Immigrant Literature

This piece will be walking, writing, meditating in in-between spaces with me. I call this act queer walking meditation, which blended autohistoria, the Coatlicue State, and meditation to examine my own queer self. This queer walking meditation helps me move between stories, initiates dialogues with a self, recognizes my self’s confusion, and leads to a series of actions to fight against the struggles and complicatedness in my identities. As a result, I learned how to mediate and take actions for myself and with my students from the standpoint of a Vietnamese queer, accented, Teaching English to Speakers of Other Languages (TESOL) teacher and Chicana-feminist writer. This walk witnesses the cathartic process through which I came to understand intersectional identities and how I used them into teaching, researching, and writing in a white gay world. I came up with another question, Is that the feeling of intersectionality?, at the end of this walk in order to open another walk in the future.

This article argues that the protagonist in Hage’s Cockroach (2008) introjects the vermin as a representation of internalized antagonism. As the unnamed narrator struggles in an inhospitable city, he internalizes this unflinching feeling of estrangement through introjection. This process reveals how the loss of home entails the state of a vagabond who resists normalization and seeks the unruly life of the underground. The way the city of Montréal is portrayed as notorious for its indifference towards newcomers aggravates the condition of the divided self in exile, which necessitates the intrusion of the monstrous. In effect, not only does introjecting the cockroach signify a menacing presence but also suggests a decolonizing act of insubordination against a city whose hegemonic order, like its freezing weather, looms large.

The Cronaca Sovversiva (Subversive Chronicle) was an anarchist newspaper, known today for the views of editor Luigi Galleani, whose ideas are associated with multiple bombings carried out in the United States throughout the 1910s and 1920s, the First Red Scare and the executed anarchists Nicola Sacco and Bartolomeo Vanzetti. A broad reading of the Cronaca Sovversiva, which focusses on more than its connections to controversy, violence and repression, reveals how a periodical produced by a wide range of artists, writers and activists became central to how many Italian immigrants understood and engaged with industrial capitalism. This paper argues that the Cronaca Sovversiva built an audience over time by incorporating a wide range of perspectives, addressing local and global issues and linking readers with other forms of literature as well as community events and projects. Diverse works of radical literature, art and announcements in the periodical, set within the predictable, repetitious framework of a weekly community paper, allowed a germinating militant movement to develop throughout and outside the Cronaca Sovversiva's pages.

Although Islamophobia is an ancient phenomenon, it has come to the fore, especially after the 9/11 terrorist attacks, and Islam has been put forward as the new enemy of the West. The fear of Islam, whose existence is generally scrutinized in Western society, is not created by Western societies alone. Political Islam doctrine placed the religion based on political ambitions and advanced in line with the understanding of radical Islam and fuelled the phenomenon of Islamophobia among Muslim communities. The basis where these effects can be examined most clearly is the Muslim immigrant communities living in the West. Leila Aboulela observes these damages of polical Islam, reflects it in her works, and compares the 19th and 21st-century understandings of Islamophobia through two parallel stories narrated in her novel The Kindness of Enemies. She explains how political and radical Islam differentiates Islamophobia and unfolds how the Muslim immigrants were affected with vivid examples. In this context, this article aims to embody the relationship between Islamophoiba and political Islam, to discuss the effect of Islamophobia in Western Muslim immigrant communities with quatotions exemplifying the discussion in the novel.

