Contrary to hegemonic Western representations of Muslim women as victims of Islam and Muslim men, Sudanese-Scottish Leila Aboulela’s The Translator depicts a Muslim woman, Sammar, whose sense of home and belonging is predicated on her romantic love for her late cousin and husband, Tarig. Therefore, after his death, she feels alienated from her home in Sudan and leaves for Aberdeen, Scotland, where she is ostracized because she is Muslim. While this Muslim identity proves indispensable for her survival and gradual healing, ultimate normalcy and belonging are restored when she reclaims the world of love and acceptance she has lost with Tarig’s death through a new relationship. The romantic love and the language she uses in this relationship allow Sammar to restore the sense of being and the belonging she had at home within the spaces she occupies in Aberdeen, ending her alienation and reclaiming her subjectivity. Using feminist theory and postcolonial theories of place and identity, as well as Lila Abu-Lughod’s notion of emotional discourse as a pragmatic act, this study investigates the novel’s depiction of place and identity as constructed entities embedded in emotion. This depiction, this study proposes, undermine various positionalities and binaries, such as self/other and east/west, allowing Aboulela to approach them more critically.

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Published in Humanities, v. 8, issue 2, 72.

© 2019 by the author. Licensee MDPI, Basel, Switzerland.

This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (https://creativecommons.org/licenses/by/4.0/).

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