Generic frameworks and active readership in<i>The Reluctant Fundamentalist</i>

Ilott, Sarah

doi:10.1080/17449855.2013.852129

Cited by 10 publications

(4 citation statements)

References 7 publications

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“…The Reluctant Fundamentalist grabbed literary attention with its deployment of the lesscommon, Camus-inspired, dramatic monologue style (Ilott, 2013;Morey, 2011), which, as critics swiftly noted, permits no other voices (Munos, 2012: 400). From the outset, Nair Although the adaptation follows the novel's second-person narrative relatively closely, perhaps its most significant departure is Nair's decision to base the film on a dialogue as opposed to Hamid's distinctive monologue.…”

Section: Setting the Scene: Confrontation And Conciliationmentioning

confidence: 99%

“…The Reluctant Fundamentalist grabbed literary attention with its deployment of the less-common, Camus-inspired, dramatic monologue style (Ilott, 2013; Morey, 2011), which, as critics swiftly noted, permits no other voices (Munos, 2012: 400). From the outset, Nair distanced herself from the novel’s style: “The book is a monologue of a Pakistani man talking to an American who doesn’t say a word […] That’s not going to sell any tickets.…”

Section: Setting the Scene: Confrontation And Conciliationmentioning

confidence: 99%

“…The deliberately open-ended ambiguity of the novel has of course been the topic of much discussion (Chambers, 2011; Gamal, 2013; Ilott, 2013; Morey, 2011; Perner, 2011; Yaqin, 2008) and it would seem that to cause further questioning, and to leave the reader with disquiet and discomfort regarding the never-ending pattern of suspicion in how East and West view one another, is precisely Hamid’s intention. The medium of the film cannot be expected to leave quite as much to the imagination as the book, given the need to translate from the textual to the visual medium.…”

Section: Spaces Of Ambiguitymentioning

confidence: 99%

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Post-9/11 re-orientalism: Confrontation and conciliation in Mohsin Hamid’s and Mira Nair’s The Reluctant Fundamentalist

Lau

Mendes

2016

The Journal of Commonwealth Literature

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Abstract:This article offers a comparative reading of The Reluctant Fundamentalist, the novel and the adaptation, looking at the ways these texts represent changing Western public perceptions towards Pakistan and vice-versa along the temporal axis 2001-2007-2012. Both novel and film are informed by the post-9/11 distrust of the Muslim other. Mohsin Hamid's novel was begun before 9/11 and published seven years later, in 2007; Mira Nair's film adaptation followed in 2012, with a premiere at the Venice Film Festival (as the opening film) and the Toronto Film Festival. Ostensibly more conciliatory than Hamid's novel, Nair's film adaptation attempts to build bridges, stressing the tragedy of cultural suspicion and mistrust that besets the relationships between Pakistan and the US, endeavouring to open and facilitate dialogue. Despite utilizing spaces of ambiguity to expose the dangers of binary thinking, both novel and film ultimately demonstrate that representations are still unable to escape the loop of orientalism and re-orientalism, highlighting the tension of how East and West continue as locked into this circular mode of relational identity.http://mc.manuscriptcentral.com/tjcl The Journal of Commonwealth Literature

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Section: Setting the Scene: Confrontation And Conciliationmentioning

confidence: 99%

Section: Setting the Scene: Confrontation And Conciliationmentioning

confidence: 99%

Section: Spaces Of Ambiguitymentioning

confidence: 99%

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Post-9/11 re-orientalism: Confrontation and conciliation in Mohsin Hamid’s and Mira Nair’s The Reluctant Fundamentalist

Lau

Mendes

2016

The Journal of Commonwealth Literature

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“…For instance, in The Reluctant Fundamentalist, Changez's American love interest and his American employer -Erica and Underwood Samson respectivelyseem to stand for two different manifestations of the nation (while the former sounds similar to 'America', the latter can be abbreviated to 'U.S.'). SeeHartnell, 2010;Morey, 2011;Ilott, 2014;Perfect, 2016.…”

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‘Black holes in the fabric of the nation’: refugees in Mohsin Hamid’sExit West

Perfect

2019

Journal for Cultural Research

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His main research and teaching interests are in twentieth-and twenty-first-century literature and culture. His first book, Contemporary Fictions of Multiculturalism, was published in 2014, and his work has also appeared in a number of journals and edited collections. He has written for The Guardian's Higher Education Network and been interviewed on both local and national radio. He is currently writing a book on Andrea Levy for Manchester University Press, and is also working on a project that relates to screen adaptations of contemporary transnational fiction.Word count: 8,534 (including title, abstract, footnotes, and references). 'Black holes in the fabric of the nation': Refugees in Mohsin Hamid's Exit WestThis article explores the representation of refugees in Mohsin Hamid's Exit West (2017), a novel which has been widely celebrated for its response to the refugee crisis of its contemporary moment. In a distinct echo of Salman Rushdie's claim, thirty-five years earlier, that it 'may be argued that the past is a country from which we have all emigrated', Hamid's novel similarly claims that 'we are all migrants through time.' Moreover, like Rushdie's fiction, Hamid's novel incorporates elements of magical realism: its protagonists escape their unnamed war-torn city through a 'door' that instantaneously transports them to Mykonos, and they subsequently travel through other such 'doors' to London and California. Their story is interspersed with a series of vignettes in which other migrants also find themselves magically transported across national borders. As well as considering the ways in which Hamid's novel seeks to humanise refugees, this article considers the novel's evocation of a world in which human beingslike capital, images, and (mis)informationhave gained access to largely ungovernable networks of instantaneous travel across vast distances. It argues that Hamid's novel is not just 'about' refugees but also constitutes a reflection on how they and their journeys are represented and mediated by actually-existing technologies.

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The Beard, Masculinity, and Otherness in the Contemporary American Novel

Ferry

2016

J. Am. Stud.

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This article identifies the humble beard as a device used in twenty-first-century American literature to examine the contemporary condition of American masculinity. Drawing on readings from key writers of post-9/11 fiction, such as John Updike, Moshin Hamid, and Don DeLillo, the article calls for the need to move on from the reductive rendering of the beard as an irrefutable representation of Otherness to see the beard as a device used to explore the construction of masculinities in relation to key issues such as racialization, sexuality and the queering of the Other, and nationhood in the globalized and globalizing arena of the United States. Reading Amy Waldman's nuanced engagement with the beard in The Submission (2011) alongside key works on hegemonic masculinity, whiteness, and globalized masculinities, the article underlines the power of the beard in the contradictions and complexities of a changing American masculinity now performed beyond the physical borders of “the nation” on the global stage.

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Generic frameworks and active readership inThe Reluctant Fundamentalist

Cited by 10 publications

References 7 publications

Post-9/11 re-orientalism: Confrontation and conciliation in Mohsin Hamid’s and Mira Nair’s The Reluctant Fundamentalist

Post-9/11 re-orientalism: Confrontation and conciliation in Mohsin Hamid’s and Mira Nair’s The Reluctant Fundamentalist

‘Black holes in the fabric of the nation’: refugees in Mohsin Hamid’sExit West

The Beard, Masculinity, and Otherness in the Contemporary American Novel

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