R S www.irss.academyirmbr.com December 2020 S International Review of Social Sciences Vol. 8 Issue.12 I Re-rooting the De-rooted: Reconstruction of Pakistani Culture in Hamid’s The Reluctant Fundamentalist

MUHAMMAD YAR TANVIR Assistant Professor of English, Govt. P/ G College Samanabad, Faisalabad Pakistan.(Ph.D English Scholar, GCUF) Email: [email protected]

Dr. ALI USMAN SALEEM Assistant Professor of English, GCUF, Faisalabad Pakistan. Email: [email protected]

Dr. MAZHAR HAYAT Professor of English, GCUF Faisalabad Pakistan. Email: [email protected]

Abstract Pakistani Anglophone fiction outlines a reconstruction of marginalized indigenous culture. Native culture has faced socio-economic, political and historical hegemony from the European oppressive white colonizers for centuries, creating disillusionment among the native people. As a result the indigenous cultural ethos gets de-rooted and creates nostalgia for the lost historico-cultural roots. This research highlights how oppressed cultures do not simply exist in void rather continuously endeavor and have the potential to relocate their roots and reconstruct a positive and optimistic picture of the otherwise de-rooted ‘self’. Hamid’s The Reluctant Fundamentalist is an effort to reemphasize indigenous cultural traditions and to question the impact of the western hegemonic discursive and ideological practices. The paper establishes that Hamid consciously tries to revisit and rewrite the native Pakistani culture through his strategy of ‘returning to roots’ for the amelioration of indigenous socio-economic, political and cultural strata, hence re-roots the previously de-rooted indigenous culture.

Keywords: Re-rooting, Reconstruction, Hegemony, Marginalization, Location, Culture.

Introduction

The Reluctant Fundamentalist (2007) exhibits an ideological reconstruction of Pakistani culture regarding its oppressed socio-political, economic and cultural constructs. Pakistani culture has far deeper roots than the very inception of Pakistan as an independent sovereign state on 14th of August 1947 with Islamic culture rooted in its social and national identity. The distinct Islamic culture of the area is a source of continuous interest for the researchers in various fields of life.The post 9/11 western media (both print and electronic) stereotypes the Muslims as potential terrorists or terrorist sympathizers and a threat to the world peace. However, this stereotypical representation of the Muslims is biased; its propagation is agenda-driven and oblivious of the true culture and identity of the Muslims. This paper argues that Hamid through The Reluctant Fundamentalist tries to revisit and reconstruct the true culture and ideological rootedness of the Pakistanis. Culture, through its various manifestations and practices, has always been a rich area of study for the literary and cultural theorists alike. Raymond Williams (1983) considers culture as one of the few most complicated words in the English language with ―a range of meanings: inhabit, cultivate, protect, honor with worship‖ (p. 13). Williams‘ idea of culture is based upon an unchanged capitalist ordering of social life and a ―customary difference‖. He argues that, ―[o]ur customs are that which we are accustomed ISSN 2309-0081 Tanvir, Saleem & Hayat (2020) 180

R S www.irss.academyirmbr.com December 2020 S International Review of Social Sciences Vol. 8 Issue.12 I to and that which others are not‖ (1963, p. 79). George Simmel (1971) argues that "[c]ulture refers to the cultivation of individuals through the agency of external forms that have been objectified to in the realm of history" (Page 19). On the other Spradley and McCardy (2008) say that culture is "a kind of knowledge, not a behavior: it is the head of the people. It reflects the mental types that they learn from others as they grow older. It helps to create behavior and express what they experience. Kendall (2006) is closer to Krupat when he says that "cultures are generally not static. Many forces are working for change and diversity. While some societies and individuals embrace this change, others find it a cultural shock and fell a victim to racial prejudice. ‖(P. 57).Keeping in view the above illustrations, it is apt to say that reconstruction of any culture is a natural and continuous process. It goes through transitory phases with the passage of time. It degenerates too in the same way quite naturally. The native Pakistani culture, situated in its Islamic roots, has gone through various changes and shifts. Remarkable social changes have left indomitable impressions on its cultural heritage. Pakistani culture has its specific rituals, traditions, customs and habits with a remarkable impact on the everyday observance of social, political, cultural and historical traditions. With the colonization of the Indian sub-continent, this specific culture got relegated to the margins, which Hamid, along with other Anglophone Pakistani writers, tries to revitalize through his fiction.