Öz: Almanya’da yaşayan Türk göçmenlerin özelliklerinin kesin çizgilerle sınıflandırılmasının, yazınsal eserlere aynı ölçüde yansıyıp yansımadığının araştırılacağı bu çalışmada, üçüncü kuşak yazarlardan olan Melda Akbaş’ın “Dilediğim Gibi - Cami ve Mini Etek Arasındaki Hayatım” adlı eseri örneklem olarak seçilmiştir. Bu çalışma hazırlanırken, bazı internet sayfaları, makale ve kitaplardan kaynak olarak yararlanılmıştır. Öncelikle yazarın biyogra-fisi, daha sonra ise eserinin okuyucuya ne aktardığından bahsedilmiştir. Türk kökenli yazar olan Melda Akbaş’ın otobiyografik eserinde, gerçekte hangi ülkeye ait olduğu sorusu teme-linde oluşan içsel çatışmaları yansıtılmıştır. Bu çatışmalarını yansıtırken, Türk ve Alman toplumları olmak üzere her iki tarafa da eşit mesafede durmaya çalışıp nesnelliğini koru-muştur. Çalışmanın odak noktası olan kuşak izleri konusunda ise eser içerisinde bazı bulgu-lara rastlanmıştır. Kendi kuşağı olan üçüncü kuşağın izlerinin yanı sıra ikinci kuşağın izle-rine de bu eserde rastlamak mümkündür. Öyle ki, ikinci kuşak göçmenlerin kimlik kaygısı, aynı şekilde Melda Akbaş tarafından da dile getirilmiştir. Bu yazıda, Türk-İslam kültürü ile yetişmiş olduğu Alman kültürü arasında kaldığı, aslında hangisinin doğru olduğunu sorgu-ladığı durumları okuyucuya aktaran Melda Akbaş’ın eseri temel alınarak, yazınsal eserlerde kuşakların izlerinin çok keskin olmadığı, dolayısıyla daha genel değerlendirilmesi gerektiği düşüncesi kanıtlanmaya çalışılmıştır.
Anahtar Kelimeler: Göçmen edebiyatı, Kuşak izleri, Kimlik, Entegrasyon, Göç

Different Traces in immigrant Generations in Melda Akbas’ Work
“The Way I Want-My Life Between Mosque and Miniskirt”
Abstract:
In this study, it is aimed to examine whether the characteristics of Turkish immigrants li-ving in Germany reflect on the same scale as the literary works, and to exemplify the third generation of the work “The Way I Want-My Life between Mosque and Miniskirt” by Melda Akbas who is third generation author. While preparing this study, some internet pages, articles and books were used as sources. First of all, the author's biography, and then what the work he transferred to the reader was mentioned. In the autobiographical work of Melda Akbaş, a writer of Turkish origin, the internal conflicts that arise on the basis of the question of which country actually belongs to be reflected. While reflecting these conflicts, Turkish and German societies tried to stay at equal distance to both sides and maintained their objectivity. Some findings were found in the work regarding the generation traces, which are the focal point of the study. In addition to the traces of the third generation which is hers, It is possible to find the traces of the second generation in this work. The identity anxiety of the second generation immigrants was also expressed by Melda akbaş. In this article, based on the works of Melda Akbaş, who transfers the situation between the Tur-kish-Islamic Culture and the German culture that she grew up in, and who questions which is actually true, the idea that generation's tracks are not very sharp in the literary works and therefore should be evaluated more generally was tried to prove

Abstract— Identity formation is integral to every human being where by a person locates oneself in society. However, in the case of immigrants, many of them undergo identity transformations as part of their adjustments with the host society. Bharati Mukherjee’s ‘Jasmine’ is the story of a village girl from India who immigrates to America and undergoes multiple identity transformations to assert her place in the American society. This paper is an exploration into Jasmine’s journey of transformed identities and how she emerges not only as a survivor but also a successful immigrant in America. It explains why these different identities are integral for her survival as an immigrant and ultimately throws light into the fact that for immigrants if the past is replete with sufferings and hopelessness, it is better to discard the past and move forward in life.


Index Terms— Identity, transformations, immigrant, survival, Bharati Mukherjee

Muslim societies, and especially Muslim women, have often received fetishized attention in (neo-)Orientalist literature. However, opening up spaces for the voices of Muslim women especially those wearing the hijab is long overdue. Therefore,
the representation of diasporic Muslim women and their multiple identities in Leila Aboulela’s Minaret and Shelina Janmohamed’s Love in a Headscarf is of paramount importance. These two texts show how, face to face with possibilities and pitfalls of diaspora, Muslim women negotiate and prioritize Islamic identity in the metropolis. While immigrant Muslim men are racked with somewhat unacknowledged exilic anxieties, the challenge and possibility of Muslim women largely concern gender and religion. For a group of Muslim women, the West facilitates a critical interrogation of their feeling of identity vacillation and creates a useful framework for thinking about their religious observances, which eventually helps them conceptualize and articulate their sense of belonging. For many others, it provides
a third space in which they can confidently engage in a reinterpretation of the Islamic texts and thus reclaim an identity which liberates them from culturally enacted practices of their countries of origin.

