Abstract
Tahmima Anam’s The Good Muslim captures the struggles of Haque family in a new country, Bangladesh, created through the 1971 war. The separate paths of the Haque siblings reflect not only their internal conflicts but also their strategic pathways to Bangladesh’s problems, in particular the national crisis of sexual violence against women. Redressing past injustices by challenging the nation’s military dictatorship, Jahanara Imam’s activism seeks justice for the raped women. Through their opposite transcultural visions, the siblings Maya and Sohail grapple with the vagaries of belonging to their newborn country that struggles to balance its secular legacy and traditional Islamic heritage.
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