Novels had to be currently in print and readily avail. While Shamsie stresses the need for a broader historical contextualization of recent events that have caused a global divide, Ahmad’s work is an attempt to humanize the tribal populations of Pakistan perceived as the ‘enemy’ in the war against terrorism. met with his death in the same manner as did the author, by suicide. For this analysis, I focus on two representative works of fiction: Kamila Shamsie’s Burnt Shadows (2009), and Jamil Ahmad’s The Wandering Falcon (2011), and highlight the different yet important contributions of each in expanding the genre of 9/11 writing. Hugo is acting in a manner not so different from the yokel. This article aims to examine the role of contemporary Pakistani Anglophone fiction as a valuable counter-narrative to 9/11 writings in the West, and the ways in which it engages with the effects of the ensuing ‘War on Terror’. This surge in Pakistani writings in English has coincided with a renewed interest in the intersections between literature and human rights, especially in the current period of global tension. The decade following the events of 9/11 has witnessed a new wave of Pakistani English writers who have attained wide international acclaim. The selected novels, while presenting the unheard and counter narratives of the Muslim subaltern, have shown how the tightening of borders, both concrete and cultural, has limited the mobility of Muslim immigrants in the US and relegated them to marginalized enclaves. The study engages with how the 9/11 events have redefined borders, and invigorated a securitzation discourse that embraces the separation and exclusion of ethnic minorities. Newman's (2006, 2015, 2017) theorization of borders in the wake of the 9/11 events. Alrasheed's (2015) recent conceptualization of neo-Orientalism and D. While based on postcolonial theoretical framing, the study draws on K. This paper investigates the representations of abstract and concrete borders in post 9/11 Muslim Pakistani fiction, with particular focus on Bapsi Sidhawa's An American Brat (1993), Mohsin Hamid's the Reluctant Fundamentalist (2007) and H. Pakistani writers have engaged with (mis)representations of Muslims, giving voice to silenced immigrants who narrate their experience in the U.S before and after the attacks. The 9/11 events have marked a new shift in border studies. In doing so, it draws links between the subject matter, framing strategies and transformative dimensions which may unite the two. It attempts in part to complicate popular notions about a disconnection between the ‘true’ perspectives conveyed in Pakistani art which is locally created and disseminated and that supposedly ‘inauthentic’ material – English language fiction in particular – which is internationally packaged and reproduced (Kohari 92). It touches on the (mis-)interpretations which may ensue when ‘global’ maps are traced onto local artworks, and considers how artists may mediate images in order to militate against false impressions. It asks how they may be read as interventions into contemporary global narratives around a suspect South Asian Muslim identity, and as contributions to discussions taking place within Pakistan about the challenges posed by more prohibitive, punitive and increasingly influential Wahabi and Deobandi interpretations of Islam to the country’s normative and traditional Muslim culture. Z,�l������6."Thoughts and words are often accompanied by visual images, especially when one is talking about ‘Islamic Pakistan’ at home or abroad … I believe it is our own choice how we wish to transform our self-perception and self-image … I’m aware of the limitations of my work, but I wanted to point out that we are not as helpless as we have made ourselves to be, in forging a more wholesomeand humane representation of ourselves." (Zahid in Irfani, Transformation 18) This paper looks at how images featured in artworks which I first encountered during a Residency at Lahore’s National College of Arts (NCA) in Spring 2012 engage with the theme of violence in an ‘Islamic Pakistan’ overshadowed on the one hand by the ongoing ‘war on terror’ and by the encroaching threat of ‘Talibanisation’ on the other. �6 �}h-�fY^��D�8,Łށ��>��y`��eZ�O of the debtor Unforeseeable or unavoidable Impossible for the debtor to fulfill the obligation in normal manner The debtor must.
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