Book Description

The Narrative Space of Childhood traces the representations of childhood in 21st century Anglophone Arab literature in the diaspora. Concerned with the contemporary moment, this study focuses exclusively on Anglophone Arab coming-of-age narratives published post 2000 including Rabih Alameddine’s The Hakawati, Alia Yunis’s The Night Counter, Hisham Matar’s In the Country of Men, Nathalie Abi-Ezzi’s A Girl Made of Dust, Alicia Erian’s Towelhead, and Randa Jarrar’s A Map of Home. Anglophone Arab writers frequently place children at the center of their literary production, most notably in the midst of conflict-ridden zones besieged by threats of violence, daily terror, and political unrest. Child narrators in Anglophone Arab literature function as reluctant witnesses, innocent bystanders, and unwitting collaborators. In many cases, they become active participants, exercising agency, sometimes finding themselves culpable in the violence. Children frequently offer testimonials, inscribe the battlefield as a playground enacting multiple states of play, become collateral damage dispossessed of home and family, and serve as a repository for collective memory in terms of families, communities, cultures, and generations. Children’s perspectives are limited in understanding the confluence of events unfolding within a conflict zone. Their naivety, however, is relatively short-lived. The child’s vision provides a piercing, unflinching depiction of history from a vantage point that explodes conventional sentiment in favor of a more penetrating, debilitating, and raw vision of crisis. The figure of the child in 21st century Anglophone Arab diasporic literature interrogates, challenges, and resists facile tropes of sentimentality, nostalgia, and authenticity. Most evident in these works is the child’s capacity to instruct, rehabilitate, and complicate adults’ beliefs about gender, sexuality, masculinity, femininity, memory, trauma, and play. The post 9/11 Era as it relates to youth and identity formation both in the diaspora and the Arab world has been tainted by the war on terror. 9/11 and the Arab Spring are seemingly convenient bookends for what many have dubbed the terror decade. Charting the use of child narrators and the privileging of the child’s voice at this particular moment is an important intervention in coming to terms with how we understand the post 9/11 era. The designation of the “terror decade” rings a little hollow in the face of other traumas highlighted throughout this body of work. While 9/11 and the Arab Spring are not exact markers for this study, they both serve as useful counterweights to a discussion of youth, narrative agency, and the work that the child’s voice can do.