Reluctant Fundamentalist Resource (EDocFind - Com)

THE RELUCTANT FUNDAMENTALIST RESOURCE PAGE 1 OF 68 WORLD SCHOLAR’S CUP © 2008
The Reluctant
Fundamentalist Resource
2008-2009 Curriculum
Table of Contents
Preface .............................................................................................................................. 5
I. About Mohsin Hamid .................................................................................................. 6
Objectives .......................................................................................................................................... 6
Introduction....................................................................................................................................... 6
Origins, Education, and Travels ......................................................................................................... 7
Moth Smoke ..................................................................................................................................... 7
The Reluctant Fundamentalist and Beyond ....................................................................................... 7
II. Historical and Literary Context ................................................................................... 9
Objectives .......................................................................................................................................... 9
Introduction....................................................................................................................................... 9
Selected History: Lahore .................................................................................................................... 9
Selected History: 9/11 and the War on Terror ................................................................................. 10
South Asian Writers (writing in) English .......................................................................................... 11
III. Setting ...................................................................................................................... 13
Objectives ........................................................................................................................................ 13
Introduction..................................................................................................................................... 13
Lahore .............................................................................................................................................. 13
Changez’s Childhood Home in Gulberg ....................................................................................... 14
Old Anarkali ................................................................................................................................. 15
Mall Road ..................................................................................................................................... 16
New York City ................................................................................................................................. 16
The Pak-Punjab Deli..................................................................................................................... 17
Athens, Greece ................................................................................................................................. 18
Manila, Philippines .......................................................................................................................... 18
Valparaiso, Chile .............................................................................................................................. 19
Conclusion ....................................................................................................................................... 19
IV. Characters ................................................................................................................ 21
Objectives ........................................................................................................................................ 21
Introduction..................................................................................................................................... 21
Major Characters.............................................................................................................................. 22
Changez ........................................................................................................................................ 22
The American ............................................................................................................................... 22
Erica.............................................................................................................................................. 23
Jim ................................................................................................................................................ 23
Wainwright ................................................................................................................................... 24

Juan-Bautista................................................................................................................................. 24
Minor Characters of Note ................................................................................................................ 24
The waiter ..................................................................................................................................... 24
Chris ............................................................................................................................................. 24
Sherman ........................................................................................................................................ 25
The Filipino driver ........................................................................................................................ 25
The cashier .................................................................................................................................... 25
The nurse ...................................................................................................................................... 25
The man in the parking lot ........................................................................................................... 25
Chuck and Mike ........................................................................................................................... 25
Erica’s Parents ............................................................................................................................... 26
Changez’s Family .......................................................................................................................... 26
Conclusion ....................................................................................................................................... 26
V. Plot and Structure ..................................................................................................... 27
Objectives ........................................................................................................................................ 27
Introduction..................................................................................................................................... 27
Plot Summary: Story in a Hurry…................................................................................................... 28
Chapters 1-3: Early Evening in Old Anarkali/Young Love on the Rise ............................................. 28
Chapter 1 ...................................................................................................................................... 28
Chapter 2 ...................................................................................................................................... 29
Chapter 3 ...................................................................................................................................... 30
Chapters 4-5: Night in Old Anarkali/The Towers Fall ..................................................................... 32
Chapter 4 ...................................................................................................................................... 32
Chapter 5 ...................................................................................................................................... 33
Chapters 6-10: Ordering Dinner/An Ominous Honeymoon ........................................................ 35
Chapter 6 ...................................................................................................................................... 35
Chapter 7 ...................................................................................................................................... 37
Chapters 8-10: Dinner is Cooking/Downward Spiral....................................................................... 38
Chapter 8 ...................................................................................................................................... 38
Chapter 9 ...................................................................................................................................... 40
Chapters 10-11: Late Night in Old Anarkali/Final Falling-Out with America .................................. 41
Chapter 10 .................................................................................................................................... 41
Chapter 11 .................................................................................................................................... 43
Chapter 12: Mall Road/Life in Chosen Exile.................................................................................... 44
Chapter 12 .................................................................................................................................... 44
Conclusion ....................................................................................................................................... 45
VI. Narrative Strategies .................................................................................................. 46
Objectives ........................................................................................................................................ 46
Introduction..................................................................................................................................... 46
Structure .......................................................................................................................................... 46
Symbolism ....................................................................................................................................... 48
Predator and Prey .......................................................................................................................... 48
Names ........................................................................................................................................... 49
Changez ........................................................................................................................................ 49
Underwood Samson ...................................................................................................................... 50

Erica.............................................................................................................................................. 51
Foils ................................................................................................................................................. 52
Literary Allusions .......................................................................................................................... 55
Conclusion ....................................................................................................................................... 55
VII. Major Themes ........................................................................................................ 57
Objectives ........................................................................................................................................ 57
Introduction..................................................................................................................................... 57
The Self-Destructive Nature of Empires ........................................................................................... 57
Nostalgia as both Poison and Salve................................................................................................... 59
Homeland as a Non-Transferable Concept ...................................................................................... 61
Foreignness as Subjective and Therefore Universal ........................................................................... 62
The Many Faces of “Fundamentalism” ............................................................................................ 63
Conclusion ....................................................................................................................................... 65
Works Consulted ........................................................................................................... 67
About the Author ........................................................................................................... 68
About the Editor ............................................................................................................ 68
by
Tania Asnes
Barnard College ‘05
Dedicated to the Vicugna pacos
edited by
Daniel Berdichevsky
Harvard University ’05
Am I allowed to double that dedication?
Please note that The Reluctant Fundamentalist contains a small amount of adult content.
This content will not be tested, and teachers may wish to instruct students to avoid it.
Preface
It’s empire season. To borrow a hunting term,1 that is what Mohsin
Hamid is telling us in The Reluctant Fundamentalist. Empires, far from
relics of antiquity, are present, alive, and thriving. But for how long?
As I write this Novel Resource Guide, the 2008 Presidential Election in

the United States is down to the wire. Tensions are soaring between
Democrats and Republicans. Celebrities are blogging about it. DemiDec
2
writers are IMing about it. Rappers are rapping about it. Merchandisers are capitalizing on it. People
from hockey moms to pig farmers to astronauts to stockbrokers are registering to vote.
Clearly, the country is aware it is facing unusual times. Surely, people in both “red states” and “blue
states” sense how crucial the next four years will be. But do you think any of them suspects that what
they are facing is the possible decline of the American empire?
It is timely at this moment to consider the theme of the Fall of Empires and to read and analyze The
Reluctant Fundamentalist. Whether you think the United States is falling or merely stumbling, there
could not be a more relevant time to hear our narrator’s thoughts on the matter.
In the coming pages, we will try—in Jim’s jeweler-like way—to be objective and analytical. However, as
you make your way through this novel, try to keep the present day in the back of your mind. Only rarely
do we get to analyze a piece of literature while we are, in one way or another, living its reality.
In this guide, we will examine background information that will help us understand the novel:
information about Mohsin Hamid, historical facts, and a brief summary of the emerging genre that
Hamid is helping popularize. Next, we will investigate Hamid’s treatment of setting and character—
elements which, as we will see, are quite intertwined.
After a quick plot summary, we will delve into the meat of the book, its narrative strategies and themes.
We will tease out the messages that Hamid has wound through the narrative and uncover the methods
he uses to thread them in. As we will see, Hamid does not give us definitive answers. He answers our
questions with questions. He sets us up to ask educated questions—not only about the novel, but also
about ourselves.
Grab a jalebi for the hunt. We’re out to snare the theme of empire. And—soho!3 There goes the fox.
We’re off.
1
Luckily, when we hunt for meaning during empire season, we need only a pencil and not a … business card holder. –Tania
2
Were you wondering why this was released late? – Daniel
3
Or perhaps more fittingly in the context of NYC, SoHo. –Tania
I. About Mohsin Hamid

“I was 30 when 9/11 happened and I had lived exactly 15 years
of life in America, so I was half American. I was a full-fledged
New Yorker … I hoped people I cared about weren't dead, and
then I thought: My whole world is about to change.”i As seen in
this quote, Mohsin Hamid reacted to 9/11 in a very different way
from his protagonist, Changez. What about him allowed him to
craft The Reluctant Fundamentalist?
Objectives
By the time you complete this chapter, you should be able to answer the following questions.
 Where did Hamid grow up and where has he lived?
 Under what circumstances did he compose The Reluctant Fundamentalist?
 What was the critical response to the novel?
 What does he write, aside from novels?
Introduction
Historically, some critics have argued a writer’s identity and
personal history is irrelevant to the study of his writing. They
prefer to view the text as a pure literary entity, completely in
the present and free from associations with its creator.
However, it is nearly impossible to read a novel as politically

charged as The Reluctant Fundamentalist and not wonder at
the author’s background. Moreover, because it is such a
current piece of literature, we can relate more closely to the
events within its pages. True, the themes of a Civil War
poem can resonate with readers in the year 2008, but a novel
about the events of 9/11 is much more personal for us.
Perhaps we were in Brooklyn and saw the Twin Towers fall from across the river. Perhaps we were in
rural Ohio and watched the events unfold on television. Perhaps we read it in our newspaper at home in
Korea. Wherever we were during the 9/11 attacks, however, we soon discovered the truth of what
happened, and for those of us old enough to remember it, that moment was marked in our personal
history. When we read Hamid’s account of this event, we want to know how it is personal to him.4
4
For a contrast: Jonathan Safran Foer’s Everything is Illuminated is a contemporary novel. However, the events that occur in
it are not specific to the present in the way that 9/11 is. Therefore, as critics, we do not feel as strong an urge to delve into
Foer’s personal history as we do Hamid’s.
Where was he? How did he find out? What was his reaction? These questions give rise to more: What is
his ethnic background? Why did he come to New York? How much is he like Changez? In this section,
we will examine Mohsin Hamid’s background and rise to fame. Then we will be able to judge for
ourselves: how much of Hamid is in Changez, and what about Hamid’s background influenced the
themes and narrative strategies in The Reluctant Fundamentalist?
Origins, Education, and Travels

Mohsin Hamid was born in
Debate it!
1971 in Lahore, Pakistan. He
grew up partially in Lahore and Resolved: That the novel’s impact is greater if you know Hamid’s
background. Take stands, craft arguments, and practice presenting
partially in California—the
with your team.
latter while his father was a
student at Stanford University. Thus, from early in his life, Hamid had a multi-national identity. As a
young adult, he moved to New Jersey to attend Princeton College, where he studied writing with Joyce
Carol Oates and Toni Morrison. He later earned a degree from Harvard Law School. Hamid worked
both in Lahore and in New York, the former as a writer and the latter as a management consultant. He
is married and lives in London, though he has said he often thinks about moving back to New York.
Moth Smoke
Hamid’s first novel was entitled Moth Smoke. He wrote the first draft in 1993 under the guidance of
Toni Morrison, and the book was released in the year 2000. Like The Reluctant Fundamentalist, Moth
Smoke is set in Lahore and melds personal situations intricately, and sometimes inextricably, with larger
political realities. However, unlike The Reluctant Fundamentalist, which holds a magnifying glass up to
America, Moth Smoke examines the realities of life in late-20th century Pakistan. Moth Smoke was a
sparkling debut for Hamid. It garnered not only critical recognition, but also the attention of other
creative industries: it was made into an Italian operetta and a Pakistani television mini-series.ii
The Reluctant Fundamentalist and Beyond

