Using the recent trend in literary scholarship that theorizes literature in terms of globalization, cosmopolitanism, and dialectic transnational identities, I examine gender and sexual ideology in Mohsin Hamid's 2007 novel The Reluctant Fundamentalist, a post-9/11 text that explores the intricacies of community and terror. Specifically, I argue that the novel articulates a particularly gendered vision of spatial, social, and political (im)mobility through the narrator's desires, especially as demonstrated through his romantic interest, and masculine anxieties expressed through his response to American imperialism. The narrator's view of the United States is inexorably tied to his projection of convoluted desire, and he conflates impotence with frustration at being unable to respond to growing American militaristic power. We as readers wish to identify with a protagonist whose story we slowly learn is largely articulated in terms of his sexual desire and denial: we at first empathize with his desire but then, when discovering its projection is problematic, simultaneously wish to reject it. The interplay of the microcosm of an individual's failed romantic relationship and the macrocosm of countries at conflict mimics the mobility and liminality of conflicting ideologies.
The Caroline Era in early modern England was characterized by political instability and theological revolution. In response, there were ideological attempts to regulate desire and a distinct focus on the creation of a public persona. These crises led to anxieties about gender, performance, and the body. Literary production at this time was founded in political conflict and was both a response to and an escape from these events. In this article, I argue that early modern writers literarily regulate gender and bodies through the personal, political and theological happenings that they respond to within their work. John Donne’s metaphysical poetry and George Herbert’s The Temple express the anxiety of desire involved in the process of seeking God. These texts translate this through the language of eros, bodily sacrificial connection to the Divine Logos, and communion that focuses on digestion and inclusion in the corporeal universe as a means to achieve the divine moment. Similarly, John Ford’s The Broken Heart portrays anxieties about desire and appetite through female anatomization. The portrayals of desire, anxiety, and appetite in these texts (all first published in 1633) are representative of the historical, political, and religious ideological structures that informed their creation.
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