The Reluctant Fundamentalist has been reviewed and critiqued by many, and most of them have focused on the events taking place in post-9/11 world politics. In Stephens (2011) ‗Beyond Imaginative Geographies? Criticism, sharing and imagination as a result of the War on Terror argue that The Reluctant Fundamentalist pursues imperialist strategies in order to undermine its response by the American nation and government to 'us' and 'them'. Separate imaginary geographies of 9/11 and the War on Terror. Morey (2013) focuses on Hamid's grammatical strategy and the use of confessional and dramatic monologue forms to change the civilized vs. terrorist binary to challenge the ideologically connected worldview of the people living in peripheral situations.

[…] the novel not only effectively authorizes the cultural belief inspired by the "true confessions" of the former radicals, but also the reader through hyperboles, strategic excuses, beavery layering, and unreliable narratives. Not only does it help to destabilize identity, but it also hurts our connection to the literary projects of national identity. We demand readers empowered by the emerging category of world literature (Morey, 2013, p. 136).

The use of dramatic monologue not only highlights the version of those sitting on the margins, Cahngez in this case, but also keeps the center, the US interlocutor, silent for his readers. Hamid, despite neither being an ethnocentric nor a historiographic writer, contextualizes the traits of marginalized native cultural identity in his narratives. He draws a clear ideological image of Pakistani culture and this paper is a reflection of his reconstruction of Pakistani cultural roots in The Reluctant Fundamentalist. This research draws the attention of the readers towards the fact that Pakistani society does not exist in a cultural void rather through the relocation of cultural roots in the sub-continental civilization it can challenge the discursively hegemonic and stereotypical western gaze. Reconstruction as a theoretical construct is specifically rooted in the African–American studies, which reflects an emancipative effect on once enslaved African population in America. Reconstruction, in the Afro-American context, through the slogan of equality and brotherhood won the rights of citizenship and freedom for the Blacks and promised a new socio-political and economic environment for them. However, it has a general connotation too. Global intelligentsia tried through their writings to bring the oppressed out of cultural loss and the resultant humiliation and suppression (Jarrett, 2016). Reconstruction integrates critique and deconstruction. It controls the negativity of dialectics through a positive creation. Reconstruction pacifies violence and corrects the pessimism of the intellect with the optimism of the will.

Methodological Assumptions

This research is qualitative in nature and the method for the analysis would be textual analysis. The analytical and interpretative of the research makes textual analysis the most appropriate as it ―involves a

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R S www.irss.academyirmbr.com December 2020 S International Review of Social Sciences Vol. 8 Issue.12 I close encounter with the work itself, an examination of the detail without bringing to them more presuppositions than we can help‖(Belsey in Griffin, 2014, p.160). Habermas (1991), through his revisionary project supplants rationality with communicative rationality. In his view, rationality is possibly inherent in the language and establishes a relationship between techno-rationality and socio-political rationality. Language is not apolitical, ahistorical or innocent rather very much political, engaged and articulated. Habermas contends that knowledge does not arise neutrally rather beginning of knowledge is always associated with human interest which varies greatly and can be located in socio-cultural forms of life. Social rooted-ness of truth or knowledge can be negotiated through speech and action and this ability of human beings allows him to transcend subjectivity in favor of a collective good (Habermas, 1991a). Thus human speech and actions are formative of human cultures. If individuals shun subjectivity and become objective then socio-cultural revision and reconstruction is possible, for which Habermas is highly optimistic. Habermas says, as quoted by Boeder (2005) that ―our actions and interests are not only self- generated, they also have an emancipatory role to play‖ (pp. 175-177). He terms reconstruction as a phenomenology of mind in Knowledge and Human Interest (1994) and emphasizes the working of the reconstructive act in three stages. He asserts that:

The Phenomenology of Mind attempts this reconstruction in three progressions: through the socialization process of the individual, through the universal history of mankind, and through this history, as it reflects upon itself in the forms of absolute mind, that is religion, art, and scientific knowledge (p. 25).