As with Moth Smoke, Hamid took years to write The Reluctant
Hamid was reluctant
Fundamentalist. He began writing it in the summer of 2000, shortly after
to incorporate 9/11
publishing Moth Smoke and more than a year before 9/11. It took him a
into his story.
year to complete the first draft, which was a very simplified version of
Changez’s story. It chronicled the trials of a Pakistani man in New York as he realizes he is a janissary of
the American empire. After a tepid first response from his agent in the summer of 2001, Hamid decided
not only to revise but also to leave New York for London in order to get a fresh perspective on life.
Several months later, on September 11, 2001, a series of terrorist attacks on America unfolded. They
would come to be known simply as 9/11. The shock of the attacks reverberated around the world and it
also forced Hamid to overhaul his novel; however, he did not do so immediately. Like Changez, Hamid
began to experience the threat of the War on Terror and was distraught. Knowing his family was in
potential danger in Lahore, he returned to his childhood home to lend a hand.
For a time, Hamid refused to incorporate the 9/11 attacks into his novel. The tragedy, he thought,
spoke best for itself. Eventually, it dawned on him: “just as in my exterior world, there was no escaping
the effects of September 11 in the interior world that was my novel.”iii Whether or not Hamid wrote
about 9/11 in his novel, his readers would see the book in relation to 9/11. Hamid finished a new draft
of The Reluctant Fundamentalist in 2005, with a straightforward narration. Again, his advisors were
reluctant to publish it.5 Finally, Hamid realized the right structure for his story, the current and final one
that we will discuss in depth in the sections on Plot and Structure and Narrative Strategies.
The Reluctant Fundamentalist was at long last released in March, 2007. That makes it a year and a half
old at the time of this guide’s publication. It has already been published in 22 languages and won various
awards and honors, including being named a New York Times Notable Book of the Year and being
short-listed for the 2007 Man Booker Prize. The film rights to the story have already been optioned.
Despite a warm critical reception, The Reluctant Fundamentalist, predictably, was met with some anger
and misunderstanding by the public. In one interview, Hamid says that people have called the novel
“anti-American.” As we will discover, The Reluctant Fundamentalist is too multilayered to be reduced to
a single statement or opinion. Aside from being topical, its strength lies in its careful treatment of
ambiguity, which asks us to question the moral leanings not only of the characters but also ourselves.
Hamid is also a journalist. He writes non-fiction Hamid as a Non-Fiction Writer

articles and op-ed pieces, many of them regarding
political developments related to Pakistan. To experience Hamid’s non-fiction writing, visit
Recently, he published an article in The Guardian www.mohsinhamid.com/articles.html.
about challenges facing U.S.-Pakistan relations.
Conclusion
In this section, we learned that:
 Because the events in The Reluctant Fundamentalist are so current, the novel begs an exploration
of—and comparison to—the author’s identity and personal history.
 Hamid split his childhood between Lahore and California, giving him a dual national identity.
 Hamid studied with Joyce Carol Oates and Toni Morrison. He wrote his debut novel, Moth
Smoke, while a student of Morrison’s at Princeton.
 Hamid began The Reluctant Fundamentalist shortly before the 9/11 attacks. He was hesitant to
incorporate the attacks into his story, but he eventually realized that doing so was inevitable.
Now that you have read this section, consider the following questions:
 Given the circumstances of Hamid’s own childhood, why do you think he has Changez come to
America when he is already a young adult?
 How might Hamid’s legal training have affected the structure of The Reluctant Fundamentalist?
 Imagine directing the upcoming film version of the novel. How would you adapt its structure?
5
Pun intended. –Tania
II. Historical and Literary

Context
“Yes, we have acquired a certain familiarity with the recent
history of our surroundings, and that—in my humble
opinion—allows us to put the present into much better
perspective” (45). When Changez says this, he is referring to
Old Anarkali’s transformation to a pedestrian piazza. He also
neatly sums up our purpose in this section: to put The Reluctant Fundamentalist in its proper
historical and literary context, all the better to see it.
Objectives
 What parts of Pakistani history are important to the novel?
 What happened on 9/11 and how did the U.S. and the international community respond?
 What is SAWE and how does it relate to Mohsin Hamid?
Introduction
As we have discussed briefly already, The Reluctant Fundamentalist is a novel steeped in current events.6
One of the novel’s main points is that experience is subjective; one person’s view of a situation—like the
café scene in Lahore—may be radically different from another’s. For this reason, we cannot trust The
Reluctant Fundamentalist alone to explain the history of Lahore or the events surrounding 9/11; after all,
Changez, our narrator, has opinions of his own that affect the way he retells history. In this section, we
will develop our own understanding of some of the historical and current events underlying the story of
The Reluctant Fundamentalist.
Selected History: Lahore

In the novel, Changez feels ashamed at Lahore’s decline from a majestic, imperial capital to a poorly run
and funded shadow of its former greatness. As Changez mentions, Lahore owes its rich history to the
many empires within which it operated. In 1106, Lahore became the capital of the Muslim Turkish
Ghaznavid empire. Then in 1186, it was conquered by the Ghori sultans from Afghanistan. In the
1200s and 1300s, Lahore—like much of Asia—suffered under the Mongol yoke.
6
Just like Changez likes his tea, full-fat milk aside. –Tania
Lahore’s glory days—the ones that make Changez wax

poetic—began in the 16th century with the inception of the
Mughal Empire (1526-1857). This empire, also known as the
Mogul Empire, was Muslim. It was known for its great
architecture and other artistic accomplishments, including the
Taj Mahal in India. In Lahore, Mughal structures are fairly
well preserved. Changez mentions two in the story: the mighty
palace/tomb of the emperor Jahangir and the Shalimar
Gardens, built to represent the Seven Heavens of Islam.
In addition to these major architectural works, Lahore is rich

with tombs and mausoleums, such as the tomb of Anarkali.
Anarkali’s identity and story are disputed among scholars; the
most sensational version (the one that Changez relates) says
Anarkali was a courtesan who fell in love with Jahangir while
his father, the great Akbar, was still emperor. According to legend, Akbar had Anarkali buried alive in
1599. When Jahangir ascended the throne, he erected the tomb and inscribed it with the words: ''If I
iv
could see again the face of my beloved, to the day of judgment I would thank my Creator.''
The Mughal Empire declined by the middle of the 19th century. It fell first to the Sikhs and then to the
British, who annexed Lahore in 1849. Lahore officially became part of the British Empire in 1857 and
remained so until the British Partition of India and Pakistan’s independence in 1947. Lahore suffered
greatly during this time because of initial confusion about the India-Pakistan border (to tell you how
confusing it was, it even crossed right through a university campus). Violence broke out as Hindus,
Muslims, and Sikhs attempted to move from one territory to another. Today, Lahore is a center of
industry and education.
Selected History: 9/11 and the War on Terror

On September 11, 2001, the United States experienced a terrorist attack directed at several major
landmarks. The attack was perpetrated by terrorists who hijacked four passenger jets. Two of the jets
crashed into the twin towers of the World Trade Center in New York City, eventually causing them to
collapse. A third jet crashed into the Pentagon in Washington, D.C. A fourth crashed in a field in
Pennsylvania. The attacks stunned the nation and essentially shut down the cities of New York and
Washington. The stock exchange closed and the White House was evacuated.
The next day, President Bush declared the terrorist attacks acts of war.
That same day, the United States received the support of Britain, In response to the 9/11
Pakistan, NATO, and the U.N. Security Council. On 9/14, the United attacks, Pakistan gave
States Congress passed an almost unanimous resolution giving President the Taliban an
Bush the power to pursue those involved in the 9/11 attacks. In the next ultimatum to give up
two days, President Bush approved a military plan to combat the Osama bin Laden.
Taliban, who seemed to blame for the attacks, in Afghanistan.
Pakistan continued to support the United States by demanding that the Taliban surrender Osama bin
Laden, the suspected mastermind of the attacks. The U.N. soon delivered the same ultimatum, which
the Taliban refused. The United States lifted sanctions on Pakistan and India that had been in place
since 1998. More world powers pledged their support to America over the course of September, and on
9/25 the war on terrorism in Afghanistan was named “Operation Enduring Freedom.” The next day,
Pakistan delivered yet another ultimatum to the Taliban, which they again refused.
On 10/10 the United States and Britain began bombing Afghanistan. 10/19 and 10/20, a nighttime
bombing raid marked the beginning of the ground war in Afghanistan; American forces established
themselves in Afghanistan. The United States government did not publicly announce the presence of
ground troops in Afghanistan until 10/30.
On 12/13, there was an attack on the Indian Parliament. India accused Pakistan of helping plot the
attacks and began building up troops on the India-Pakistan border. In response, Pakistan began building
up its own troops. The tensions lasted well into 2002, when they finally subsided. America invaded Iraq
six months later, on March 20, 2003.
South Asian Writers (writing in) English

In interviews, Hamid talks about the ambiguity of his identity. He grew up in Lahore and California,
making him both a Pakistani and an American. He speaks both Urdu and English. In The Reluctant
Fundamentalist, Changez’s dual loyalties make him feel isolated. However, Hamid has a precedent in
terms of South Asian writers who can, and choose to, write in English. In fact, Hamid is both creating
and riding the wave of interest in South Asian Writers (writing in) in English (SAWE) that began
sweeping through the literary world in the last several years.
One of the founding and most canonized writers of SAWE is Salman Rushdie (1947-). Among
Rushdie’s seminal works is his 1981 novel Midnight’s Children, a personal tale of the Partition of India
told in rich, magical-realist language. A more recent star of SAWE is Arundhati Roy (1961-) author of
The God of Small Things. Her 1997 debut novel tells the story of love, loyalty, and identity as caught
between the rungs of the Indian caste system.7 As you might have guessed, SAWE is not just literature
written in English by South Asians; it generally addresses the issues of South Asian society as well.
The SAWE genre is an interesting new growth on the branch of postcolonial literature. Quite different
from colonial-minded works such as Heart of Darkness, which reinforce the idea of empire, SAWE
literature turns the concept on its head. In it, the “barbarian”—in Hamid’s story, the stereotyped
“fundamentalist”—speaks while the ‘officer of the empire’ remains quiet. These are tales of imperialism,
or the residual affects of former imperialism, told from the inside out instead of vice versa.
SAWE writers’ dual identities

