what Americans fantasize about being seduced by an Arab.«
(Alameddine 1998: 117)
Während sich der arabisch-amerikanische Ich-Erzähler in einem Mo-
ment der gebrochenen Handlung mit offenbar autofiktionalen Referen-
zen deutlich ins Außen jeder ethnisch-nationalen Zugehörigkeitskon-
struktion stellt, um über die Amerikaner – »They are naive and dumb.
And I hate that.« – und die Libanesen – »The Lebanese are just arro-
gant […] Those fuckers are too busy juging everybody else’s life to
live their own« – zu polemisieren, erkennt derselbe Künstler und tragi-
Pula Film Festival and Croatian Film (2013, ed. co-edited).
Jakiša, Miranda, professor of South and East Slavic literatures at
Humboldt University Berlin. Her main research interests are literature, film
and cultural studies, performance studies. Recent publications: Yugoslavia
– Lebanon. Negotiations of Belonging in the Arts of Fragmented Cultures
(2012), Remembering War and Peace in Southeast Europe in the 20th
Century (2014, co-edited).
380 | PARTISANS IN YUGOSLAVIA. LITERATURE, FILM AND VISUAL CULTURE
Jovanović, Nebojša, PhD candidate of gender
conception of texts with relation to their
contexts and readers.«
20 | Jorge Luis Borges, Poesía completa, Barcelona: Lumen, 2011, S. 150, V. 3–4.
21 | Thomas De Quincey, Confessions of an English Opium-Eater. To which is added The
Daughter of Lebanon, forming part of »Suspiria de Profundis«, in: De Quincey’s Works, Bd. 5,
London: James Hogg & Sons, 1856, S. 266. »But now that affection, which I have called the
tyranny of the human face, began to unfold itself. [...] [N]ow it was that upon the rocking
waters of the ocean the human face began to reveal itself; the sea
The narrator chooses an example to illustrate the “[…] sybaritic and nearly insan-
ity-producing pampering [...]” (ibid: 290) that is not connected to his theoretical
examinations. He describes how he wants to get his luggage to his cabin by himself,
something that puts the “Lebanese porter […] in a terrible kind of sedulous-ser-
vice double bind, a paradox of pampering: viz. the The-Passenger’s-Always-Right-
versus-Never-Let-A-Passenger-Carry-His-Own-Bag paradox” (ibid: 291). Later, a
higher-ranked officer comes to apologize for the porter’s “misbehavior
a Jewish Lebanese; Miss Becky Patterson, assistant at the British Library
with a degree in Tibetan, is the daughter of third-generation Zimbabwean farmers; Miss
Yoshi Kamimura, a Japanese language student, is pregnant from an Italian fascist drug
dealer; Mr Igor Klimov and Mr Dimitri Belinkov are illegal Russian immigrants looking
for work. And Mrs Rezia Begum, an immigrant from a Bengal village to Brick Lane, is
reminiscent of the character Nazneen in Monica Ali’s novel.
The novel, however, does not only chart this multiplicity of strangers, immigrants,