The article analyzes early twenty-first century English-language literature by Soviet-born Jewish writers as a response to the Jewish literary and cultural politics of the Cold War period. First, by reexamining the postcolonial concept of hybridity, it argues that the “Soviet Jew” is not a neutral description of a Jewish person from the USSR. Rather, it is a discursive product that emerged during the Soviet Jewry Movement, a figure who requires re-education, specifically of a religious nature, as part of advocacy by Jews in the West on behalf of Jews in the USSR. Second, it analyzes texts by Elie Wiesel, Bernard Malamud, and Chaim Potok that have become part of the North American Jewish literary canon with a focus on these works’ scenes of encounter between Jews in the USSR and Jewish writers visiting from abroad. These depictions specifically emphasize the visiting writers’ projections of their concerns about their own Jewish identities and about Jewish continuity more broadly onto the figure of the “Soviet Jew.” Finally, it demonstrates that Boris Fishman, Anya Ulinich, and David Bezmozgis offer a contemporary restaging of such scenes of encounter, now between émigré Jews from the USSR and their Jewish hosts in North America. In these recent works, the “Soviet Jew” is a figure that can be manipulated—frequently in satirical ways—as immigrant literary protagonists navigate the process of fitting in (or, not fitting in) within North American Jewish communal landscapes created, in part, with the help of the figure of the "Soviet Jew" itself.

This essay proposes that an epistemological commitment to data collection creates a distinct aesthetic in life narratives, and argues that an abundance of data creates a sense of multiple, co-present identities within a given subject. Focusing on The Life Stories of Undistinguished Americans, a collection of “lifelets” edited by Hamilton Holt (1906), Gertrude Stein’s Three Lives (1909), and The Soul of an Immigrant (1921), the autobiography of Constantine Panunzio, Rodrigues shows how the identities that these subjects iterate are in flux, and thus the subjects are constantly in transit among their identities.

Though very little of Gone with the Wind focuses on the marriage of Gerald O’Hara and Ellen Robillard, their union is a crucial component of the novel and of Scarlett’s character development. Margaret Mitchell employs the marriage between Gerald and Ellen O’Hara to promote the incorporation of white ethnics into the fabric of American citizenry. In fact, she goes so far as to suggest that this incorporation is necessary for Americans to survive the modern world. I contrast Scarlett and the dark-featured Rhett Butler with the weaker, inbreeding
Wilkes/Hamilton families. Finally, I illustrate how the racial
politics of the novel, while portraying the assimilation of white ethnics and the interracial relations of nonwhite ethnics, nevertheless increase the imagined distance between whites and nonwhites. This discussion includes an analysis of the film version of the novel as well as the mixed race character of Dilcey. Through her Civil War novel, Mitchell prescribes a code of acceptable intermarriage (and thus assimilatory) practices for
her contemporary culture.

In this essay, I argue that alienation and familiarity serve as mobile matrices for
understanding the affectively experienced impact of transnational migration in certain of
Jhumpa Lahiri’s short stories. While we may think of alienation as a precondition of migrant
identity, it is a condition that is familiar to most of us in different contexts. How does
alienation, thus plurally conceived, figure in the experience of migrants, producing the relay
between heimlich/unheimlich experiences? Moreover, in the socio-cultural context of
globalisation, how does transnational migration challenge conventional notions of family, a
word associated with notions of familiarity and filiation that are seemingly antonymous to the
idea of alienation? These are the questions I set out to answer, concluding that the ‘family’ is
always a unit composed by its very hauntings, surrogates, and absences.