He further relates the process of reconstruction with the economic structures of the society as he says that, ―[t]he point of departure for the reconstruction of synthetic accomplishments is not logic but the economy… Accomplishment is not the correct combination of symbols according to rules, but social life processes, the material production and appropriation of products‖ (p. 37). A true interpreter, Habermas argues, is always skeptical of the fixed nature of symbols used in language and relates it with always evolving and transitory nature of the social structures. He is of the view that reconstruction is an ever- changing and progressive process as he believes that the interpreter must revert from a permanently fixed expression of life "to the creative, evaluating, acting, self-expressive, and self-objectivating element‖ (p. 149) and the symbolic structures, not the physic ones, are taken as objects of understanding. Habermas stresses that the interpretation of the structures of life history is actually the ―interpretation of the symbolic structures‖ (p. 217) which are used by the writer in his literary work. Reconstruction, for Habermas, is actually regeneration of ―mankind's confused and in many ways corrupted memories of itself through critique correlated with interpretation‖ (p. 217). But he also stresses on the practical nature of human action in order to make it relevant to his culture and society and says that ―[a]s long as the theory derives its meaning in relation to the reconstruction of a lost fragment of life history and, therefore, to self-reflection, its application is necessarily practical‖ (p. 249).

Analysis of the Text

Pakistani culture, as discussed earlier, has its roots in the historico-Islamic tradition. Pakistani socio- political strata and economic situation has faced many challenging situations since the inception of the country, for example wars with the neighboring countries, 1971 tragedy and Bangladesh‘s independence, military dictatorships, religious extremism and war on terror that crippled the national progress and the cultural ethos. Reconstructive measures were and even today are being taken for the amelioration of indigenous culture, such as freedom of media, land reforms, role in war on terror, counter-terrorism act and anti-corruption narrative are all dialectics of positive social change for the reconstruction of a progressive yet rooted native culture. There is no dearth of literature in the field of cultural revival and cultural development. A large number of writers in the various parts of the world have expressed their opinions about various cultures of the world especially keeping in mind the distinctive model of Islamic culture that is the universal binding force for all the Muslim cultures around the world. Literary intellectuals have tried to establish a standpoint of such cultural reconstruction as a source of the philosophical underpinning of

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R S www.irss.academyirmbr.com December 2020 S International Review of Social Sciences Vol. 8 Issue.12 I their ideologies about the cultural development and its harmony with the humanistic perspective. Leila Aboulela, Khalid Hosseini and Zadie Smith are all such writers who believe in cultural reality being transitory and articulated in spatiotemporal circumstances.

Hamid tries to revitalize and revive the Pakistani culture in The Reluctant Fundamentalist and believes that the future of Pakistani nation is rooted in the efforts to bring a positive evolution in present indigenous culture by following the precedents set by the past glory of the Muslim Sub-continental culture. The Muslim culture of our forefathers teaches us equality and brotherhood and same is the main postulate of Habermas‘s theory of reconstruction which advocates equality and brotherhood among all the sections of the society. Hamid argues that the indigenous Pakistani culture is at stake as the various sections of the society are facing discrimination and are in need of the much-demanded equality, brotherhood and fraternity. Hamid has consciously advanced the cause of the nation for speedy development in all walks of life as in an article he has directly discussed the need for exploring the subjects of social change and mass migration and he is hopeful for this positive social change. He says in an interview:

People all over the world are finding it hard to imagine a future that‘s going to occur that they‘d like to live in. In that context, exploring subjects like social change and mass migration, I think it‘s very important to find something to be hopeful about. Articulating that and having a sense of hope for me is a direct political response to things like Trumpism and Isis and Brexit (Hamid, n.d)‖.

Theory of Reconstruction asserts the role of collective good and Hamid‘s discourse in the novel also explains that Cultural reconstruction is a dire need of the hour in order to cope with the multi-faceted challenges of the globalized world and it becomes a more essential feature of the discursive realities of the oppressed and marginalized cultures in political, economic and socio-historical praxis. Hamid has felt this most important need of the nation and has tried to draw our attention towards this significant issue through his fiction. Plot and characters delineated by Hamid are the most appropriate examples of breaking the traditional stereotypes existing in the traditional culture. His fictional narrative is in itself, a glaring example of Pakistani potential and intellect which is a source of inspiration for the rest of the community. His universal acclaim and acceptance show that there is no dearth of talent in the country. We need only guidance and impetus to come to equal standings with the oppressive forces of the world, especially the West.

