Thrillers can contest Islamophobic truisms by transgressing constructs of essential difference.

Evidence

Arin Keeble suggests that The Submission rejects pure, authentic notions of identity and emphasizes internal divisions within characters as a way of undoing the reductive polarization of a clash-of-civilizations viewpoint (The 9/11 Novel: Trauma, Politics, and Identity [Jefferson, NC: McFarland, 2014], 168, 170). — Peter Morey, Islamophobia and the Novel, 792 (#expands, via linked claim)

Categorization

• corroborated: 2 independent passages support this claim
• XREF: connects to: Sympathetic Muslim film portrayals exist but remain a minority trend. — Green, Todd H, The Fear of Islam_ An Introduction to…, 558; Fiction contests Islamophobia either by direct Islamic subjectivity or by oblique readerly defamiliarization.; Liberal thrillers displace Muslim marginalization onto white protagonists. — Peter Morey, Islamophobia and the Novel, 68 (+12 more)

Related

• Contesting Islamophobia in fiction requires defamiliarizing narrative form, not merely invoking empathy. (similarity 0.90)
• Novels contest Islamophobia by foregrounding characters’ internal divisions (similarity 0.89)
• The novel treats political radicalization as displaced personal longing (similarity 0.84)
• Liberal thrillers can reinforce Islamophobia by refusing to narrate Muslim interiority (similarity 0.81)
• Novels that aim for evenhandedness can leave the good Muslim-bad Muslim binary intact (similarity 0.81)
• Thrillers can mobilize border crossings to challenge rather than reinforce Islamophobic truisms (similarity 0.81)
• Novels encode their stance on Islamic identity through form as much as content. (similarity 0.81)
• Novels that foreground internal identity divisions can undo clash-of-civilizations polarization (similarity 0.80)
• The thriller genre can challenge rather than merely reinforce Islamophobia (similarity 0.80)
• The novel’s formal ambiguities can contest Islamophobic assumptions even in complicit texts (similarity 0.80)
• Formal ambiguities can contest Islamophobia even in sympathetic texts (similarity 0.79)
• Thrillers inviting identification with injustice can avoid engaging culturally different subjects (similarity 0.79)
• Refusing to narrate Muslim experience can itself constitute latent Islamophobia (similarity 0.79)
• Novels can reproduce or contest Islamophobia irrespective of authorial intent through formal features (similarity 0.79)
• Anti-Islamophobia novels can themselves profit from trading in Muslim stereotypes. (similarity 0.79)

Broader Connections

• Juxtaposing contending ideologies lets thrillers move beyond war-on-terror binaries. #corroborates (0.80)
• Novels contest Islamophobia by foregrounding characters’ internal divisions #expands (0.75) — Peter Morey, Islamophobia and the Novel, 792
• Formal ambiguities can contest Islamophobia even in sympathetic texts #corroborates (0.70)
• Novels encode their stance on Islamic identity through form as much as content. #expands (0.60)
• A novel can undermine its own polyphonic argument by monolithically portraying Muslims. #qualifies (0.55)
• A global literary market for Muslim writing constrains how novels contest Islamophobia. #qualifies (0.50)
• Literature, drama, art, and cinema sustain a habitus about Islam built on Muslim monsters #expands (0.50)
• A liberal-humanist stance toward novels can itself smuggle in Islamophobic assumptions #complicates (0.50)