Direnç Anlatıları: H. M. Naqvi’nin Home Boy Adlı Eserinin İncelenmesi

Year 2019, , 55 - 72, 25.12.2019

Fikret Güven

https://doi.org/10.21497/sefad.675018

Abstract

Bu çalışma, H. M. Naqvi’nin Home Boy adlı eserini Amerikan İmparatorluğu’na 11 Eylül ve terörizm ile ilgili Batı söylemindeki Oryantalizme karşı cevap veren bir direnç anlatısı olarak incelemektedir. Naqvi, romanında “öteki” ve klişeleştirme ile ilgili Oryantalist söylemi analiz etmeye, tanımlamaya, problemize etmeye ve dengesizleştirmeye çalışmaktadır. Anlatı, Amerikan emperyalizmine, savaşçı dış politikasına, Üçüncü Dünya ülkelerinin baskı altında tutulmasına, sömürülmesine, diğer ülkelere müdahalesine, yabancı toprakları işgaline karşı bir protesto anlatısıdır. Anlatı, kahramanın refah, mutluluk ve özgürlük rüyasının peşinde koştuğu tipik bir göçmen anlatısı olarak başlar. Başlangıçta, kahraman prestijli bir Amerikan eğitimi ve metropolde büyük finansal kurumlarda kazançlı istihdamın getirdiği ekonomik ve sosyal imtiyazlardan faydalanma umuduyla özümseyici ve uzlaşmacı eğilimler sergiler. Fakat, 11 Eylül olayları, kahramının yabancı ve düşman olarak gördüğü ve zaten mevcut olan ürkütücü ayrımcılık atmosferi ile karşılaşmasıyla, bu ayrımcılık daha da şiddenlenmektedir.

Keywords

Şarkıyatçılık, oksidantalizm, 11 Eylül Romanları, direnç öyküleri

Resistance Narratives: A study of H. M. Naqvi’s Home Boy

Abstract

The present paper analyzes H. M. Naqvi’s Home Boy as counter-narrative to Orientalism in Western discourse that writes back to the American Empire apropos September 11 and terrorism. Naqvi tries to analyze, describe, problematize and destabilize Orientalist discourse of “othering” a and “stereotyping” The narrative protests against American imperialism—its belligerent foreign policy, its suppression and exploitation of third world countries, interference in other countries, and occupation and invasion of foreign lands. The narrative starts as a typical immigrant narrative in which the protagonist comes to the United States in pursuit of the American dream of prosperity, happiness and freedoms. Initially, the protagonist has assimilative and accommodative tendencies in the hopes of partaking in the economic and social privileges bestowed by a prestigious American education and lucrative employment in big financial institutions in the metropolis. However, the events of September 11 exacerbate an already precarious atmosphere of discrimination that exists in the novel in which their protagonist is treated as an outsider and enemy.

Keywords

Orientalism, occidentalism, September 11 Novels, resistance narratives

References

• Ashcroft, B.- Gareth G. et al. (2002). The empire writes back: Theory and practice in post-colonial literatures. New York: Routledge.
• Bhabha, H. (2002). Terror and after. Parallax, 8.1, p. 3-4.
• Boehmer, E. - Stephen M. (2010). Introduction: terror and the postcolonial. Terror and the postcolonial: A concise companion. Malden, MA: Wiley. p. 1-24.
• Buruma, I. - Avishai M. (2004). Occidentalism: The west in the eyes of its enemies. New York: Penguin.
• Cilano, C. (2009). Manipulative fiction: Democratic futures in pakistan. From solidarity to schisms: 9/11 and after in fiction and films from outside the US. Amsterdam: Rodopi. P. 201-218.
• Cohen, S. (2009). After the end of history: American fiction in the 1990s. Iowa City: U of Iowa P.
• Crockatt, R. (2007). After 9/11: Cultural dimensions of American global power. London: Routledge.
• Eisenberg, D. (2006). Twilight of the superheroes: stories. New York: Picador.
• Fanon, F. (1963). The wretched of the Earth. New York: Grove.
• Fukuyama, F. (2002). History and September 11. Worlds in collision: Terror and the future of global order. New York: Palgrave. P. 27-36.
• García, C. (1992). Dreaming in Cuban. New York: Knopf.
• Gilroy, P. (2005). Postcolonial melancholia. New York: Columbia UP.
• Gray, R. J. (2011). After the fall: American literature since 9/11. Chichester. West Sussex: Wiley.
• Harlow, B. (1987). Resistance literature. New York: Methuen.
• Hartnell, A. (2012). Moving through America: race, place and resistance in Mohsin Hamid’s The Reluctant Fundamentalist. Literature, migration and the ‘War on Terror’. New York: Routledge. P. 82-94.
• Head, D. (2008). The state of the novel: Britain and beyond. Chichester, U.K.: Wiley.
• Maria, S. (2011). Islamophobia and the war on terror: Youth, citizenship, and dissent. Islamophobia. The challenge of pluralism in the 21st century. New York: Oxford UP. P. 109-125.
• Masroor, A. ‘Home Boy’ comes home. DAWN Archives RSS. N.p., 5 Mar. 2010. Web. 16 May 2018.
• McInerney, J. (2006). The good life. New York: Knopf.
• Medovoi, L. (2011). Terminal crisis? From the worlding of American literature to world-system literature”, American literary history, 23, p. 643-659.
• Moore-G. (2012). From ‘the politics of recognition’ to the ‘policing of recognition’: Writing Islamin Hanif Kureishi and Mohsin Hamid. Culture, diaspora, and modernity in Muslim writing. New York: Routledge. P. 183-199.
• Morey, P. - Amina Y. (2011). Framing Muslims: Stereotyping and representationafter 9/11. Cambridge, MA: Harvard UP.
• Morton, S. (2012). Writing Muslims and the global state of exception. Culture, diaspora, and modernity in Muslim writing. New York: Routledge. P. 18-33.
• Mukherjee, B. (1989). Jasmine. New York: Grove.
• Naqvi, H. M. (2009). Home boy. New York: Shaye.
• Ngugi, Wa Thiongʼo (1965). The River between. London: Heinemann.
• Randall, M. (2011). 9/11 and the literature of terror. Edinburgh: Edinburgh UP.
• Rothberg, M. (2009). A Failure of the imagination: Diagnosing the Post-911 novel: A Response to Richard Gray, American literary history, 21.1, p. 152-158.
• Said, E. (1994). Culture and Imperialism. New York: Vintage.
• Said, E. (2003). Orientalism. New York: Vintage.
• Said, E. Islam and the west are inadequate banners. The Guardian. Guardian News and Media, 15 Sept. 2001. Web. 13 May 2018.
• Zizek, S. (2002). Welcome to the desert of the real! Five essays on September 11 and related dates. New York: Verso.
• Zizek, S. (2008). Violence: Six sideways reflections. New York: Picador.