Debate it!
make them subject to questions
of authenticity. Their challenge Resolved: That postcolonial literature necessarily makes the
conquered person a hero. Take stands, craft arguments, and practice
is to use the English language presenting with your team.
deftly, so that it does not
overpower, obscure, or “flatten” the intricacies of the South Asian landscape they are describing.v As we
know, Hamid struggled to maintain Changez’s authenticity in the English language: before he
discovered how to give Changez an ‘authentically Pakistani’ voice, an overly formal, anglicized voice, he
had written Changez with an American accent.
7
Ouch. –Tania
Because in The Reluctant Fundamentalist, Hamid is writing about America in addition to Pakistan, his
authenticity has been questioned from both sides. Does casting suspicion on Changez make Hamid less
authentically Pakistani? Does writing Changez’s infamous 9/11 smile into the novel make Hamid less
authentically American? As we will see, Hamid’s purposeful vagueness helps him dodge these question-
accusations—as he transfers his conflict of identity onto Changez and onto the reader.
 Because Changez is a subjective narrator, we cannot necessarily trust his descriptions of historical
events. Instead, we must aim for a more impartial understanding of the novel’s historical and
literary background.
 The terrorist attacks on the United States on 9/11 resulted in worldwide involvement in the
fight against terrorism. Pakistan was one country that repeatedly pledged its support to the
United States.
 An attack on the Indian Parliament was attributed to Pakistan. In response, the Indian
government began gathering troops at the India-Pakistan border. Pakistan did the same. There
was an air of tension for many months, but war did not break out.
 Hamid’s novels belong to the genre of South Asian Writers (writing in) English, which includes
Salman Rushie and Arundhati Roy. These postcolonial works turn the imperial perspective on its
head by writing about imperialism or former imperialism from the inside out.
 Now that you grasp the novel’s historical underpinnings, how accurate do you think Changez’s
descriptions of history are? Which of his descriptions are the most objective? The least?
 How might the story of Anarkali, and the inscription on her tomb, relate symbolically to the tale
of The Reluctant Fundamentalist?
III. Setting
Imagine Casablanca set in Vietnam. Imagine Gone with the
Wind set in 21st-century Darfur. Sometimes we are tempted to
think of setting as being separate from the book’s themes—as a
mere backdrop. Examples like these remind us that setting is an
integral element of any story, as much as its narrator, theme, or
literary devices.
Objectives
 What do the settings of Lahore and New York tell us about the fall of empires?
 Why is it important that Changez meets Erica in Greece?
 What about Valparaiso makes it a fitting setting for Changez to get himself fired?
Introduction
The Reluctant Fundamentalist deals with themes relevant on a global scale. Therefore, the wide range of
its settings is unsurprising. In a mere 184 pages, Hamid takes us from Lahore to New York City to
Manila to Valparaiso. However, we should keep in mind that settings can vary in size greatly. A setting
can be as large as an entire planet (Miranda in Serenity) or as small as a single table in a café.
In a very broad sense, The Reluctant Fundamentalist is

a story about change, and its settings are no exception.
Not only are the settings vital to the story, but also
they are dynamic. They themselves transform (as Old
Anarkali transforms from a thoroughfare to a piazza)
and they transform the characters that move within
them (as Valparaiso helps inspire Changez to quit his
job). Keep this dynamic nature of settings in mind as
we peruse the locations Hamid sets out for us.
Lahore
Changez calls Lahore “the city of my birth,” which is
true, but Lahore is also Changez’s chosen city (15).
For a time, he is poised to ascend to the ranks of the
American corporate elite. However, when he becomes
disillusioned with America, he chooses to exile himself
back to Lahore. As we will discuss in the section on
Major Themes, Changez discovers that there is no
replacement for one’s homeland.
Much of what we know of Lahore comes from Changez’s impassioned descriptions of it to the
American. In the very beginning of the novel, he describes it as: “the second largest city of Pakistan,
ancient capital of the Punjab, home to nearly as many people as New York, layered like a sedimentary
plain with the accreted history of invaders from the Aryans to the Mongols to the British” (7). In this
initial description, Hamid ties Lahore to the idea of empire in several ways. First, he tells us that the city
has withstood many invasions and occupations, giving it a diverse history and an implied strength.
This quote is also the first of several instances where Changez compares and contrasts Lahore and New
York. As we will see, Hamid implies that New York is the capital of the American empire.8 Lahore is the
capital of the Punjab region of Pakistan. More importantly, it was an important city during ancient
times and also—Hamid points out specifically—during the time of the Mughal Empire. Therefore,
Lahore represents a fallen empire while New York represents an expanding empire. Nowhere is this
clearer than in Chapter 3, when Changez explains:
“Four thousand years ago, we the people of the Indus River basin, had cities that were laid out on grids and boasted
underground sewers, while the ancestors of those who would invade and colonize America were illiterate barbarians.
Now our cities were largely unplanned, unsanitary affairs, and America had universities with individual endowments
greater than our national budget for education. To be reminded of this vast disparity was, for me, to be ashamed.”
(34)
The events of 9/11 change not only New York City but also Lahore. As Changez explains, as long as
terrorists are living in a given country, America blames the whole country for terrorism and does not
hesitate to attack it. After he sees the invasion of Afghanistan on television, Changez becomes enraged.
Beforehand, Lahore’s economic troubles overshadowed its great history. Now that America has lumped
Pakistan into the category of militant countries, Lahore is seen as poor and evil. He rants:
“… In the stories we tell of ourselves we were not the crazed and destitute radicals you see on your television channels
but rather saints and poets and—yes—conquering kings. We built the Royal Mosque and the Shalimar Gardens in
this city, and we built the Lahore Fort with its mighty walls and wide ramp for our battle-elephants. And we did
these things when your country was still a collection of thirteen small colonies, gnawing away at the edge of a
continent.” (102)
As we will see in the section on Major Themes (The Self-Destructive Nature of Empires), Changez’s
comparisons between Lahore and New York do more than just emphasize Lahore’s great history and
New York’s current greatness. They suggest that, like all empires, America is doomed to fall and New
York is destined to become like Lahore.
Changez’s Childhood Home in Gulberg

Changez’s childhood home in Gulberg is a microcosm of Lahore’s fall from the rank of imperial city.
Changez’s family has a high social status, but its economic situation has been declining progressively
with each generation. The house is in one of the wealthiest areas of Lahore, but—like Lahore at large—it
has the appearance of former greatness: “Mughal miniatures and ancient carpets graced its reception
rooms … It was far from impoverished; indeed, it was rich with history” (125). “Rich with history” has a
twofold meaning; the house has a rich history, but its riches are of the past—Changez’s family cannot
afford to buy new luxuries. Initially during his visit home, Changez is able to see the house only in the
second way; he thinks it is “shabby” and “dated.”
8
This also tells us that, according to the novel, it is not government but finance that really controls America.
Changez’s newfound view of his family home disgusts him. He says: “I had changed; I was looking
about me with the eyes of a foreigner, and not just any foreigner, but that particular type of entitled and
unsympathetic American who so annoyed me when I encountered him in the classrooms and workplaces
of your country’s elite” (124). Now that Changez has become accustomed to the world of skyscrapers,
doorman-guarded buildings, and expense accounts, his own homeland, hometown, and very house look
shabby in comparison. Sensing that he is becoming like Chuck and Mike, like the disrespectful trust-
fund children of Ivy, he vows to cleanse himself of his foreigner viewpoint.
Old Anarkali
Of all the possible neighborhoods in Lahore, Hamid
chooses to set his novel in Old Anarkali. As Changez
explains to the American, Old Anarkali is “named
… after a courtesan immured for loving a prince”
(2). It is a neighborhood in which Mughal
structures, including the tomb of Anarkali, are
preserved. Therefore, Old Anarkali, like Lahore at
large, is a reminder of Pakistan’s former greatness.
As a setting, Old Anarkali is important less for its

history and more for the way it changes throughout
the course of the novel. In the beginning, it is a busy
marketplace. As night falls, it becomes a brightly lit
walkway. Then as the night advances, it becomes
deserted and sinister. In the beginning of Chapter
11, Changez comments on the changing setting:
“It is odd how the character of a public space changes
when it is empty; the abandoned amusement park, the
shuttered opera house, the vacant hotel: in films these
often figure as backdrops for events intended to
frighten. So it is with this market: now that our fellow
visitors have dwindled in number to a sporadic and
scattered few, it has taken on a rather more ominous
edge.” (155)
Let us note, briefly, Hamid’s blatancy in explicating

his own literary device. With Changez as his
mouthpiece, he explains that he intends to make the
setting frightening. What he does not explain is the symbolism inherent in the changing face of Old
Anarkali.9 As we will, Hamid uses many layers of symbolism.10 One of these makes Changez and the
American emblems for their respective nations.
In the beginning of the evening, Changez and the American’s newly established relationship is decidedly
friendly. Old Anarkali is still well lit and bustling with people, so it seems equally amicable. As the night
9
It’s a good thing, too. If he did, I would be out of a job! –Tania
10
He makes literary lasagna. –Tania
progresses, Old Anarkali becomes more complex and takes on elements of danger: bats swoop in, the
smell of charred meat mixes with that of jasmine blossoms, the festive lights come on only to suddenly
go off in a blackout. During this time in Changez’s story, his relationship with America is becoming
more complex and fraught. As night advances and Old Anarkali becomes deserted, Changez explains his
falling-out with America. Meanwhile, the tension between Changez and the American has come to a
head; they have begun to question one another’s integrity.
Mall Road
Mall Road is the setting for the novel’s final chapter. As Changez and the American set out down to the
road, the first thing Changez does is point out the juxtaposition of modern, British colonial, and ancient
buildings. In returning to the idea of Lahore’s history—and fallen empires—Hamid reminds us
heightens our sense of the difference between Changez and the American. Changez is at home on Mall
Road, amidst the evidence of his country’s great past. The American, however, is uncomfortable. In
reality, it is the semi-darkness, the men walking behind them on the road, and Changez’s mention of
alleys “into which one could imagine being dragged against one’s will, forever to disappear!” that unsettle
the American (171). However, symbolically, what unsettles the American is the abundant evidence that
empires fall and that Broadway could one day resemble Mall Road.
New York City

We have already discussed New York in relation to Lahore, a juxtaposition
that casts the Big Apple in an ominous light. However, New York City is also
a place of freedom, empowerment, and pleasure in the story. New York is a
freeing place for Changez, because there, he has exactly what it takes to climb
to the top rung of the corporate ladder; he feels as though he is facing
boundless possibility. Of Underwood Samson, he remembers:
“Their offices were perched on the forty-first and forty-second floors of a building in
midtown—higher than any two structures here in Lahore would be if they were
stacked atop the other—and while I had previously flown in airplanes and visited the
Himalayas, nothing had prepared me for the drama, the power of the view from their
lobby. This, I realized, was another world from Pakistan; supporting my feet were the
achievements of the most technologically advanced civilization our species had ever
known.” (34)
Despite Changez’s firm belief in Lahore’s greatness, which we witnessed in

previous quotes, for a time he believes New York to be not only great, but
greater than the accomplishments of man (airplane flight) and nature (the
Himalayas). In the last line of the quote, he uses the building as a metaphor
for America’s superiority in the world; “supporting my feet were the
achievements of the most technologically advanced civilization our species had ever known.”
Like Old Anarkali, New York changes greatly during the course of The Reluctant Fundamentalist.
Initially after 9/11, New York is in mourning: “floral motifs figured prominently in the shrines to the
dead and the missing that had sprung up in my absence … photos, bouquets, words of condolence—
nestled into street corners and between shops and along the railings of public squares.” Soon, however,
New York dresses itself in a retro, patriotic rage. Changez recalls:
“Your country’s flag invaded New York after the

attacks; it was everywhere. Small flags stuck on
toothpicks featured in the shrines; stickers of flags
adorned windshields and windows; large flags fluttered
from buildings. They all seemed to proclaim: We are
America—not New York, which in my opinion, meant
something quite different—the mightiest civilization the
world has ever known; you have slighted us; beware our
wrath. Gazing up at the soaring towers of the city, I
wondered what manner of beast would sally forth from
so grand a castle.” (79)
Not long before 9/11, Changez considered New

