Employing irony, dark humor, and personal anecdotes, Sayed Kashua wrote a fictional narrative that explores the politics of identity, masquerading, and crossing in a region undergoing a nationality crisis. Language, culture and history, too, play pivotal roles in the varying levels of social and cultural capital in a society with a dominating judaistic force. In navigating both real and imagined Israeli communities, Kashua and his main protagonist in Dancing Arabs find themselves trapped in an identity paradox: they are too Arab to be considered Jewish, yet too Jewish to be considered Arab.
Before attempting to understand the politics behind this confining identity paradox, it is important to analyze the societal implications that the Jewish community has on the Arab community. Part one of Dancing Arabs indirectly introduces the Jewish community as “the other” — the enemy. The grandmother recounts how “the Jews” bombed Tira, shot and killed her husband, and reduced their family to being fruit pickers (20-2). In addition to this, she holds that her son was wrongly imprisoned after
Essentially, he is walking the tightrope of trying to be acknowledged and liked by the elite in his society (“the Jews”), without being accused by Palestinians of being a traitor. This forces him, however, to constantly jump back and forth between fitting in with the “the Arabs” and “the Jews”. His identity is constantly being threatened by the very people that he wants to be accepted by. His girlfriend Naomi, for instance, breaks up with him because her mother did not approve of her having an Arab boyfriend (122). Despite all of the music he learned and pop culture references he learned, he still was not “non-Arabic”
Naomi Nye was born to a German-American mother and a Palestinian-American father. However, she normally writes from her Palestinian-Arab perspective. In several of her poems within The Heath Anthology—“Ducks,” “My Father and the Figtree,” and “Where the Soft Air Lives”—Naomi Nye reminisces about her Muslim heritage and childhood as it correlates to her present identity. In addition, she incorporates the effect of the Palestinian-Israeli conflict on herself and on Arab culture in her work. Ultimately, Naomi Nye’s poetic work should remain in The Heath Anthology as her style demonstrates how historical events and a deep-rooted heritage can enrich a sense of identity and culture.
Critics have already begun a heated debate over the success of the book that has addressed both its strengths and weaknesses. The debate may rage for a few years but it will eventually fizzle out as the success of the novel sustains. The characters, plot, emotional appeal, and easily relatable situations are too strong for this book to crumble. The internal characteristics have provided a strong base to withstand the petty attacks on underdeveloped metaphors and transparent descriptions. The novel does not need confrontations with the Middle East to remain a staple in modern reading, it can hold its own based on its life lessons that anyone can use.
Joyce, James. “Araby”. The Norton Anthology of Short Fiction. Eds. R.V. Cassill and Richard Bausch. Shorter Sixth Edition. New York: W.W. Norton and Company, 2000. 427 - 431.
Joyce, James. “Araby.” The Norton Introduction to Literature, Shorter Eighth Edition. Eds. Jerome Beaty, Alison Booth, J. Paul Hunter, and Kelly J. Mays. New York: W.W.Norton.
In 2005, the Palestinian director and writer, Hany Abu-Assad, released his award winning motion picture, “Paradise Now.” The film follows two Palestinian friends, over a period of two days, who are chosen by an extremist terrorist group to carry out a suicide mission in Tel-Aviv during the 2004 Intifada. The mission: to detonate a bomb strapped to their stomachs in the city. Because the film industry seldom portrays terrorists as people capable of having any sort of humanity, you would think the director of “Paradise Now” would also depict the two main characters as heartless fiends. Instead he makes an attempt to humanize the protagonists, Khaled and Said, by providing us with a glimpse into their psyches from the time they discover they’ve been recruited for a suicide bombing operation to the very last moments before Said executes the mission. The film explores how resistance, to the Israeli occupation, has taken on an identity characterized by violence, bloodshed, and revenge in Palestinian territories. Khaled and Said buy into the widely taught belief that acts of brutality against the Israeli people is the only tactic left that Palestinians have to combat the occupation. In an effort to expose the falsity of this belief, Hany Abu-Assad introduces a westernized character named Suha who plays the voice of reason and opposition. As a pacifist, she suggests a more peaceful alternative to using violence as a means to an end. Through the film “Paradise Now,” Abu-Assad not only puts a face on suicide bombers but also shows how the struggle for justice and equality must be nonviolent in order to make any significant headway in ending the cycle of oppression between the Israelis and the Palestinians.
