제3세계의 시각에서 본 9/11 - 알레고리 소설로서의 "주저하는 근본주의자"
9/11 from the Third-World Perspective: Mohsin Hamid’s The Reluctant Fundamentalist as an Allegorical Novel.
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Frederic Jameson argues that “Third-world texts, even those which are seemingly private and invested with a properly libidinal dynamic—necessarily project a political dimension in the form of national allegory.” Mohsin Hamid's The Reluctant Fundamentalist is a fine example of what it means to be an allegorical novel belonging to the third-world: it is a love story that not only addresses a libidinal dynamic between two lovers but reflects and allegorizes Pakistani culture and society. Jameson’s “sweeping hypothesis,” however, needs to be qualified before being applied to Hamid’s novel, for the novel is not merely about the third-world culture and society but about between Pakistan and United States, between the third-world and the west. Its allegory is of a global dimension exceeding what Jamesons calls “national allegory.” The love story the novel presents is indeed not between two Pakistani couple but between a Pakistani man named Changez and an American woman named Erica. It appears that a “libidinal dynamic” between Changez and Erica is meant to be an allegory of what happens between Pakistan and America. The couple’s inability to forge a genuine love stages a drama in which turbulent relationship between the third-world and the West represented by America in the wake of 9/11 is highlighted. The novel becomes a powerful counter-discourse to fight back the dominant discourse regarding 9/11.
Abstract
Frederic Jameson argues that “Third-world texts, even those which are seemingly private and invested with a properly libidinal dynamic—necessarily project a political dimension in the form of national allegory.” Mohsin Hamid's The Reluctant Fundamentalist is a fine example of what it means to be an allegorical novel belonging to the third-world: it is a love story that not only addresses a libidinal dynamic between two lovers but reflects and allegorizes Pakistani culture and society. Jameson’s “sweeping hypothesis,” however, needs to be qualified before being applied to Hamid’s novel, for the novel is not merely about the third-world culture and society but about between Pakistan and United States, between the third-world and the west. Its allegory is of a global dimension exceeding what Jamesons calls “national allegory.” The love story the novel presents is indeed not between two Pakistani couple but between a Pakistani man named Changez and an American woman named Erica. It appears that a “libidinal dynamic” between Changez and Erica is meant to be an allegory of what happens between Pakistan and America. The couple’s inability to forge a genuine love stages a drama in which turbulent relationship between the third-world and the West represented by America in the wake of 9/11 is highlighted. The novel becomes a powerful counter-discourse to fight back the dominant discourse regarding 9/11.
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