The article discusses narrative and ideological conceptualizations of Arab-American authors-immigrants who wrote their autobiographies in English, the primary case studies being Edward Said's 'Out of Place,' Ihab Hassan's 'Out of Egypt,' and Leila Ahmed's 'A Border Passage.' The main focus is on the language aspect of identity, using the Bakhtinian theoretical framework of polyphony and hybridity which exposes the unavoidable plurality of immigrant selfhood.

In this paper the authors outline the images of violence that portray the city of Montreal as a ‘discomfort zone’ in Rawi Hage’s novel􏰀􏰁􏰂􏰃􏰄􏰁. Petra Sapun Kurtin and Gordan Matas argue that through the portrayal of the disintegrating concepts of immigrant displacement, discomfort and disillusionment with the use of violent distorted imagery of the urban surroundings, Rawi Hage
depicts Canadian urban setting as the space of (contested) multiculturalism policy. Furthermore, the authors argue that the novel is not just an example of uncompromising immigrant prose that emerges as a result of a globalized world, but that within the transnational paradigm and in the context of postcolonial and postmodernist readings, it is also distinctly Canadian.

Transoceanic passage brought nearly 189,000 immigrants from Japan to Brazil between 1908 and 1941. They were often geographically isolated in Japanese "colonies" as coffee plantation workers and thus able to maintain their Japanese linguistic and cultural identity. A new imagined community coalesced in the several Japanese-language immigrant newspapers that also published locally produced serial fiction. This paper reads two representative works by Sugi Takeo, pen name of Takei Makoto (1909-2011), who was a prolific contributor of original content to the Burajiru Jihô newspaper. In the short stories, "Kafé-en o uru" (Selling the coffee plantation, 1933) and "Tera Roshya" (Terra rossa, 1937), it is the moonshine sellers who see steady profits from every race and type of immigrant laborer while the Japanese newcomers who naively dream of riches by bringing coffee to market reap only a bitter brew of poverty for their efforts.

Increased mobility and interconnection have characterized the end of the twentieth century. “‘Globalization’ is on everybody’s lips,” Z. Bauman wrote in 1998, and travelling is within everyone’s reach, a clichéd idea that evokes images of freedom and self-realisation. Yet immigrants’ tales often reveal that mobility and transnational ties can be negative and alienating. Through an analysis of Mulberry and Peach: Two Women of China (1976/1998) by the Asian American writer Hualing Nieh, this essay focuses on the negative outcomes of coerced mobility and transnationalism. The protagonist, Mulberry, is a Chinese refugee woman who is forced to relocate across China, Taiwan and the United States to escape war as well as male and institutional violence. If by “transnationalism” we mean “the process by which immigrants forge and sustain simultaneous multi-stranded social relations that link together their societies of origin and settlement” (Glick Schiller et al. 48), in Mulberry and Peach the author depicts a negative version of transnationalism. Placed in a transnational web against her will, Mulberry refuses to establish links with any nation, as both China and the United States are fraught with violence. She is therefore doomed to wander perpetually, and, at the same time, she is trapped in a frightening in-between space that causes “a vertiginous unbalancing of life and self” (Roberson 11).

Nostalgia is part of a migrant's everyday life: although lived, imagined, invented and re-invented in dramatically different ways. In this article, I use an interdisciplinary approach and base my analysis upon two components of research: 1) Firstly, data collected at the Queens Museum of Art in Queens, New York City, through the multimedia installation "Al Locro Lado", whereby, my voice and that of my Ecuadorian anthropology colleague María Fernanda Moscoso were brought together with those of the audience while exploring material elements related to food, nostalgia, identities, symbols, nationhood and migration. 2) And secondly, data collected between 2009 and 2010 within the Ecuadorian community mostly in Queens, New York. I use these findings to re-think notions of space and the continuum of transnational identities in relation to food and citizenship.