In the novel, Hamid deliberately makes his protagonist Changez leave America and return home for establishing his true identity and reconnecting to his roots. Reconstructive collective good is exhibited from the return of Changez as he is not only an individual but a representative of the Muslims around the world as a whole. The name Changez is a conscious choice on the part of the writer as it signifies ‗changes‘ which the author wants his readers to consider, especially in his post-9/11 life. 9/11 changed the lives of the Muslim immigrants living in America for decades and made them realize that despite living over there for years they still are strangers and ‗others‘ in the community and are unable to assimilate in spite of their best efforts. Hamid reinforces the significance that the idea of ‗home‘ carries with it. It is a step towards the ‗return to the roots‘ for the revival of indigenous culture. Pakistanis living in different western societies might have succeeded in earning capital but still suffer from the crises of home and belonging. So many are torn between money and self-esteem and finally, like Changez, decide to give up and sacrifice their positions and financial stability in favour of their self-esteem and native cultural identity, contributing to the revival of their indigenous culture. Hamid delineates Changez as a representative of all Pakistanis lost in the glamour of the western world and believing mistakenly for being accepted over there but a single incident of 9/11 is enough to make them realize the true situation of their existence. He writes, ―I glanced out the window to see, only a few feet away from the driver of a jeep returning my gaze. There was an undisguised hostility in his expression (2007, p- 33). The only place where they can re-locate their identity is their homeland where they need to return and revisit their cultural roots.

Habermas in his theory of reconstruction asserts that ―the point of departure for a reconstruction of synthetic accomplishments is not logic but the economy‖ (1991, p. 37) and Hamid‘s narrative emphasizes ISSN 2309-0081 Tanvir, Saleem & Hayat (2020) 183

R S www.irss.academyirmbr.com December 2020 S International Review of Social Sciences Vol. 8 Issue.12 I the economic well-being of his protagonist by rejecting the cultural imperialism of the west prevailing in our community. His depiction as a reluctant fundamentalist suggests that it is not us who are fundamentalists rather it is the west. This argument is supported by the fact that progressive Changez wanted to live in America for economic prosperity but was forced by a post-9/11 shift in the American society to leave that country. The increasing distance between his and Erica, his girlfriend, was tantamount to the distance that Changez had started to feel between him and the American society as Erica is AmErica (I am Erica). Changez went to Princeton University for education and Underwood Sampson for career and financial stability. The western colonization hegemonized our indigenous educational institutions and financial resources through the colonial cultural invasion of the subcontinent which used to be the hub of civilization during the era of the Muslim rule. The same has been revisited by Hamid through his narrative when he says on being asked by Jim, the interviewer at The Underwood Sampson, ―You are hungry and that is a good thing in my book‖ (p.5) and he replies, ―No, not in that sense, I am not poor, far from it my grandfather, for example, was a barrister with the means to endow a school for the Muslims of the Punjab‖ (p.6). Upward social mobility is another important trait of the reconstruction of culture. This is evident in abundance in Hamid‘s fiction and Changez in The Reluctant Fundamentalist is a perfect embodiment of this specific trait. His character is transitional and strives hard for the development of his personal well- being, in turn, which is actually the well-being of his culture and national identity, as he is its representative. As Hamid‘s narrative in this connection goes in the novel as, ―Then our situation is, perhaps, not so different from that of the old European aristocracy in the nineteenth century, confronted by the ascendance of the bourgeoisie (p. 8). This ascendance of bourgeoisie is a prominent mark of the fluidity and transitory nature of the social, political, economic and historical mobility of the Pakistani Literary consciousness. He is further of the view that Pakistani literary consciousness is not much different than the other marginalized societies of the world and at international level his narrative is representative of the scenario of the revival and reconstruction of this consciousness as the lines depict: ―Except, of course, that we are part of a broader malaise afflicting not only the formerly rich but much of the formerly middle-class as well: a growing inability to purchase what we previously could‖ (p. 8). Moreover, this re-rooting of the de-rooted is evident from the passion of the Changez for earning more and more money from the imperialist America for the well-being of his indigenous community as his narrative goes: ―what quirk of human history my companions […] were in a position to conduct themselves in the world as though they were its ruling class‖. (p.13).

