Abstract

The novel as a literary form becomes the subject of critical scrutiny as the principal genres of twenty-first century fiction rise in popularity. The author is Fadia Faqir, who is always experimenting with storytelling approaches. As a result of transcending multiple borders, the current research examines and analyses how narrative and cultural identities are depicted in Faqir's novel Willow Trees Don't Weep ( 2014) Fadia's narrative depicts the current problem of fragmentation, rootlessness, un belonging, and bewilderment in a society where a man/woman finds himself/herself suspended in a vacuum of meanings. As a consequence of identification and self-construction, Faqir's response to these notions comes from those protagonists who turn into new individuals in their own world by inventing new locations, voices, and representations. The aim of this study is to examine the novel through the prism of Homi Bhabha's hybridity. The novel's critical analysis indicates that Faqir's protagonist, Najwa, supports the practice of hybridity in Willow Trees Don't Weep. Other characters in Faqir's novel force Najwa to adopt their chosen kind of identity, putting Najwa in a state of hybridity and unease. She is irritated by the weight of dichotomy between the Western and Islamic worlds. It may be said that Najwa's father's Jihad, as well as her mother's secular views and aspirations, had a key role in her state of life being broken. Najwa has been searching for her father, who has been missing since she was three years old, all over the globe. Because of Jordanian culture's harshness, which traditionally regarded a household without a man to be a home without honor, it becomes critical for her to find someone after she is twenty seven and shortly after her mother's death. Najwa is encouraged to go on the trip by Jordanian patriarchal society, and along the way, she experiences cultural hybridity and an unsettling sense, a sense of cultural hybridity and apprehension.

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