Albahari's short story "Learning Cyrillic", translated from Serbian into English by Elias-Bursać, combines three languages-Serbian, English, and Blackfootand two scripts-Latin and Cyrillic. This article uses the story and its English translation to examine the destabilisation patterns in the concepts of intra-and interlingual translation that occur in a multilingual text. The paper argues that translational relations are not given but rather contextually determined in each case. Elias-Bursać's multilingually and graphically aware translation disrupts the traditionally predictable behaviour of 'source' and 'target' by obscuring the presumed one-to-one correspondence between them. In arguing for a scalable minimal unit of translation, the paper adapts Jin's (2017) metonymic approach to 'close' and 'distant reading' to fit the translational agenda. The asymmetry between the 'source' and 'target', along with a scalable minimal unit of translation, reinforces the pertinence of a contextual framework in the study of multilingual literature's translational relations.

The aim of this paper is to analyse Mohsin Hamid's 2017 Exit West as a literary response to the 2015 migrant crisis. Hamid's fourth novel will be shown as, on the one hand, a formal departure from his previous works, but on the other, a continuation of the most important thematic threads in the author's output. The paper demonstrates how Hamid takes on the risky chal lenge of capturing the migrant experience by offering a nuanced response to the refugee crisis, which opens up the novel to interpretations from the perspectives of postcolonial studies, trauma theory, and socioliterature. Fur thermore, Hamid's use of the technique of magical realism will be examined as a metaphor and an ellipsis; however, it will be argued that the novel's politically subversive potential lies elsewhere: in the formally realist vision of an optimistic resolution to the migrant crisis. This ending, for many read ers unrealistic and fantastical, if not "magical," offers a "radical political en gagement with the future," as it provides the author's unflagging expression of support for what he calls "impurity," as well as his appeal for strategic hope and optimism in the face of the currently dominant political discourse of fear and division. http://pjes.edu.pl/issues/6-1-2020/

Artykuł poświęcony jest rozmaitym sposobom prezentowania, omawiania i wartościowania dorobku polskiej literatury emigracyjnej w ukazującym się na początku lat 90. XX wieku „Tygodniku Literackim” (1990-1991). W tekście przybliżono, jakie było miejsce literatury emigracyjnej w strukturze i hierarchii treści periodyku. Przedstawiono przekrój publikowanych tam tekstów dotyczących literatury emigracyjnej i emigracyjnego życia literackiego, w tym: omówień, szkiców, recenzji, polemik czy wywiadów. Ukazano zjawiska emigracyjności i postemigracyjności jako kategorie regularnie poddawane literackiej i krytycznoliterackiej refleksji (zwłaszcza w recenzjach) twórców omawianego pisma. Scharakteryzowano, jakie fragmenty poezji, prozy czy tekstów scenicznych twórców emigracyjnych były prezentowane w poszczególnych wydaniach „Tygodnika Literackiego”. Podjęto próbę zdefiniowania różnych strategii redakcji pisma odnośnie do prezentowania dorobku pisarstwa emigracyjnego. Nakreślone zostały najważniejsze dyskusje i spory dotyczące literatury emigracyjnej, które miały miejsce na łamach czasopisma. Podkreślono aktywny udział redakcji periodyku w toczących się na początku lat 90. XX wieku sporach o miejsce i rolę literatury emigracyjnej w całokształcie literatury polskiej po upadku systemu komunistycznego. Wskazano najważniejsze – z punktu widzenia środowiska twórczego „Tygodnika Literackiego” – postacie emigracyjnego życia literackiego, z Gustawem Herlingiem-Grudzińskim na czele.

CREATIVE LIFE AND IMMIGRANT LITERATURE IN THE TYGODNIK LITERACKI (1990–1991)

The article offers an overview of various ways of presenting, discussing and assessing Polish immigrant literature in the Tygodnik Literacki [Literary Weekly] published in the early 1990s (1990–1991). It demonstrates the significance of immigrant literature in the structure and hierarchy of the periodical. It shows the variety of the published texts concerning immigrant literature and the creative life of the Polish diaspora, including reports, drafts, reviews, polemics and interviews. The concepts of emigration and postemigration were phenomena of utmost significance both for writers and literary critics publishing their texts in the periodical under consideration (in reviews, in particular). The article presents which extracts of prose, poetry and plays by immigrant writers were presented in specific issues of the Tygodnik Literacki. Moreover, the author attempts to define the strategies used in the periodical to present immigrant literature. He also refers to the most significant discussions and conflicts concerning Polish immigrant literature, as presented in the periodical. Furthermore, he emphasizes the crucial role of the periodical’s editors in the discussion concerning the significance of immigrant literature in Polish literature in general after the collapse of the communist system. Finally, the article shows whom the editors and contributors of the Tygodnik Literacki perceived to be the most important Polish immigrant writers, with Gustaw Herling-Grudziński at the top of the list.

