastating. The song has the same feeling: you know the ending will be tragic, but you can’t look away. For me, the refrain “love will tear us apart” is exactly what happens when Jacques is reassigned. Reality itself rips their love apart.

3. “Boulevard of Broken Dreams” – Green Day

When Jacques leaves for his new post, Yasmina is left in total loneliness. The image that stays with me is her lying facedown in the gorge, immobilized by grief. She doesn’t rage or resist. She just repeats mektoub. That resignation matches the emptiness in Green Day’s song, where the singer walks a lonely road with no one by his side. Yasmina’s “boulevard” is the dusty plain of Timgad, but the isolation and drained hope are the same.

4. “Somebody That I Used to Know” – Gotye ft. Kimbra

This song reflects the cruelty of Jacque’s return. Yasmina still sees him as her Mabrouk, the man she loved and waited for, and she calls to him with joy. But Jacques, now married to a Parisian woman, treats her as nothing but a shameful past. Her outburst: “Why did you use all of your ruses… to seduce me, carry me away, and take my virginity? Why did you lie and promise to return?” This fits perfectly with the song’s bitterness about being turned into a stranger by someone who once defined your whole world. For Yasmina, love was life itself. For Jacques, it became disposable.

5. “Back to Black” – Amy Winehouse

The end of Yasmina’s story is the hardest to read, and Back to Black is the only song that fits. Yasmina spirals into illness, poverty, and prostitution, but even then she still clings to the memory of Jacques. Winehouse’s line “we only said goodbye with words, I died a hundred times” captures the endless mourning Yasmina embodies. The story’s final words, “Yasmina the Bedouin was no more,” echo the song’s raw finality. Both tell of women consumed by love that society never let them keep.

Inventing Her Origins

“The story of her birth is a novel in itself … Did she know who her father was? Did she invent one while disowning her parent? … A mystery never cleared up” (xvi from Introduction)

I couldn’t help but think about the variations of stories Isabelle told about her father. I believe Eberhardt deliberately crafted conflicting accounts about her father as a strategy of reinvention. These contradictions were not simply “personal confusion,” rather they became a tool she used to manipulate perception, gain trust, and adapt to different audiences. I think by revising her origin story again and again, she controlled her narrative, positioning herself to navigate new spaces and extract what she needed from others.

The mechanism here, I think, was subtle but powerful. By presenting one version of her father as noble or intellectual, she could invite admiration and open the door for others to share details about their own family backgrounds or cultural pride. By telling another story where her father was absent, illegitimate, or mysterious, she could evoke pity or curiosity, emotions that often lead people to reveal more about themselves in an effort to comfort or advise. Each story about her origins worked like bait: it caught people off guard just enough to open them up and draw them into conversation. In these moments of sympathy or intrigue, people likely gave up information they would not have shared in a straightforward exchange. The more uncertain they were about who she really was, the more they filled the gaps with their own disclosures. In that way, her stories didn’t just hide her, they actively pulled information from others.

This is part of what led me to a broader conclusion about Eberhardt: she was clearly a spy. She didn’t randomly decide to go to Algeria as a nomad; she was sent there with a purpose. While she may have developed genuine attachments to Islam and to Arabs along the way, these feelings do not erase her collaboration with the French government near the end of her life. In fact, her shifting emotions such as doubt, love, hatred, belonging, etc. fit the profile of someone working under cover. Her calculated and constant reinvention as well as her extreme efforts to gain trust all align more with her being a spy. If she were truly only a vagabond, she would not have needed to so carefully craft her identity or perform these elaborate acts of belonging.

That “unresolved mystery” and the way she weaponized narrative itself as both a mask and a weapon really sticks with me. She wasn’t just hiding the truth of her origins, she was performing, shifting her story to keep people off balance and stay in control. And it’s wild how much people have become obsessed with that. They romanticize her because she never let herself be pinned down, because she lived in that blur between truth and invention. At this point, “the myth” of Isabelle Eberhardt almost feels bigger than the woman herself and that’s exactly what she set up by turning her life into a story others couldn’t stop chasing.

-Givarra Azhar Abdullah

Hello world!

Hello Students of Spies of Empire!

Lets have some fun interrogating the machinery of Empire as it reveals itself through the shenanigans of some of its more famous–or infamous!—writer-spies-archeologists-travelers: spies one and all!

We will think about what “spying” means” and whose interests it serves–and ask when it can be a force for good or evil, control or being controlled.

More to follow….for now, welcome to the course!