A thriller’s formal genre can mirror its characters’ geopolitical border-crossings.

Evidence

One might expect such twists and turns in any thriller worthy of the name. However, I wish to argue that Fesperman goes further by deploying a formal corollary for the frequent crossing and recrossing of borders undertaken by his characters as his text slowly morphs from a thriller into a modern-day Western. At the same time, Skelly is forced to confront and overcome borders in his own thinking, recognizing his lack of knowledge and therefore his dependency on Najeeb, with whom he has become increasingly close. — Peter Morey, Islamophobia and the Novel, 341

Categorization

• XREF: connects to: Fiction can localize a place while exposing its distant transnational forces — Rob Nixon, Slow Violence and the Environmentalism…, 139; Thrillers can mobilize border crossings to challenge rather than reinforce Islamophobic truisms — Peter Morey, Islamophobia and the Novel, 315; A genre shift can formally mirror characters’ physical border crossings. — Peter Morey, Islamophobia and the Novel, 341 (+3 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Fiction can localize a place while exposing its distant transnational forces — Rob Nixon, Slow Violence and the Environmentalism…, 139; Thrillers can mobilize border crossings to challenge rather than reinforce Islamophobic truisms — Peter Morey, Islamophobia and the Novel, 315; A genre shift can formally mirror characters’ physical border crossings. — Peter Morey, Islamophobia and the Novel, 341 (+3 more)

Broader Connections

• A genre shift can formally mirror characters’ physical border crossings. #expands (0.97) — Peter Morey, Islamophobia and the Novel, 341