This paper attempts to hold a mirror to the existential struggle of an immigrant Muslim woman who is trying to survive on her journey to the west. Mohsin Hamid presents Nadia as one of the main characters in his 2017 novel Exit West. The paradox concerning Nadia is that while her preference for wearing a long black robe confirms the western misconstrued image of Muslim women, her actions, her view of the world, of life and of herself definitely refute the ingrained eastern notion of the suppressed, submissive, silenced Muslim woman. According to the dominant western view, oriental women are still under the strict control of the mechanisms of patriarchy. Among the control mechanisms of patriarchal order are traditions, norms, values and religion. However, Nadia does not fall into this western miscategorization of Muslim woman with her strong, rebellious character, and with her freethinking and insight. Indeed, it is Nadia, who safeguards, directs and in a sense, matures Saeed’s-the other main character-rather timid and naïve personality. What is unexpected in the journey of these two characters is that the one who is need of identity reconstruction is not the female but the male character, for Nadia does already have a firmly constructed identity and she has no intention to transform either her outfit or her world view for the sake of integrating herself into the western culture. In brief, through the character of Nadia, Mohsin Hamid reconstructs the cliché image of oriental woman. In Exit West, Hamid reverses stereotyped gender roles by attributing his female character all the dominant personality traits attached to the male sex.
Ian McEwan’s 2019 novella, The Cockroach, which is considered a product of “brexlit,” is a bitter satire of British politicians’ Brexit project. According to the author, the rising waves of ultranationalism, seasoned with British politicians’ unreasonable populist discourse, drifted Britain out of the European Union. In the novella, McEwan’s chosen medium in criticising Britain’s status quo ante Brexit is satire. Due to its corrective nature, satire tends to repair and/or reform prevailing ills. However, in The Cockroach, McEwan does not intent to correct the troubles brought to Britain by Brexit, which he sees as the manifestation of stark irrationality. Indeed, political humour accompanies McEwan’s exclusive satirical style, for the author was aware of the fact that the British Conservative Party’s political slogan – “Get Brexit done” – had already fulfilled its mission by the time he was writing The Cockroach. Thus, this article follows the fictional route drawn by McEwan in The Cockroach in presenting how the bilateral association of populism and jingoism can darken the future vision of a country whose parliamentary democracy has a history of almost two centuries.
The detective fiction genre undergoes a radical change along with the thematic and structural innovations brought about by postmodernism in the second half of the twentieth century. The most recognisable changes are inconclusive endings with no resolution; eager characters and vain engagement in certain incidents though there is no crime to be investigated, and the reader's newly assigned role i.e. that of the detective. The aim of this paper is to explore Peter Ackroyd's Chatterton with regard to the changing features of the detective genre. Chatterton is not labelled a pure example of detective fiction despite various use of thematic and structural elements exclusive to this genre. Ackroyd reshapes and employs the conventional components of detective fiction according to his authorial needs. Thus the focus of this paper is on Ackroyd's reformulation of traditional detective fiction in Chatterton. The emphasis is on structural and thematic affinities and differences between traditional and contemporary detective novels. The analysis is mainly based on the intertextual representation of the perception of the real and the unreal.
Culture is a shared pattern of behaviour prevailing in a group or a society. It includes all the traditions, customs, beliefs and values that are transmitted from generation to generation and it can shape people. Thus it can be summarized that culture is something commonly shared, transmitted and it has a role in shaping people. When another culture tries to penetrate into the existing culture, some problems arise among people living in that society. Postcolonial literature deals with such problems as estrangement, displacement, identity crisis, etc. Kazuo Ishiguro is one of the examples of the writers of postcolonial literature and he studies on the aforementioned themes in his books. An Artist of the Floating World is one of them. The aim of this article is to analyse displacement and estrangement problems that the main character, Masuji Ono, faces because of the influence of another culture in Japan after World War II. There are many changes in society ranging from the traditional values to traditional art and they cause Ono to feel disturbed. Prior to discussion, an introduction and brief information about the historical background of the novel will be given.
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