Corruption in native culture is the main cause of its stagnancy. Hamid also thinks of issues like corruption in Pakistan as one of the main hindrance in the socio-cultural and economic progress of the country. Hamid has pointed out these corrupt practices in his fiction to be rooted out which in case of success will guarantee our development to the maximum. This is the application of the first postulate of the theory of reconstruction by Habermas. Erica‘s father explains the socio-economic condition of Pakistan to Changez:

The economy‘s falling apart though, no? Corruption, dictatorship, the rich living like princes while everyone else suffers […] And fundamentalism. You guys have got some serious problems with fundamentalism. (p. 28).

As, in Moth Smoke (2000) dance and ball parties in the sophisticated isolated locations of Lahore arranged by the corrupt westernized elite, robbery by Daru accompanying Murad Badshah, murder of an innocent boy in a roadside accident due to rash driving of Aurangzaib and entrepreneurship of illegal bottled water company by ‗you‘ in How to Get Filthy Rich in Rising Asia (2013) are examples of prevalent corruption in the Pakistani society. By highlighting such incidents through his fiction Hamid calls for corrective and reformative measures for the reconstruction of native cultural structure. In the same way, Changez‘s reference to the fashionable girls of the National Arts College in front of the café, where he is sitting in the company of an American, foregrounds the shallowness of the modern Pakistani culture. Hamid writes:

Do you see those girls, walking there, in jeans speckled with paint? Yes, they are attractive. […] The National College of Arts is not far—it is, as a matter of fact, only around the corner—and its students often come here for a cup of tea, just as we are doing now, (p. 11). ISSN 2309-0081 Tanvir, Saleem & Hayat (2020) 184

R S www.irss.academyirmbr.com December 2020 S International Review of Social Sciences Vol. 8 Issue.12 I The glorification of the ancestors by Hamid in fiction is a way to make us realize our present deterioration and to get impetus from them for re-rooting and revisiting of our prominent culture. It directs our energies and capabilities towards better future planning, keeping in mind the role model of our past glory, as it is a way to reconstruct the present by glorifying the past. He states.

Four thousand years ago, people of the Indus River basin, had cities that were laid out on grids and boasted underground sewers, while the ancestors of those who would invade and colonize America were illiterate barbarians. (p. 18).

The Pakistani literary, socio-political, cultural and historical traditions have a history of many hundred years. The area comprising Pakistan was at the peak of its glory in the matters of social importance at the time when the European nations were not even introduced to the values and traditions of development and progress. Western literature is full of bias, hypocrisy and misjudgment regarding Pakistan after 9/11. Western discourse is trying to prove Pakistanis as fanatics, fundamentalists and extremists that Hamid challenges through his narratives. Hamid‘s counterterror stance and representation of the Pakistani political and cultural strata is obvious when Changez says to his American interlocutor that "It seems an obvious thing to say, but you should not imagine that we Pakistanis are all potential terrorists, just as we should not imagine that you Americans are all undercover assassins (p. 183)". He further contends that every culture undergoes an evolutionary process and says that "Time only moves in one direction. Remember that. Things always change‖ (p. 96). He is also of the view that even posterity has some symbols of the greatness of ancient and forgotten generations. Past grand Muslim culture, though ruined by the colonizers still embodies the glories of the past as he says, "The ruins proclaim the building was beautiful (p. 144)".

Changez has to resort to antiterrorist discourse and to continuously justify himself for not being a terrorist. A more appropriate stance of our politico-cultural identity is taken by Hamid as he writes that ―It seems an obvious thing to say, but you should not imagine that we Pakistanis are all potential terrorists, just as we should not imagine that you Americans are all undercover assassins‖ (p. 183). To challenge the fundamentalist stereotypical image of the Pakistani people in the minds of the western people is actually the reconstruction of the true Pakistani culture which is the most significant feature of Hamid‘s novel and an equally important postulate of Habermas‘s theory of reconstruction. Hamid skillfully argues about the evolutionary nature of everything including an ever evolving nature of the Pakistani culture. This temporally bound and transitory characteristic of a culture is represented by him when he says that ―Time only moves in one direction. Remember that. Things always change‖ (p. 96). He is also of the view that even posterity has some symbols of the greatness of ancient and forgotten generations. Past grand Muslim culture, though ruined by the colonizers still embodies the glories of the past. He writes, ―The ruins proclaim the building was beautiful (p. 144)‖. Habermas stresses in his theory of reconstruction that social structures are not fixed rather transitory and evolving. As he proclaims that, ―speech acts are freed from spatiotemporal contextual limitations and made available for multiple and future contexts. The transition to civilization was accompanied by the invention of writing.‖ (1991, p. 184)

