Abstract

In Iraqi fiction, the prerogative to narrate the experience of marginal identities, particularly ethno-religious ones, appeared only in the post-occupation era. Traditionally, secular Iraqi discourse struggled to openly address “sectarianism” due to the prevalent notion that sectarian identities are mutually exclusive and oppositional to national identity. It is distinctly in post-2003 Iraq—more precisely, since the sectarian violence of 2006–2007 began to cut across class, civil society, and urban identities—that works which consciously refuse to depict normative Iraqi identities with their mainstream formulations became noticeable. We witness this development first in the Western diaspora, where Iraqi novels exhibit a fascination with the ethno-religious culture of the Iraqi margins or subalterns and impart a message of pluralistic secularism. This paper investigates the origins of the taboo that proscribed articulations of ethno-religious subjectivities in 20th-century Iraqi fiction, and then culls examples of recent diasporic Iraqi novels in which these subjectivities are encoded and amplified in distinct ways. In the diasporic novel, I argue, modern Iraqi intellectuals attain the conceptual and political distance necessary for contending retrospectively with their formative socialization experiences in Iraq. Through a new medium of marginalization—the diasporic experience of the authors themselves—they are equipped with a newfound desire to unmask subcultures in Iraq and to write more effectively about marginal aspects of Iraqi identity inside and outside the country. These new diasporic writings showcase processes of ethnic and religious socialization in the Iraqi public sphere. The result is the deconstruction of mainstream Iraqi identity narratives and the instrumentalization of marginal identities in a nonviolent struggle against sectarian violence.

Highlights

  • Contrary to the official narratives the various rulers of Iraq endorsed to construct a fixed national identity for Iraqis, historian Orit Bashkin explains that “Iraqi nationalism had many ‘others.’ ... the multiplicity of narratives concerning the nature of the nation’s ‘others’ points to the fact that there was no consensus on the definition of Iraqi nationalism”

  • In the process of constructing a mainstream identity, secondary religious, nationalist, ethnic and linguistic affiliations crowded the margins of Iraqiness for the bulk of the 20th century since the inception of the nation-state

  • “The margin is no longer a margin, nor is the main text a main text anymore,” (Akhras 2012, p. 9)2 Iraqi journalist and vernacular essayist Muh. ammad Ghazı al-Akhras proclaimed about Iraqi writing and society after 2003, adding that “[Iraqi] sectarianism is not a religion from which atheists and secularists can emancipate themselves,” but rather “a vast imaginary that evolved with the Arabization of Iraq and progressed alongside its Sunnification” (Ibid, p. 38; Akhras 2013)3

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Summary

Introduction

Contrary to the official narratives the various rulers of Iraq endorsed to construct a fixed national identity for Iraqis, historian Orit Bashkin explains that “Iraqi nationalism had many ‘others.’ ... the multiplicity of narratives concerning the nature of the nation’s ‘others’ points to the fact that there was no consensus on the definition of Iraqi nationalism”. The post-Ba’thist era has witnessed the sudden fall of a long-lasting dictatorship, an encounter with Western occupation, and an unprecedented upsurge in sectarian discourses, to name only the most prominent events In addition to these influences, the development of contemporary Iraqi literature is the product of several fluctuations in cultural expression that span the bulk of the twentieth century. During the eventful first decade of the 21st century, among many new experiments, Iraqi writers attempted to revive the social realism cultivated in the 1960s and 1970s by seminal authors such as Gha’ib Tu’lmah Farman, Mahdi ’Isa al-Saqr, and Fu’ad al-Takarli This process followed the long hiatus of the 1980s and 1990s during which Iraqi writers were either silenced, exiled, or enlisted by the state in the production of war glorification literature that is generally deemed stylistically poor and duplicitous in content.

Conclusions
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