Jonas Hassen Khemiri, born in 1978, is one of the most interesting contemporary Swedish and European writers with a Tunisian immigrant background. His second novel "Montecore: en unik tiger (Montecore: The Silence of the Tiger)," published in 2006, has got an epistolary form deducted from the exchange of letters between Kadir and Jonas. However, the main character of the novel is Abbas Khemiri - the disappearing, estranged father of Jonas-a figure close to the real writer. Khemiri's book has got an innovative linguistic form and contains many erudite references to the phenomena of popular culture. It is also a complex portrayal of the different generations of (mainly Arab-based) immigrant and post-immigrant communities in Sweden coupled with a nuanced look on bright and dark sides of the Swedish state, model of identity and integration. This material is enriched by the examples taken from Khemiri's novel "Everything I Don't Remember and short story As You Would Have Told It To Me (Sort Of) If We Had Known Each Other Before You Died."

ALMANYA’DAKİ TÜRK YAZARLARIN HİKÂYELERİNDE TÜRKLERİN ALMANYA’YA UYUMU

Göç, insan hayatında önemli değişiklikler oluşturur. Göçmenler farklı bir dil, din ve kültüre sahip bir ülkede hayatlarına devam ederken kendi değerlerini bir anda bırakamazlar. Bu nedenle onların göç ettikleri topluma uyumu uzun soluklu bir süreci kapsar. 1961 yılında Türkiye’den Almanya’ya işgücü nedeniyle çalışmaya giden Türkler uyum konusunda ciddi sorunlar yaşamışlardır. Almanların, gelenlerin insani özelliklerini görmezden gelip onları sadece işgücü olarak görmesi Türklerin kendi içlerine kapanmalarına neden olmuştur. Göç sonucu Almanya’ya giden Türk yazarların, göç konusunu ve sonuçlarını edebi eserlerinde işlemeleri bu eserlerin Göçmen Edebiyatı’na dâhil edilmelerini sağlamıştır. Bu çalışmada ekonomik, siyasi, ailevi gibi nedenlerle Almanya’ya göç eden on altı Türk yazarın 23 eserindeki 39 hikâyede uyum konusunun nasıl ele aldıkları incelenmiştir. Türk yazarlarının, eserlerinde; Türklerin Almanya’ya uyum konusunda yaşadıkları sorunları, Almanların göçmen karşıtı politikalarının Türkler üzerindeki etkileri ve buna karşı gelişen tepkiler, kuşak çatışmasından dolayı Türklerin Almanya’ya uyum sağlamalarında ortaya çıkan sorunları nasıl ele aldıkları incelenmiştir.

Anahtar Kelimeler: Göç, Almanya’ya Göç, Göçmen Edebiyatı, Uyum, Hikâye.

Scholars such as Arturo Arias, Ana Patricia Rodríguez, and
Claudia Milian have brought to light the importance of the historical
specificity and traumatic experience of the (largely undocumented)
Guatemalan diaspora in the US in the wake of the Guatemalan civil war.
These and other scholars have generally used a trauma studies framework to read Héctor Tobar’s The Tattooed Soldier (1998) and Central American migrant characters in Latinx literature in general. This article focuses on the novel’s deployment of human rights language and categories, particularly refugee-ness and statelessness. I argue that the novel, through the representation of refugees, homeless people, and a child soldier, critiques the narrow definition of statelessness provided by governmental bodies and instead reveals the experience of statelessness shared by migrants and other marginalized citizens. In addition, I assert that the novel critiques commonly offered modes of justice in the wake of human rights violations, a topic undertheorized in human rights and literary studies, and encourages new models of justice for victims of state violence.

