Abstract
ABSTRACT Racist, sexist, and cultural essentialisms deny people subjectivity, and some post-9/11 literature suggest methods for resistance. In Ian McEwan's best-selling novel Saturday, white protagonist Henry Perowne may initially seem more likely to uphold rather than resist class, gender, and racial stereotypes. However, Perowne's objectification of three of the novel's nonwhite characters demonstrates how essentialisms reinforce the “master narratives” of financial wealth, professional success, and family bliss, and, in an unexpected twist, indicates how such pervasive stereotypes might be undermined.
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