York the seat of the American empire, a civilization
whose awe-inspiring achievements surpassed even the
greatness of Mt. Everest. Now, Changez sees New
York as separate from America, because America has
taken on a new meaning. It is no longer a great, cutting-edge civilization, but a dangerously powerful
and reactive “beast.” When Changez deplanes after his flight from Valparaiso, he sees New York as an
imperial city of old:
“I was struck by how traditional your empire appeared. Armed sentries manned the check post at which I sought
entry; being of a suspect race I was quarantined and subjected to additional inspection; once admitted I hired a
charioteer who belonged to a serf class lacking the requisite permissions to abide legally and forced therefore to accept
work at lower pay; I myself was a form of indentured servant whose right to remain was dependent upon the
continued benevolence of my employer.” (157)
One Changez realizes that the American empire is like any other, he also understands that his supposed
privileges—his job, his apartment, his expense account—are really the chains that bind him in service to
America. Quite opposite from “the most technologically advanced civilization” in history, it is no better
for him than the British Empire was for those of low caste.
The Pak-Punjab Deli

The Pak-Punjab Deli is a minor setting within New York,
a microcosm of that city as Changez’s childhood home is
of Lahore. Like the house, the deli is a backdrop that
highlights Changez’s changing identity by contrast.
The deli is one aspect of New York that makes Changez

feel at home. As much as he may enjoy art gallery openings
and bars, he is grateful to have a taste of home nearby. In
the corporate world, Changez must wear a suit and shave
to fit in. In Erica’s elite sphere, he must prove his worth by
mentioning his Princeton and Underwood Samson
accolades. At the Pak-Punjab Deli, Changez can just be himself; going there is like coming home. In
fact, the first morning Changez eats there, the cashier refuses to allow him to pay as a sign of kinship.
When Changez returns there that night with Wainwright, his changing identity stands out against the
backdrop of the deli. He tries to pay with his corporate credit card, which the deli does not accept. As we
will discuss later, there is an air of superiority and even violence to the manner in which Changez
“unsheathes” his credit card and leans toward the cashier.
After 9/11, the Pak-Punjab Deli becomes a source of underground information: “I ignored as best I
could the rumors I heard [there]: Pakistani cabdrivers were being beaten to within an inch of their lives;
the FBI was raiding mosques, shops, and even people’s houses; Muslim men were disappearing, perhaps
into shadowy detention centers for questioning or worse.” It conveys the worsening state of affairs for
Muslims, South Asians, Middle Easterners, and anyone resembling them in America.
Despite the news, Changez’s denial and growing arrogance are strong enough to convince him of his
safety. He says, “I reasoned that these stories were mostly untrue … Besides, those rare cases of abuse
that regrettably did transpire were unlikely ever to affect me because such things invariably happened, in
America as in all countries, to the hapless poor, not to Princeton graduates earning eighty thousand
dollars a year” (94-5). When Changez refers to “the hapless poor,” he might as well name the cashier at
the Pak-Punjab Deli. After all, this man presumably belongs to the working class, not unlike the
cabdrivers who are being beaten nearly to death. Before Changez has his change of heart and rejects
American life, he has become the kind of American that he hates; he has a superior attitude and lives
without respect or regard for those less privileged than himself.
Athens, Greece
As a setting, Athens ties
Debate it!
together several symbols and
themes. As we will discuss in Resolved: That the Pak-Punjab Deli is necessary to the story. Take
stands, craft arguments, and practice presenting with your team.
later sections, Erica represents
America and Changez’s love affair with her mirrors his relationship with America. Erica’s descent into
depression and suicide symbolizes America’s future fall from the position of world superpower. It is
fitting, therefore, that Changez and Erica meet in Athens, the seat of a fallen empire.
The island of Rhodes is where Changez and Erica begin their relationship in earnest. Changez explains
that in ancient times Rhodes was “part of a wall against the East that still stands.” Then he exclaims,
“How strange it was for me to think I grew up on the other side!” (23). As Changez later discovers, there
is a metaphorical wall separating him from Erica, just as the wall in Rhodes separates the East from the
West, respectively. Whether that wall is Erica’s grief or Changez’s moral issues with America, or both,
Hamid leaves the reader to surmise.
Manila, Philippines
The island of Rhodes separates Debate it!
the West from the East, but
Resolved: That Changez would not have smiled at the 9/11 attacks
Manila is in the East. When
had he been in New York when they occurred. Take stands, craft
Changez flies there (first class, arguments, and practice presenting with your team.
no less) he is symbolically
returning home without actually going to Lahore. However, Changez finds Manila to be more similar to
New York than to Lahore. It has slums, but it also has skyscrapers and “walled enclaves for the ultra-
rich,” not unlike Erica’s apartment building (64). Changez suddenly feels ashamed to be a Pakistani—as
he initially feels ashamed of his childhood home when he returns to Lahore. His solution is to act as
“American” as possible in order to command the same respect as his peers. The shame of being
disrespectful to his elders is not so bad as the shame of admitting he is from a poorer place than Manila.
When the Filipino driver glares at Changez, Changez suddenly realizes what a phony he is. It dawns on
him that he is more like the Filipino driver than like his American colleagues, an epiphany he will repeat
in Valparaiso with Juan-Bautista. Because Manila makes Changez feel separate from America, it is a
fitting place for him to witness the 9/11 attacks on television. His reaction—his smile—cements the fact
that he is a foreigner where America is concerned.
Valparaiso, Chile
Valparaiso is the setting that helps Changez realize his
loathing for America and his loyalty to Pakistan. Firstly,
Valparaiso is, like Lahore, a city fallen from its original
heights. Changez recalls:
“… A sense of melancholy pervaded its boulevards and
hillsides. I read online about its history and discovered that it
had been in decline for over a century; once a great port
fought over by rivals because of vessels making their way
from the Pacific to the Atlantic, it had been bypassed and
rendered peripheral by the Panama Canal. In this—
Valparaiso’s former aspirations to grandeur—I was reminded
of Lahore and of that saying, so evocative in our language:
the ruins proclaim the building was beautiful” (144).
Valparaiso’s ubiquitous “sense of melancholy” reflects Changez’s inner conflict over his identity and his
national loyalty. The phrase, “the ruins proclaim the building was beautiful” has an ominous meaning
because of the then-recent 9/11 attacks; the World Trade Center and part of the Pentagon were in ruins
at the time. If we follow the saying through, then Changez is implying—whether purposefully or not—
that America will become “peripheral” like Valparaiso and Lahore.
Because America completed the Panama Canal, it is indirectly responsible for rendering Valparaiso
obsolete. Therefore, Valparaiso reminds Changez—consciously or unconsciously—not only of Lahore
but also of America’s interfering and destructive nature. This is the aspect of America he despises, so it is
appropriate for him to renounce his loyalty to Underwood Samson, and to America, in Valparaiso.
Hamid makes this all the clearer when he has Changez visit Pablo Neruda’s house. There, in the home
of an outspoken poet and political dissident, Changez contemplates the vagueness of his own identity.
He says he “[lacks] a stable core,” which we can take to mean clear values. In other words, Changez does
not know where his loyalties lie.
Soon after he visits Neruda’s house, Changez finds his “core,” or rather, Juan-Bautista makes him aware
of the values he already holds. Juan-Bautista leads Changez to realize that he is like Neruda; he may not
be a communist, but he is rapidly becoming opposed to America’s brand of capitalistic imperialism. Like
Neruda, Changez becomes an exile—but of his own accord. He can stay in America as long as he is
willing to compromise his values, and in Valparaiso, he realizes that the time for compromise has passed.
Conclusion
 By comparing and contrasting Lahore and New York, Hamid highlights Lahore’s greatness as
well as the inevitability of America’s decline.
 Hamid’s childhood home is a microcosm of Lahore as a whole. It serves as a backdrop for