Taking from departure Jacques Derrida and Hannah Arendt’s divergent points of view on the cultural role of the mother tongue in totalitarian and democratic contexts, this essay investigates the writings of two poets, Yvan Goll and Eugene Jolas, who both wrote poetry in English during their exiles in New York during the Second World War. The essay analyses how issues of belonging and citizenship are approached in their works through the prism of multilingualism for Jolas, and by challenging mono-referentiality in language and proper names in Yvan Goll’s kabbalistic poetry. The essay investigates how both poets and both thinkers tried to reimagine democracy through the prism of multilingualism or mother-tongue expression in their works.

XX. yüzyıl Azerbaycan Muhaceret edebiyatı şairlerinden biri olan
Alazan Baycan, 1933’te Sovyetler Birliği’ndeki siyasî baskılar nedeniyle
tıp eğitimini yarım bırakıp ülkesi Azerbaycan’ı terk etmek durumunda
kalmış; önce İran’a, kısa bir süre sonra da Türkiye’ye gitmiştir.
Türkiye’deki tıp eğitimini tamamladıktan kısa bir süre sonra Almanya’ya
göçen Alazan Baycan, 1943’te Berlin Üniversitesi’nde çalışmaya
başlamış; bir yandan da edebî faaliyetlerini sürdürmüştür.

Azerbaycanlı diğer muhacir şairler gibi, Alazan Baycan da ana
vatanından ayrı yaşamak durumunda kalmış ve bu ayrılık temasını
şiirlerinde geniş bir şekilde işlemiştir. Muhacir bir şair olarak yaşamı
hakkında çok fazla bilginin henüz mevcut olmadığı Baycan, şiirlerinde
dünyaya bakış açısını ve felsefesini açıkça yansıtmıştır. Daha çok
toplumsal temalarda şiirler yazan şair, iki şiir kitabı yayımlamıştır.
Bunlardan “Gönül Sazından” kitabı 1983 yılında; “Dağ Çiçekleri” adlı
kitabı ise 1987 yılında Ankara’da yayımlanmıştır. Kitapta bulunan
şiirlerde hem Azerbaycan, hem Türkiye Türkçesi özellikleri
görülmektedir.

Bu çalışmada Alazan Baycan’ın Azerbaycan Muhaceret
edebiyatındaki yeri irdelenerek şiirlerinde yer verdiği bağımsızlık arzusu,
ana vatan özlemi ve özellikle ana diline olan düşkünlüğü gibi temalar
üzerinden hem üslup özellikleri, hem de mücadelesini verdiği dünya
görüşü ele alınmıştır. Şairin dünyasındaki sosyal ve siyasi gelişmelerin
eserlerine olan yansımalarını ortaya koyabilmek için, şiirleri sosyolojik ve
tarihî boyutları ile değerlendirilmiştir. Dolayısıyla Baycan’ın sanat
anlayışı edebiyat – toplum ilişkisi içinde değerlendirilmiştir.

This article is based on a study of The Reluctant Fundamentalist (2007), a novel by a Pakistani writer Mohsin Hamid. The novel is based on the story of transformation of an expat Pakistani living in New York from a true cosmopolitan to a nationalist. The article will explore the crisis of identity suffered by the protagonist in a new land where he reached as an immigrant student and worker. However, he experienced a resurgence of nationalist and patriotic sentiments within him as 9/ 11 happened in 2001. The force of American nationalism that was imperial in nature, resulting in the invasion of Afghanistan and Iran, triggered resentment in the protagonist who decided to leave America and went back to the country of his origin, Pakistan. During his stay in America, the protagonist
redefined fundamentalism as an imperial tendency in the American system while rejecting the accusations hurled towards him of an Islamic fundamentalist. The article will explain that there is a loss of cosmopolitan virtue in the post 9/11 era and the dream of universal peace and harmony is shattered due to unbridled state ambitions to invade foreign territories. The article will conclude with the assertion that the loss of cosmopolitanism and reassertion of national identities give way to confrontation and intolerance destroying the prospects of peace and harmony in a globalized world.