Self-determination is another trait of Changez, which is a progressive sign for the re-rooting of a devastated culture. Changez, though, at one time was deeply in love with westernized trends and lifestyle but he had to return to his true indigenous culture and this showed his path to leave indeterminacy in favour of self- determination. His physical return is a return to the roots in its entirety. National symbols are also a part of cultural representations including ‗beard‘ as a stereotypical symbol of the Muslim identity. Changez grows beard in America in order to maintain his identity as a Muslim. He keeps his beard after his return from America during his job as a professor at a local university Changez uses his beard both as a symbol of resistance against the imperialistic western attitude towards the Muslims after 9/11 and also as of his return towards the Muslim culture. Eating habits are also pro-culture elements and Hamid has frequently made use of these to establish the fact that he is also a pro-culture individual. As in Old Anarkali bazaar in Lahore at a café in the company of the unnamed American he mentions the food articles representing specifically the indigenous Pakistani culture. Hamid says: ISSN 2309-0081 Tanvir, Saleem & Hayat (2020) 185

R S www.irss.academyirmbr.com December 2020 S International Review of Social Sciences Vol. 8 Issue.12 I ...not one of these worthy restaurateurs would consider placing a western dish on his menu […] These sir, are predatory delicacies, delicacies imbued with a hint of luxury, of wanton abandon (p. 47).

Habermas‘s theory of reconstruction and the economic condition of a country are in harmony and support for each other. Hence, the economic condition, use of technology and description of dignified historical buildings are very much a part of our cultural heritage. Hamid through the narration of Changez makes a very deliberate expression of these factors as he writes:

For we were not always burdened by debt, dependent on foreign aid and handouts; in the stories, […] And we did these things when your country was still a collection of thirteen small colonies, gnawing away at the edge of a continent (p-47).

This sense of superiority makes the readers of the novels feel that once again indigenous people can revive and recapitulate the lost status through the struggle of repudiation of ancient culture and by equipping it with the demands of the modern times. Social customs, rituals and celebrations are essential factors of any culture and The Reluctant Fundamentalist. Existence of nuclear family, traditional one-room homes for the families, scanty modern facilities, meagre economic resources yet abundant contentment and traditional cousin marriages are all narrated by Hamid very skillfully. Hamid‘s representation of the native Pakistani culture is actually a very important ideological stance by Hamid for re-rooting the de-rooted culture in the true sense of its reconstruction.

Conclusion

Hamid, as an Anglophone Pakistani fiction writer, reflects a positive and optimistic picture of the indigenous Pakistani culture. The specificities of Pakistani culture are reflected from the behavior and action of the protagonist, Changez, who is a perfect embodiment of love for the indigenous culture. Hamid‘s love for his native culture is reflected in the delineation of life-like characters and their cultural traits. Changez, on several occasions, foregrounds the Pakistani cultural traditions and rituals. Moreover, Changez‘s return home reflects the ‗returning to roots‘ and is representative of many Pakistanis living abroad and striving for the revival of their true indigenous culture. The dramatic monologue, a challenging style of novel writing in itself is reflective of the fact that Hamid‘s protagonist is an embodiment of challenge and resistance to the imperialism and hegemony of the west on the Pakistani culture. This counter- narrative of a marginalized society is an eye opener for the western imperial powers that the marginalized discourses are finding their way to their reconstruction. As discussed above, the most of the valuable traditions of Pakistani culture are emphasized by the writer with the intent to make them practicable in the community for their revival. So keeping in mind the above analysis of the fictional work of Hamid it can safely be concluded that Hamid has reconstructed his indigenous culture by re-rooting the de-rooted through his strategy of ‗return to roots‘.

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