Changez’s changing identity.
 The setting of Old Anarkali shifts from bright and bustling to deserted and ominous—mirroring
the progression of Changez and the American’s relationship as well as U.S.-Pakistan relations.
 Like Old Anarkali, New York changes throughout the course of the novel. It begins as a cutting-
edge place, greater than any human invention or natural wonder. It becomes a place of grief,
then retro-style patriotic rage, and then danger of ancient imperial proportions.
 Like Changez’s childhood home, the Pak-Punjab Deli reflects Changez’s changing identity. At
first, he fits in there—but he begins to separate himself from his fellow Pakistanis. He eventually
considers himself above them and immune to the prejudices to which they are subject.
 Athens is an appropriate setting for the start of Changez and Erica’s relationship because it is the
seat of a fallen empire. The island of Rhodes, with its wall, implies symbolically that Changez
and Erica can never be together.
 Manila makes Changez feel ashamed of Lahore’s relative lack of progress, so he tries to act
“American.” Then his encounter with the Filipino driver makes him realize how fake he is
acting. Because of this interaction, Changez begins to see himself as separate from his colleagues
and from America. His reaction to the 9/11 attacks, which he sees on television in Manila,
cements his status as a non-American.
 Valparaiso is dually symbolic. Firstly, it is a former great port city, one poised for greatness until
the American-built Panama Canal made it obsolete. It is an example of America’s interference in
and negative effect on other countries and helps Changez see the malevolent side of America.
Secondly, it is the site of Pablo Neruda’s home. In light of Neruda’s dissidence and his exile, it is
fitting for Changez to become a revolutionary in Valparaiso.
 We have discussed some of the major settings in The Reluctant Fundamentalist as well as some
minor ones. Consider some of the other minor settings in the novel, such as Princeton and the
clinic by the Hudson. How are they significant? What, if anything, do they represent?
 How would the novel be different if the last scene took place in the marketplace of Old Anarkali
instead of on Mall Road?
 Why does Hamid have Erica and Changez meet somewhere other than Princeton?
 Why do you think Hamid has Changez travel around the world so much? Why is traveling
significant to the changes that happen in Changez?
IV. Characters
Have you ever seen the cartoon “Duck Amuck”?11 In it, a
cartoonist has fun painting all the wrong costumes, props, and
body parts on an increasingly disgruntled Daffy Duck. While
this lighthearted animation is a far cry from The Reluctant
Fundamentalist, it reminds us of the immense power that a
writer has over his characters.
Objectives
 What is unique about Hamid’s treatment of characters?
 How does the American’s ambiguity contribute to the novel’s overall message?
 What is a generic name and where in the novel are generic names relevant?
Introduction
A writer creates each of his characters completely from scratch.12 Like the animator in “Duck Amuck,”
he has the ability to give them any appearance. However, the writer has much more power than the
animator; instead of just creating the trappings of a character, he fashions the character’s values,
demeanor, inner conflicts, and other intimate characteristics. Considering the infinite number of choices
that an author can make about a character, it is essential to note the decisions he does make.
In this section, we will discuss the characters of The Reluctant Fundamentalist briefly in terms of their
identities, the ways in which they change, their interactions with Changez, and their purposes within the
structure of the novel. In order to do this, however, we must first address the unique treatment that
Hamid gives his major (and some minor) characters. Overall, the characters in The Reluctant
Fundamentalist are simultaneously human and symbolic. In other words, Hamid fashions them human
identities through character development, but he also uses them as symbols to illustrate the novel’s
larger motifs and themes. Because of the characters’ symbolic nature, we will be discussing several of
them in more depth in the section on Narrative Strategies.
Because the characters are human, they are not plain and uncomplicated symbols such as the characters
in an allegory. Rather, as humans, they occasionally do and say things that contradict their symbolic
meanings. By using character development and symbolism simultaneously, Hamid creates a complex
and multilayered tale. The Reluctant Fundamentalist’s multifaceted nature makes the story rich but also
ambiguous: the questions that Hamid raises often lack definitive answers.
11
Oh yes, I’m going there. If you haven’t seen it, try YouTube! –Tania
12
Unless he decides to use a stock character, which is like the baking mix of literary composition. –Tania
Major Characters
Changez
Changez is the novel’s narrator and protagonist. He is a Pakistani man from Lahore in his mid-twenties,
who graduated at the top of his class from Princeton. Unlike many of his wealthy acquaintances at
Princeton, Changez had little money and was attending the school on financial aid. To afford Princeton,
Changez worked three off-campus jobs, studied in the wee hours of the night, and cooked his own meals
in his dormitory. Although Changez was not wealthy in college, he was very polite and sophisticated
because—despite his family’s declining economic status—he was raised in high society.
Changez’s politeness and formality made him an outsider in college, but they work to his advantage in
the corporate world of Manhattan-based Underwood Samson & Company valuation firm. At
Underwood Samson, as at Princeton, Changez is at the top of his class. Jim, the man who hired him,
takes a special interest in Changez because of their shared background of economic hardship and a
Princeton education. At the same time, Changez is falling in love with Erica, a Princeton classmate
whom he met while on vacation in Greece.
Slowly, in the wake of the 9/11 terrorist attacks, Changez discovers that he cannot keep Erica or his job
at Underwood Samson. Erica is too depressed to have a relationship with anyone, and Changez finds
himself fundamentally opposed to Underwood Samson’s ethos of “maximum efficiency.” He purposely
gets fired from his job at Underwood Samson and returns home to Lahore. There, he becomes a
university lecturer, popular among students because of his belief that Pakistan must gain international
power. Because of statements he made that were labeled “anti-American” and because one of his students
was arrested in connection with an assassination plot, Changez is watchful of his own security. The novel
is Changez’s conversation with a stranger, whom we will call the American.
The American
The American, unlike Changez, is never named. By leaving the American nameless, Hamid encourages
us to put ourselves in his place. This forces us to make subjective judgments about the novel—from the
perspective of the American—and objective comments, from our own, analytical perspective.
Changez guesses the American’s nationality easily because of the way he carries himself—whether it is
his physical bearing or his emotional bearing, we do not know. He is tall and barrel-chested and has the
appearance and instincts of “a seasoned army officer” (6). He has a fancy cell phone, the likes of which
Changez has never seen before. He is contacted on the hour and always replies in a text message. Also, he
has a bulge in his jacket where a holster would be. He reaches for it when he is threatened or nervous,
such as when the waiter approaches the table
The American sits with his back to the wall and is constantly watchful; The American’s
this makes him seem both on some kind of “mission” and afraid (1). watchfulness makes
Everything else that we know about the American we garner from him seem as if he is
Changez’s answers to his implied questions and reactions to his implied both ”on a mission”
expressions. He knows Manhattan well and he has traveled to the East. He and afraid.
seems uncomfortable with Changez’s reaction to the 9/11 attacks. Toward
the end of the novel, the American begins questioning whether Changez is telling him the truth. As he
and Changez walk down Mall Road, the American keeps glancing over his shoulder and asking whether
the men behind them are following them. At one point, he asks whether Changez has signaled to their
waiter, who is walking some distance behind them. At the novel’s end, the American reaches for
something metallic in his jacket.
Erica
Erica is Changez’s love interest. She is a wealthy, thin, athletic Manhattan socialite who has the social
magnetism of a celebrity. When Changez first sees her, he thinks she is queenly. However, Erica is
detached from reality and sinking increasingly deeply into depression. Erica wrote an unconventional
work of fiction that she is trying to get published; she wants to be a novelist. However, Erica’s
inspiration to write is eclipsed by her grief over her first and only love, Chris. Erica’s love for Chris
prevents her from becoming intimate with Changez, both physically and emotionally. She is able to
make love to Changez only once, when he pretends to be Chris, and her continued mourning for Chris
makes her too frail to spend time with Changez. She is eventually committed to a mental health clinic by
the Hudson River, where she presumably commits
suicide by jumping naked into the water.
Hamid on Erica as a symbol for America
As her name suggests, Erica represents America, “Which is stronger, politics or love, is like asking
specifically the part of America that is detached which is stronger, exhaling or inhaling. They are
vi
from reality and self-absorbed. Therefore, two sides of the same thing.”
Changez’s relationship with her corresponds to his
relationship with America as a nation. Just as
Changez is incompatible with Erica, so is he at odds with America’s oblivious, self-serving foreign policy.
Jim
Jim is Changez’s boss at Underwood Samson. He is a middle-aged Princeton alumnus who rose from an
exceedingly poor background to the highest ranks of corporate America. Like the American, Jim is an
imposing man who has “look of a seasoned army officer” (6). Jim takes a special interest in Changez
both because he is the best new hire and because of their shared background. When Changez visits Jim’s
apartment, he notices several male nudes among Jim’s artwork collection. Jim is also not married; these
are all clues that he is homosexual.
Because he is a senior valuer, Jim has the ability to see through people very easily, as he does with
Changez. (Changez learns this quality from him and uses it on his students in Lahore.) Of Jim, Changez
recalls: “His eyes were cold, a pale blue, and judgmental, not in the way that word is normally used, but
in the sense of being professionally appraising, like a jeweler’s when he inspects a diamond he intends
neither to buy nor to sell” (7). In other words, Jim is able to pass judgment coolly and professionally,
without becoming emotionally involved; this is the key to being a valuer. A valuer must focus purely on
getting his client the maximum profit possible; he must make himself blind to the human cost of his
recommendations, such as layoffs.
Despite his ability to be emotionally detached, Jim is supportive of Changez in the most adverse of
situations. Even though he must fire Changez for ruining the project in Valparaiso, he offers Changez
his emotional support.
Wainwright
Wainwright is Changez’s colleague and friend at Underwood Samson. He is a black man, his father
being from Barbados. Wainwright is ranked second to Changez at Underwood Samson. However, for all
his seriousness at work, he is also lighthearted and socially outgoing. He likes to quote movie lines and is
the first person on the dance floor at Jim’s party in the Hamptons. Wainwright is the only one of
Changez’s colleagues who does not seem to distrust him after the events of 9/11, when Changez grows a
beard. He tries to help Changez, though unsuccessfully, by suggesting he shave his beard to avoid
prejudice.
Juan-Bautista
In his brief interim in the novel, Juan-Bautista manages to affect a strong change in Changez’s value set.
Juan-Bautista runs the music business in Valparaiso that Underwood Samson is valuing, but he does not
own it; the owners are selling it to a new client. Underwood Samson is valuing the trade part of the
business, which staffs literary writers (as opposed to educational or professional) for the client. Most
likely, the client will eliminate it. Juan-Bautista is none too glad about this, so initially his kindness
toward Changez is surprising.
Changez likes Juan-Bautista from the moment they meet because he resembles Changez’s grandfather.
He wears thick glasses, carries a cane, and walks exceedingly slowly. Juan-Bautista tells Changez about
the janissaries and implies Changez is like them. He also directs Changez to Pablo Neruda’s house. In
both actions, Juan-Bautista is urging Changez to become a revolutionary. He senses Changez’s churning
inner conflict and acts as the catalyst for his change of heart. After his conversation with Juan-Bautista,
Changez vows to become an “ex-janissary” and to see America through clear eyes.
Juan-Bautista’s name has two possible meanings. First, it means “John the Baptist.” John the Baptist was
a saint who baptized people, including Jesus. Changez is not like Jesus, but Juan-Bautista is certainly like
John the Baptist. He cleanses Changez of his conflict and presents him with an enlightened vision of
how he should spend his life. Second, the name of the protagonist in Albert Camus’s The Fall is Jean-
Baptiste—the same as Juan-Bautista, but in French. Hamid based The Reluctant Fundamentalist at least
partially on The Fall, which is also written in the form of dramatic monologue. Jean-Baptiste is a
philosophical character in the same way Juan-Bautista is. Juan-Bautista is concerned with literature, not
material gain.
Minor Characters of Note

The waiter
The waiter is a large and imposing man. He continually approaches the table to wait on Changez and
the American. At the novel’s end, he is walking on the road behind them. The American seems to
distrust the waiter.
Chris
Chris is a character that never
Debate it!
actually appears in the story,
although he plays a significant Resolved: That Chris is a narrative strategy—not a character. Take
role. He was Erica’s first and stands, craft arguments, and practice presenting with your team.
only love, an artist “with long skinny fingers” (28). Chris was like Erica’s brother until they became
romantically involved in high school; she calls him her “home.” Chris died of lung cancer, even though
he never smoked a single cigarette—save one after his diagnosis. Chris, or the idea or memory of him,
consumes Erica’s thoughts and eventually devours her when she (presumably) commits suicide.
Sherman
Sherman is a vice president at Underwood Samson who gives the trainees their orientation on their first
day of work. Therefore, Sherman is Hamid’s mouthpiece for stating the ethos of Underwood Samson—
and, symbolically, America. He is also the person who initiates Changez and the other new hires into
using their expense accounts. He takes them out for a bottle of champagne and, before leaving, tells
them to drink to their hearts’ content.
The Filipino driver

The Filipino driver glares at Changez when they are both stopped at an intersection in Manila. Although
we do not know why he stares Changez down, his gesture makes Changez aware of his inner conflict
regarding what it means to work in corporate America.
The cashier
The cashier works at the Pak-Punjab Deli in New York City. He gives Changez a free breakfast on his
first day of work. That night, Changez tries to pay him with his American Express corporate charge card.
The nurse
The nurse is a friendly woman who works at the clinic where Erica is sent. She is Erica’s go-between
both times Changez visits. On the second visit, the nurse tells Changez about Erica’s disappearance and
shows him the place where her clothes were found. The nurse, like the wall on the island of Rhodes,
represents the emotional and moral barrier that separates Erica and Changez.
The man in the parking lot

The man in the parking lot accosts Changez and speaks to him in nonsense syllables meant to sound like
Arabic. He creates Changez’s first direct and personal experience of prejudice in the post-9/11 climate.
Chuck and Mike