In Eli Evan’s The Provincials and Stuart Rockoff’s piece “The Fall and the Rise of the Jewish South” the reader looks at the changing life and times for people of Jewish ancestry in the American south. Since the 1950’s, the Jewish south has experienced rife anti-semitism, a demographic shift as small town populations significantly decreased while large cities grew, and social change due to the civil rights movement.
As soon as “Araby” begins, the religious allusions do also. Joyce immediately puts readers in a religious frame of mind as the narrator speaks of the Christian Brother’s School and the priest who formerly lived in his house. Shortly after a religious mindset is formed, the narrator speaks of “the wild garden behind the house [containing]
But, as Sandy Tolan 's book, The Lemon Tree, seeks to explain, through Dalia’s longing for zion and Bashir’s belief in the arab right of return, that the main catalyst of the Arab-Israeli conflict is
James Joyce's use of religious imagery and religious symbols in "Araby" is compelling. That the story is concerned somehow with religion is obvious, but the particulars are vague, and its message becomes all the more interesting when Joyce begins to mingle romantic attraction with divine love. "Araby" is a story about both wordly love and religious devotion, and its weird mix of symbols and images details the relationship--sometimes peaceful, sometimes tumultuos--between the two. In this essay, I will examine a few key moments in the story and argue that Joyce's narrator is ultimately unable to resolve the differences between them.
As Josselson (2012) argues, it is simpler for the people to fix multicultural or multiracial individuals into a single cultural or racial identity, although realistically, most people find it difficult to categorize oneself in a single-margin. This is apparent in the reading White Teeth and Tar Baby, where the character’s identity is influenced by a socially embedded habitus of values, expectations and self-understanding, or lack there-of. In order to understand the challenges of racial and cultural identity in these novels, I will first look at characters Son and Jadine from Tar Baby and Samad and his twin sons, Millat and Magid from White Teeth.
Although “Araby” is a fairly short story, author James Joyce does a remarkable job of discussing some very deep issues within it. On the surface it appears to be a story of a boy's trip to the market to get a gift for the girl he has a crush on. Yet deeper down it is about a lonely boy who makes a pilgrimage to an eastern-styled bazaar in hopes that it will somehow alleviate his miserable life. James Joyce’s uses the boy in “Araby” to expose a story of isolation and lack of control. These themes of alienation and control are ultimately linked because it will be seen that the source of the boy's emotional distance is his lack of control over his life.
In “Araby”, author James Joyce presents a male adolescent who becomes infatuated with an idealized version of a schoolgirl, and explores the consequences which result from the disillusionment of his dreams. While living with his uncle and aunt, the main character acts a joyous presence in an otherwise depressing neighborhood. In Katherine Mansfield’s, The Garden Party, Mansfield’s depicts a young woman, Laura Sherridan, as she struggles through confusion, enlightenment, and the complication of class distinctions on her path to adulthood. Both James Joyce and Katherine Mansfield expertly use the literary elements of characterization to illustrate the journey of self-discovery while both main characters recognize that reality is not what they previously conceptualized it as.
Joyce, James. "Araby." 1914. Literature and Ourselves. Henderson, Gloria, ed. Boston, Longman Press. 2009. 984-988.
The narrator in “Araby” is a young man who lives in an uninteresting area and dreary house in Dublin. The only seemingly exciting thing about the boy’s existence is the sister of his friend Mangum that he is hopelessly in love with; “…her name was like a summons to all my foolish blood.” (Joyce 2279) In an attempt to impress her and bring some color into his own gray life, he impulsively lies to her that he is planning on attending a bazaar called Arab. He also promises the gi...
Although he had endured trials and tribulations to attend the bazaar, he soon finds that, exotic name withstanding, he is still in Dublin, is still impoverished, and his dreams of Araby were merely that, dreams. Our narrator remains a prisoner of his environment, his economic situation, and painful reality. North Richmond Street, the dead-end street described in the first sentence of “Araby” is more than a street. It is a symbol for the way that our protagonist views his life.