By Madeline Clements
This publication explores no matter if the post-9/11 novels of Rushdie, Hamid, Aslam and Shamsie should be learn as a part of an try to revise smooth ‘knowledge’ of the Islamic international, utilizing globally-distributed English-language literature to reframe Muslims’ capability to connect to others. Focussing on novels together with Shalimar the Clown, The Reluctant Fundamentalist, The Wasted Vigil, and Burnt Shadows, the writer combines aesthetic, historic, political and religious issues with analyses of the preferred discourses and important discussions surrounding the novels; and scrutinises how the writers were appropriated as actual spokespeople via dominant political and cultural forces. eventually, she explores how, as writers of Indian and Pakistani starting place, Rushdie, Hamid, Aslam and Shamsie negotiate their identities, and the tensions of being visible to behave as Muslim representatives, in terms of the complicated foreign and geopolitical context during which they write.
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Extra info for Writing Islam from a South Asian Muslim Perspective: Rushdie, Hamid, Aslam, Shamsie
It should be noted that critics such as Spencer (2010b: 262) have recently seen ﬁt to draw a distinction between Rushdie’s ‘literary’ and ‘political output’, arguing that his early and controversial novel The Satanic Verses offers, by contrast, ‘an attack on [a] kind of Islam, not Islam per se’. 1 Rushdie’s two post-9/11 novels redirect the reader’s attentions towards Muslims in “native” South Asian (as opposed to migrant, diasporic) contexts, and would certainly seem to bear witness to a subtle but arguably signiﬁcant shift not only in critical but in literaryﬁctional focus.
Abdulrazak Gurnah (2007: 3) suggests that whatever Rushdie’s desires to the contrary, he can never quite succeed in his aim, expressed in Shame (1983), ‘to write “the East” out of him and found new origins’. Writing Islam considers what happens when “Eastern” (South Asian, Muslim) identities are suddenly re-politicised, and explores the effect this may have on the production and reception of the world literary text. Terry Eagleton (1996: 7) has observed that ‘in much that is classiﬁed as literature, the truth value and practical relevance of what is said is considered important to the overall effect’.
For, in this anxious moment, as Mondal (2012: 38) notes, ‘subjective experience is taken to validate the [literary] text’s representation of a social phenomenon ([such as] Islamism)’ in the rush to “understand” its attraction, and the writer’s ‘representation of what he calls [Islam] . . is taken to be “true” because he speaks of it from “ﬁrsthand” experience’. 12 The transnational South Asian Muslim authors whose works I examine remain conscious of the ways in which – on account of their heritage, craft and class status – they may be assumed to be “implicated” (or may strategically implicate themselves) in the complex cultural and (geo)political contexts about which they write.