Chuck is Changez’s college soccer buddy who invites him to Greece. Mike is Chuck’s friend and a rival
for Erica’s affections. Both Chuck and Mike are wealthy Princetonians, members of the Ivy dining club.
Chuck and Mike are important because they are generic characters; they represent a certain class of
people and their individual identities are unimportant. In this case, they represent the type of spoiled,
impolite young American that annoys Changez.
Hamid underscores Chuck and Mike’s similarity by making their names similar. As Changez remarks,
they are “monosyllabically monickered” (18). Incidentally, the common thread of monosyllabic names
extends to a major character: Jim. Jim is not a generic character; Hamid gives us a clear sense of what
makes him unique, and he is not from the same background as Chuck and Mike. However, Jim’s
position in corporate America connects him to Chuck and Mike; he may be a compassionate person, but
he is also a typical American in his quest for profitability at any cost.
Erica’s Parents
Erica’s parents are wealthy, educated, and elite Manhattanites. When Changez comes to their penthouse
apartment for dinner, Erica’s father unwittingly offends him with his brief, cold summation of Pakistan’s
political state. Changez has more interactions with Erica’s mother, because she—like the nurse—is a go-
between in Changez’s relationship with Erica. When Changez visits her after Erica’s disappearance, she
gives him Erica’s manuscript.
Changez’s Family
Changez family once belonged to Lahore’s wealthy elite class. They are still elite, but their economic
situation has been deteriorating for several generations. According to Changez, his relatives are addicted
to nostalgia because the reality of their financial decline is too painful to bear. Their resulting debts,
arguments, and emotional problems wreak havoc on the whole family.
When the conflict between India and Pakistan begins, some of Changez’s relatives begin making
emergency preparations. After his visit to see his parents, Changez feels guilty that he is leaving the
country instead of fighting for it.
Conclusion
 Overall, Hamid treats characters both as individuals and as symbols. He uses character
development simultaneously with symbolism.
 The novel’s main characters are Changez, the American, Erica, Jim, Wainwright, and Juan-
Bautista.
 The American’s ambiguity, including his namelessness, makes it easy for the reader to put
himself in the American’s position.
 Juan-Bautista’s name connects him to John the Baptist and to the protagonist of Camus’s The
Fall.
 Chuck, Mike, and Jim all have monosyllabic names that connect them to the idea of a generic,
spoiled and impolite American.
 Chris is another character with a monosyllabic name. How, if at all, does this connect him to
Chuck and Mike’s character type?
 In what way is Changez a product of his relatives’ nostalgia?

 How, if at all, does the structure of the novel affect the way we view the American—and by
extension, ourselves?
V. Plot and Structure

Is it a novel? If you are wondering this about The Reluctant
Fundamentalist, you are not alone. After all, in structuring the
novel, Hamid combines traditional novel structure with dramatic
structure. In this section and those that follow, we will unravel the
reasons behind the story’s unusual format.
Objectives
 What is the basic structure of The Reluctant Fundamentalist?
 What effect does the structure have on the story?
 How can we compare the overall structure of the story to a rise and fall?
Introduction
The Reluctant Fundamentalist is indeed a novel, but one that has a theatrical quality. As we will discuss in
the upcoming section on Narrative Strategies, it takes the form of a dramatic monologue.13 We can give
Albert Camus’s The Fall a good deal of credit for the structure of The Reluctant Fundamentalist; The Fall,
one of Hamid’s favorite novels, also uses the dramatic monologue format with a stranger as the listener.vii
However, perhaps we would do better to compare the structure of this most unusual novel to a film. The
Reluctant Fundamentalist switches back and forth between the present scene of Changez and the
American in Lahore and the story of Changez’s recent past. Like the shifting of time in The Last
Emperor, the novel’s dual structure illuminates one time period by focusing on another, and vice versa.
The story of The Reluctant Fundamentalist is not exactly one of the rise and fall of an empire. However,
it chronicles the rise and fall of Changez’s brief and torrid love affair with the American empire. The
sections denoted in the summary below give an approximation of the shape of this rise and fall, but they
are only as definitive as the story itself. Please think of them as guidelines, for, as we will continue to
discuss, the story of The Reluctant Fundamentalist is multifaceted and open-ended.
In addition to Changez’s metaphorical love affair with America, the novel also traces the dynamic of the
relationship between unlikely café-mates Changez and the American. As you review the events of the
story, I encourage you to keep an eye on the placement of present-tense scenes and interruptions. Ask
yourself: where is the placement consistent? Where is it inconsistent? What is the effect of the
consistency and inconsistency?
13
Please see Narrative Strategies for a discussion of the dramatic monologue.
14
Plot Summary: Story in a Hurry…
In the interest of scene placement skim-ability,15 we will designate the present action with
the symbol and the past/storytelling action with a regular bullet point.
Chapters 1-3: Early Evening in Old Anarkali/Young Love on the Rise

Chapter 1
Changez approaches an American man who, he surmises, is “on a mission” to find something or
someone (1). He offers to be the man’s guide. He is able to recognize the man as an American
because of his “bearing” (2). The man’s face hardens, indicating the comment has insulted him.
Changez leads the man to the café that serves the best tea. The American prefers to sit with his
back to the wall and to keep his jacket on.
Changez spent four and a half years in America. He worked in New York after attending
Princeton in New Jersey. The American asks his opinion of Princeton, inciting Changez to begin
his long tale.16
 When Changez first arrived at Princeton, he found the university so impressive he felt his life
had become a movie, of which he was the star. He was one of only two Pakistanis in the Class of
2001, was a straight-A student, and played varsity soccer until an injury forced him to quit.
 It is much harder for international students to gain entrance to Princeton than it is for American
students. They are selected through a rigorous process of examinations and interviews. They are
given financial aid and scholarships with the implication that, in return, they should then remain
and work in America.
 During his senior year, Changez, along with one hundred of his classmates, applied for a job at a
small and very prestigious valuation firm called at Underwood Samson & Company. He was one
of just eight applicants selected for an interview.
The American seems uneasy at the arrival of the waiter, an unusually large and husky man (6).
He reaches into his jacket for something, which Changez assumes is his wallet. Changez orders.
 As he recounts the story of his interview at Underwood Samson, Changez tells the American his
name for the first time. The interviewer, Jim, did not seem very impressed until Changez began
describing his home country of Pakistan. Jim made Changez uncomfortable by probing into his
economic status. Changez got upset and retorted, “Excuse me, Jim, but is there a point to all
this?” (8).
 Changez’s temper impressed Jim. Jim revealed he was a Princeton alumnus and also the first
person in his family to attend college. Like Changez, he did not come from a wealthy family; he
worked his way through college, off-campus so that his wealthier friends would not find out.
14
All page numbers are from the 2007 Harvest Novel edition published by Harcourt.
15
Not to be confused with skim milk, which is delicious and nutritious, but not literary-icious. –Tania
16
I shiver at the mention of a tale, because the homonym of that word, “tail,” has been haunting me of late. Yes, there is a
mouse in my study, and it looks at the traps I set for it with mocking disdain. –Tania
 Jim’s incisiveness impressed Changez, who explains to the American: “he had … seen through
me in a few minutes more clearly than had many people who had known me for years” (9).
 Changez tells the American about his family’s financial situation. Despite his relatives’ high
social status, their finances are poor. As members of the professional class (and not the business-
owning entrepreneur class), they have fared badly through the inflation of the last several
decades. Each generation was poorer than the last.
 At Princeton, Changez, hid his financial hardship from his classmates. He worked three jobs in
secret and studied in the wee hours.
The tea and sweets (jalebis) arrive. Because the American seems suspicious of the tea, Changez
switches cups with him.
 Back to the interview. Jim gave Changez an imaginary company to value. Calmly, Changez
worked his way through the assignment. Although his valuation was “wildly overoptimistic,” his
methods impressed Jim, who offered Changez a job on the spot (13).
 After accepting the job, Changez walked back to his dorm with a newfound feeling of pride. He
yelled out, “Thank you, God!” (14).
 Changez says, “Princeton made everything possible for me.” Princeton could not, however,
replace the richness of his own culture.
Changez pours the American another cup of tea.
Chapter 2
Changez draws the American’s attention to a group of female university students wearing
modern clothing. Both he and the American find them attractive. Changez asks the American
whether he has a significant other, but the latter only shrugs.
 Changez begins the story of his love affair with Erica. He met her on a trip to Greece. His soccer
buddy, Chuck, invited him, even though the other travelers were members of Ivy, the most
prestigious eating club at Princeton. Changez was able to afford the trip because of his signing
bonus from Underwood Samson.
 Erica was a very desirable woman, and so Changez was forced to compete for her affections. One
morning, the two of them shared breakfast before anyone else was awake. Erica told him she was
“not good at being alone.” Changez explained he was, having grown up as one of eight cousins
in a single compound. Erica told Changez that he was “solid” and emitted a “strong sense of
home” (19).
 Changez had the time of his life in Greece, although his co-travelers’ decadent spending and
superior attitudes toward service people bothered him. He admits to the American that their
manners may seem worse in retrospect, given “the course [his] relationship with [America] would
later take” (21).
 Changez found Erica mesmerizing, but also noticed her to be emotionally removed from other
people.
The American is distracted, but it is unclear whether his attention is directed at the beautiful
girls or the long-bearded man standing near them. Changez explains that the girls with their
modern dress, not the traditional-looking, man, are the norm in Old Anarkali. Besides, the man
is forbidden from scolding them about their appearance because, in Lahore, a woman can sic the
mob on a man who harasses her.
 Changez tried to keep his affections for Erica secret until one day when they were lying on the
beach on the island of Rhodes. Erica decided to sunbathe topless in the European fashion. She
turned to find Changez staring at her. After an awkward exchange, she invited him to go
swimming with her. In the water, she told him that he was the most polite young person she had
ever met. Then she agreed to go for a drink in town with him.
 In the bus into town, glimpses of Erica’s skin enthralled Changez.

Changez explains to the American that living in Pakistan, where women dress conservatively,
sensitizes a man to the sight of a woman’s flesh.
 Changez asked if Erica’s shirt, a man’s shirt, belonged to her father. She explained that it had
belonged to her late boyfriend, Chris.
 At the café, Changez told Erica about Pakistan. He showed her what their names looked like in
Urdu.
 Erica told Changez about Chris. Erica and Chris were both only children and grew up in facing
apartments; they had been like siblings until they became romantically involved. They were both
admitted to Princeton, but he could not attend because he developed lung cancer. He died at the
end of her junior year. Erica called Chris her “home” (28).
 At dinner that night, Chuck asked everyone what his life’s ambition was. Changez said, “to be
the dictator of an Islamic republic with nuclear capability” (29). Only Erica got the joke.
 Erica wanted to be a Debate it!

novelist. She had won an
Resolved: That Erica’s being a writer is relevant. Take stands, craft
award at Princeton for a arguments, and practice presenting with your team.
long work of fiction that
she authored and was aiming to have it published.
 Erica gave Changez her phone number so that they could reconnect in New York City.
The American’s cell phone rings. Changez notices that it is a fancy model that he has not seen
before. Instead of answering it, the American writes a text message.
Chapter 3
The American seems uncomfortable. Changez comments on his constant uneasy glances and
likens him to an animal that has wandered into unknown territory. Changez encourages the
American to be comfortable. He explains that the market is being transformed into a square for
pedestrians.
Changez says that Lahore’s newer districts are not good places for walking, and so for poor
people, due to their spaciousness. However, the older districts like Old Anarkali are easily to
walk in and therefore more “democratic.” The American likens the old districts to Manhattan.
Changez agrees, explaining that this is one of the reasons he chose to settle in Manhattan after
college.
 In addition to the ease of transportation, the presence of Pakistani people and culture in
Manhattan made Changez feel comfortable.
The American notes that Changez’s voice is getting louder/higher; Changez admits that
discussing New York makes him feel sentimental despite the state of affairs under which he left
it.
 Changez recalls his excitement on his first day at Underwood Samson. The view from the
midtown skyscraper awed him; it made him realize how different Manhattan was from Pakistan.
This was despite the fact that, generally, the disparity between the two places shamed him.
 A vice president named Sherman explained to Changez and the other trainees that Underwood
Samson was a meritocracy, in which they would be ranked every six months to measure their
progress. In this pressured atmosphere, Changez managed to make the acquaintance of another
trainee, a black man named Wainwright.
Changez’s description of the intense training process at Underwood Samson seems to impress
the American. Says Changez, Underwood Samson was the epitome of America’s “systematic
pragmatism,” which prizes efficiency over all else. The American system values everything,
including creativity, based on how it contributes to efficiency.
 Changez found the perks and prestige of his new job enthralling, especially his access to an
expense account.
 One night, at a bar with colleagues, Changez realized—for all their racial and gender diversity—
their Ivy League educations and positions at Underwood Samson made them exactly alike.
 After drinking heavily, Changez and Wainwright stopped at Changez’s favorite Pak-Punjab Deli.
Changez tried to use his American Express card, but Wainwright treated him because the deli
did not accept American Express. Wainwright complimented the food and ate every last crumb.
A disfigured beggar approaches the table. Changez remarks he must have been through a “series
of accidents.” The American declines to give him anything and comments it is better to give to
charities. Changez agrees but gives the beggar a few coins. He apologizes to the American for his
“misguided” action and claims he does so out of habit (40). The beggar thanks them and leaves.
 During their training, Wainwright and Changez competed for the top ranking. Changez worked
harder than anyone else and found his ingrained politeness—a social disadvantage in college—
helpful in a business environment. He suspects his Anglicized accent gave him an aristocratic air.
Overall, Changez’s “foreignness” made him appealing to his superiors (42).
 On the way to Underwood Samson’s annual summer party at Jim’s house in the Hamptons,
Wainwright and Changez had the honor of riding in a limousine with Jim. Jim told Changez
that watchfulness comes from feeling out of place.
 Jim’s house reminded Changez of The Great Gatsby. At the party, Jim approached Changez. He
recalled aloud that his first Underwood Samson summer party had made him look forward to
having a house in the Hamptons someday. Changez found himself missing Erica and thinking
that she, despite her own wealth, would find Jim’s house impressive.
 At his post-training review, Changez discovered he had ranked first in his class. Jim offered him
a spot on his next assignment, valuing a music business in the Philippines. Changez recalls:
“Nothing troubled me; I was a young New Yorker with the city at my feet. How soon that
would change!” (45).
The market continues to transition into a piazza. Changez comments that, because the market’s
change is so complete, a newcomer would think it always looked like a piazza. He continues
abstractly, “But we, sir, who have been sitting here for some time, we know better, do we not?
Yes, we have acquired a certain familiarity with the recent history of our surroundings, and
that—in my humble opinion—allows us to put the present into much better perspective” (45).
Chapters 4-5: Night in Old Anarkali/The Towers Fall

Chapter 4
The American spots a Debate it!
scar similar to a rope
burn on Changez’s Resolved: That Changez knows the American’s identity. Take stands,
craft arguments, and practice presenting with your team.
forearm. Sensing the
American’s suspicion, Changez explains he got the scar by spilling molten wax on himself as a
child during one of Lahore’s frequent winter blackouts.
Colorful lights begin to illuminate the piazza; the American calls them “a little gaudy” (47).
Changez remarks that, though the lights are chintzy, they are making people smile. He muses on
the idea that artificial light has great power over people’s emotions. He recalls the effect of the
Empire State Building’s lights, which change color for special occasions.17
 Soon after the trip to Greece, Erica invited Changez to her parents’ penthouse apartment for
dinner. He felt at home in her childhood room.
 She showed him a package containing her manuscript, which she planned to send to a literary
agent the next day. She likened herself to an oyster and the manuscript to a pearl. For the first
time, Changez registered something “broken” about Erica.
 Changez noticed a very detailed sketch on Erica’s wall. It depicted an island within an island.
Erica told him that Chris drew it and that his mother gave it to her after he died.
 Erica’s father asked Changez whether he drank before serving him wine; he was aware that,
according to religious law, Muslims are not supposed to drink alcohol. Changez replied yes.
The American seems confused. Changez explains that, although he does have a traditional-
looking beard, he drinks alcohol. (He also mentions, in passing, that he was beardless for most of
his time in the United States.) In fact, even though alcohol is illegal in Pakistan, it is akin to
marijuana in the United States; it is fairly readily available and commonly consumed.
17
Incidentally, the Empire State Building is lit up in red, white, and blue as I write this on September 11, 2008. –Tania
The American asserts that drinking is a sin according to Islam. Changez affirms this, but adds,
“so, for that matter, is coveting thy neighbor’s wife” (54). The American smiles, which Changez
takes as a sign that they understand one another.
 The dinner went well, save one unpleasant moment. Erica’s father commented on the poor state
of affairs in Pakistan: the crumbling economy, the tyrannical government, the elite that had
“raped that place well and good,” and religious fundamentalists (55). The condescension in his
voice annoyed Changez, who responded politely out of respect for his host.
 Afterwards, on the way to a gallery opening in Chelsea, Erica commented that Changez was
“touchy” about Pakistan (56). She said being touchy is a good thing because it shows caring.
 At the gallery, Changez noticed—as he did in Greece—the “gravity”18 that Erica seemed to exert
on her peers. Though they were in public, she made sure he knew she appreciated his presence.
 After that night, Changez and Erica’s time together was always spent in a group setting. Changez
noticed that Erica seemed to retreat emotionally in public, like “a child who could sleep only
with the door open and the light on” (57).19
 Despite keeping their dates public and kissing only on the cheek, Erica and Changez seemed to
be growing closer. Finally, Erica invited Changez on a private date, a picnic in Central Park.
As Changez describes the late-July weather in Manhattan, the American says he knows it well.
 Erica admitted to Changez that she used to picnic in Central Park with Chris. When he died,
she stopped not only picnicking, but also socializing and eating to such an extent that she had to
be hospitalized. Erica and Changez exited the park arm in arm; he appreciated her skin’s
softness, especially because of how it contrasted vividly with her jagged ‘brokenness.’
The American jumps out of his seat because the lights have gone out. He has his hand in his
jacket again. Changez assumes he is grabbing his wallet and assures him that no one will steal it.
Changez also reminds the American that blackouts are common in Lahore.
Changez wishes aloud that he could offer the American a shot of whisky. The American smiles at
the thought of this. Instead, Changez offers to order him a soft drink, the only American
beverage available in Old Anarkali. The American accepts.
Chapter 5
Changez points out the bats that have begun to fly over the piazza, which the American calls
“creepy.” Changez reminisces about the large bats called “flying foxes” that once lived in Lahore;
now they survive only in the countryside (62).
Changez marvels at the bats’ survival in Lahore. He says, “They are successful city dwellers, like
you and I, swift enough to escape detection and canny enough to hunt among a crowd” (63).
18
I personally think that a lack of gravity would make any gallery opening more interesting. Imagine: paintings, art critics,
and wine glasses all flying through the air. How avant-garde! –Tania
19
I was one of those kids. One time, my dad found me sleeping on the bathroom floor with the light on. I had seen a spider
in my room and was scared to stay in bed. Oh, the things that seem funny only in retrospect. –Tania
 Changez recalls how smug he felt on his first-class flight to Manila. He bemoans the
disappearance of his self-satisfaction.
In response to Changez’s question, the American affirms that he has been to Manila. Changez
remarks that the American is “remarkably well-traveled for an American—for a person of any
country, for that matter.” He wonders aloud what “business” brings the American to Lahore (64).
 Manila’s wealth and sophistication embarrassed Changez, who was not expecting a city in the
Philippines to be so much more advanced than Lahore. He decided to act like an American; he
stopped treating his elders with so much respect, he began cutting in line, and he began
identifying himself to others as a New Yorker.
The American asks whether acting like an American bothered Changez, who says it did.
 The work of valuing the music business was very intense and it made Changez feel powerful.
However, one incident bothered him greatly. As he sat in a limousine at a stoplight, he noticed a
Filipino driver glaring at him. He was obsessing over the reason for the driver’s hostility when,
glancing at one of his American colleagues, he realized how “foreign” the colleague was.
Suddenly, Changez felt like an imposter playing the role of an American.
 Anecdotal emails from Erica broke up the monotony of work in Manila. Changez says he was
able to relish these brief emails, having been accustomed as a teenager in Lahore to conducting
romantic relationships secretly and with spotty communication. In the course of explaining this,
he calls “the denial of gratification … [the] most un-American of pleasures!” (69).20
 One night, Jim called Changez a shark because of his work ethic; sharks never stop swimming.
When Jim first joined Underwood Samson, he was also called a shark. Jim mused on the irony
of growing up extremely poor but then becoming rich.
 Even though Changez did not grow up poor, he grew up with an acute awareness of the elite
lifestyle that his family had lost. This made him similar to Jim.
Changez pauses in his story because, he says, he thinks the American will not like the next
chapter of it. Night has fallen. He says he is thirsty21 and offers the American another drink, but
the American declines and says he wishes to hear more of the story. Changez orders a drink for
himself and continues.
 The evening after his conversation with Jim, Changez was packing for the return trip home
when he saw the World Trade Center towers collapse on television. The sight made him smile.
Changez notes the American’s angry reaction to this part of his story and begins to elaborate.
Because Changez thinks of himself as a caring and generous individual, he admits he finds it
strange that he was able to take pleasure in “the slaughter of thousands of innocents.”
20
He has a point. This year, Ralph Lauren (the quintessentially American clothing company) took instant gratification to a
new level by introducing cell-phone shopping. A customer simply sees a Ralph Lauren ad, takes a picture of a code embedded
in it, and orders the product advertised. –Tania
21
Of course he is. He’s been talking all day.
 As he smiled, Changez was thinking not of the victims of the attack, but of its symbolism: “that
someone had so visibly brought America to her knees” (73).
This only makes the American angrier. Changez suggests that the American must understand
Changez’s satisfaction on 9/11 on some level, since he must take pleasure in seeing the American
military bombing Iraq. The American makes an excuse: America is at war.
 Changez admits that he has no such excuse. He was not at war with America; moreover, he was
“the product of an American university … earning a lucrative American salary … infatuated with
an American woman” (73). It did not make sense for him to wish ill upon America or take
delight in its attempted destruction.
 He pretended to be as distraught as his colleagues when he saw them later that night. However,
when he thought of Erica, he did not have to feign distress anymore. He was genuinely worried
about her and could barely sleep.
 At the airport, Changez was strip-searched. When he boarded the plane—the last person to do
so—his appearance seemed to unsettle the other passengers. Changez felt self-conscious and
guilty as he sat on the plane, “uncomfortable in [his] own face” (74).
 At the New York airport, Changez had to wait in the line for foreign nationals while his
colleagues waited in the American line. When an officer asked Changez what the purpose of his
trip to the United States was, Changez replied, “I live here.” The officer found this answer
unacceptable and kept asking, while Changez continued to give the same reply. Eventually,
Changez had to go through a “secondary inspection” in a private room. It took so long that he
ended up riding back to Manhattan without his colleagues and feeling “very much alone” (75).
The American flinches as
Debate it!
some bats swoop close to
the table.22 When Resolved: That the novel would be stronger as a dialogue rather than
Changez tries to reassure a monologue. Take stands, craft arguments, and practice presenting
with your team.
him, he replies brusquely.
Changez says he assumes that, while the American found his story about 9/11 offensive, he did
not find it surprising. The American confirms this. Changez says he finds the American’s
presumptuousness interesting.
Changez interrupts his own thoughts to suggest they look at the menu. He says it is the
American’s turn to tell Changez about his life.
Chapters 6-10: Ordering Dinner/An Ominous Honeymoon
Chapter 6
The American does not want to oblige. Changez remarks that the American’s demeanor makes
him almost certainly not a tourist, but rather someone visiting Pakistan with a “purpose” (77).
22
Du nun un nun un nun un nun un nun un nun un nun un nun BATMAAAN! –Tania
The American smells something pleasant, which Changez confirms is jasmine; a woman at the
adjacent table is wearing a bracelet of woven jasmine blossoms. Changez compares the liveliness
of the flowers with the deadness of the roasted meat that their neighbors are eating. He muses on
the connection between life and death and remembers carrying an armload of jasmine blossoms
to his grandmother’s funeral.
 The discussion of flowers transports Changez back into his memories of post-9/11 New York,
where bouquets were a common sight at the many memorial shrines around the city. Each time
Changez saw one of these displays of grief, he felt guilty about the pleasure he felt while
watching the attacks on television.
 More prominent than the shrines were the American flags decorating the city. Seeing New York
City clothed in such a fervent display of patriotic defiance, Changez “wondered what manner of
host would sally forth from so grand a castle” (79).
 Changez and Erica went on their first date since the Central Park picnic, at a restaurant. They
could smell the burning ruins of the World Trade Center wafting from downtown.23 Erica
looked at once grief-stricken and queenly. She told Changez that the events of 9/11 had
reawakened her state of mourning for Chris and that she felt “haunted” (80).
 Changez told Erica about his widowed aunt and, as a joke, said that her husband’s death had
made her crazy. Erica appreciated the joke. From then on they had a wonderful time and got
drunk on wine, although Changez felt torn between supporting Erica in her grief and wanting to
supplant Chris in her affections.
 Changez walked Erica to his apartment, and she asked to come inside. She proclaimed the
apartment “perfect” and fell asleep while he was in the bathroom. He covered her with a blanket
and slept on the floor. By the time he woke up, she was gone.
A flower seller has appeared. The American says he is “not in the mood,” but Changez signals to
the flower seller and buys a strand of jasmine buds. Changez says they are like balls of velvet; the
American jokes that they are like popcorn shrimp (84).24
 After their sleepover, Erica began inviting Changez out more regularly. Attending parties at the
homes of Erica’s wealthy friends, Changez felt he was claiming the lifestyle that his family used
to have. He says: “I felt I was entering in New York the very same social class that my family was
falling out of in Lahore” (85).
 In addition to being continually enchanted by Erica, Changez noticed her inwardness was a
manifestation of her struggle with depression. Seeing more clearly how weak she was, he felt
protective of her.
23
Unfortunately, I remember this scent all too well. It was so strong one could smell it way uptown. To give you some
perspective, I lived at 116th Street at the time, about 9 miles away from the former World Trade Center. –Tania
24
Ah, the elusive species called the popcorn shrimp, which has adapted to inhabit the harsh environment of the sizzling deep
fryer. –Tania
 One night, in celebration of Erica’s finding an agent, Erica and Changez shared a bottle of
champagne at his apartment. Erica took her shirt off to show Changez a scar from tae kwon do
class.
 Changez began to kiss and undress Erica, but, while she seemed to enjoy the intimacy, she was
not aroused. This made having sex very uncomfortable, so they had to stop. Erica began to cry.
She said she had not been sexually active since Chris died, with the exception of one orgasm she
had attained by thinking of him. Changez asked Erica to tell him about what it was like to make
love to Chris. As she did, she became more relaxed.
 Erica told Changez she and Chris had been so close that she felt a part of her had died with him.
 Changez told Erica about his life in Lahore. Then they fell asleep at daybreak.
Changez notes the American’s odd expression. The American denies that the sexual details of the
story have unsettled him. Changez explains that, ordinarily, he does not share such intimate
details with others. However, he adds: “… tonight, as I think we both understand, is a night of
some importance. Certainly I perceive it to be so—and yet if I am wrong, you will surely be
justified in regarding me the most terrible boor!” (92).
Chapter 7
In retrospect, Changez supposes he was in denial about his New York lifestyle’s sustainability.
After all, the international situation after the terrorist attacks seemed at odds with his “personal
American dream,” which included both his blissful un-foreignness in others’ eyes and his
relationship with Erica (91).
 America was “gripped by a growing and self-righteous rage” after the attacks, and America’s
“mighty host,” its military, was beginning to bomb Afghanistan, a neighbor of Pakistan (94).
 Changez tried to shield himself from the racism against Muslims that pervaded New York City
during this time. He felt immune from bias because of his Ivy League degree and his high-class
job. He felt especially secure in his work because, after excelling on the project in Manila, he had
become Jim’s clear favorite.
 Changez’s new assignment took him to New Jersey. It was a somewhat unpleasant assignment;
the client wanted Underwood Samson to cut its expenditures, which would include
recommendations on whom to fire. The employees took their frustration out on Changez and
the others from the firm, which included slashing their tires.
 One day, Jim tried to encourage Changez as he replaced his slashed tire with a spare one. Jim
assured him that he was in the right field—the coordination business—and told him, “Power
comes from becoming change” (97). Jim’s words comforted Changez, but they did not entirely
prevent him from feeling guilty about the assignment.
 One night, Changez turned on the television to find footage of American troops landing in
Afghanistan. The images of Pakistan’s neighbor being invaded panicked him, and he drank
himself to sleep. The next day, he was late to work and found it difficult to concentrate. His
denial was beginning to crack.
Changez’s stomach growls so loudly that it sounds like “a young lion held captive in a
gunnysack” (100). He suggests they order dinner, but the American says he would rather eat at
his hotel. Changez insists that he try authentic, meat-centric Lahori cuisine.
Changez explains that Pakistanis were not always desperate and reliant on foreign aid, but had a
grand civilization that long predated America’s identity as a wealthy superpower. He notes he has
become emotional and is making the American uneasy. He returns to his story.
 Erica had not returned Changez’s calls since their last date. When she finally invited him out for
a drink, she looked unusually thin and nervous. She was the worst she had been since Chris died,
stuck in a cycle of depression, sleeplessness, and lack of hunger. This disturbed Changez. Erica
said she didn’t think it was good for Changez to see her in such a state.
 Changez convinced Erica to come home with him. On the way there, Changez was able to
register his shock at how deeply things had changed. He had been fantasizing about marrying
Erica, but she was barely herself anymore.
 When Changez tried to kiss Erica, she began to cry. He told her to pretend that he was Chris.
They made love in the way they had been unable to before. Despite the intimacy of the act,
Changez felt it to be violent; her vagina seemed like a wound to him and he kept thinking he
smelled blood. It seemed as though both were “under a spell.” Afterwards, Erica was grateful and
fell asleep without needing to take her sleep medication. Changez, on the other hand, felt “both
satiated and ashamed” (105-6).
 Changez alludes to the misfortune that befell Erica in the period following their lovemaking.
Changez deduces that he has disgusted the American. He summons the waiter.
Chapters 8-10: Dinner is Cooking/Downward Spiral

Chapter 8
Changez notes the waiter is still making the American uneasy. He suggests the waiter’s apparent
brusqueness is likely due to the fact that he hails from a region near the Afghani border, which
has been affected by American attacks.
The American inquires whether the waiter is praying. Changez explains that, no, he is merely
reciting the entire menu by rote. The American allows Changez to order for both of them.
 After Changez and Erica made love, she did not return his calls for over a month. She insisted
they refrain from seeing each other as much as possible.
 Changez went to visit Erica. When he arrived, Erica’s mother told him Erica needed to avoid the
drama of romantic relationships, imploring him: “She doesn’t need a boyfriend. She needs a
friend” (110).
 Erica was pale and unkempt, but she seemed somewhat stable. However, she broke down when
Changez asked about her novel. She explained that she had been too distraught to communicate
with her agent, much less to write. Erica had taken to wondering “whether there’s something left
… or whether it’s all already happened” (112). After telling him this, she ignored him.
 After seeing Erica, Changez was consumed with curiosity about her condition, although he
sensed that “she was disappearing into a powerful nostalgia, one from which only she could
choose whether or not to return” (113).
 As the months wore on and winter arrived, Changez forced himself to abstain from calling Erica.
 It seemed to Changez that America, like Erica, was falling into “a dangerous nostalgia,” as if
2001 had suddenly become the time of the Second World War. He wondered whether he
belonged in this version of America.
The American’s cell phone beeps and he text messages back. Changez notes that the American is
being contacted exactly on the hour; he surmises that the American’s boss is monitoring his
whereabouts. Changez changes the subject by pointing out the aroma of their chicken dish,
which is grilling nearby.
 Underwood Samson was one of the only parts of America that did not give in to the sway of
nostalgia, for the firm’s job was to “[go] about the task of shaping the future with little regard for
the past.” In order to escape his anxieties, Changez threw himself into his work, which was
“quantifiable—and hence knowable—in a period of great uncertainty” (116). Accordingly, he
became even more successful and popular at Underwood Samson.
 One day, a man accosted Changez in a parking lot and began taunting him with nonsense words
meant to sound like Arabic. Changez did not realize that he was experiencing ethnic prejudice
until the man—as his friend led him away from Changez—uttered, “Fucking Arab” (117).
 The irony, of course, was that Changez was not an Arab. Still, the man’s display of prejudice
infuriated him. He yelled, “Say it to my face, coward, not as you run and hide” (117-18). The
man stopped to look at him. Changez removed the tire iron from his trunk. Finally, the man’s
friend led him away. Afterwards, Changez sat in his car, too stunned to drive.
The American asks what the man looked like. Changez cannot remember and does not
understand why the man’s appearance would matter. He begins to defend his story, assuring the
American he is telling the truth.
 A few days later, Jim invited Changez to his apartment for dinner. Jim’s apartment was spare and
fashionable, with renditions of naked men among the artwork on its walls.
 Jim asked Changez what was wrong with him lately. Changez denied that his change in
personality was related to the bombing of Afghanistan. Jim reminded Changez, “I know that it’s
like to be an outsider. If you ever want to talk, give me a shout” (120).
 On his way home, Changez worried that Jim could see his inner conflict so clearly. Despite Jim’s
kind concern, he was afraid of losing his job because of discrimination; he had heard that, like
many companies, Underwood Samson would soon be downsizing.
 As it turned out, Changez was in no danger of being fired; at his December review, he discovered
he was still at the top of his group. He received a large bonus, but was unable to celebrate his
success because there had just been an attack on the Indian Parliament and he was concerned for
his country’s safety.
 Despite his parents’ protestations, Changez flew to Pakistan. He sat next to a man who prayed in
the aisle and spoke about nuclear annihilation.
The food arrives. Debate it!
Changez advises the
Resolved: That Changez is not telling an honest story. Take stands,
American not to eat craft arguments, and practice presenting with your team.
anything raw lest he
upset his stomach—while, as usual, fending off the idea that there is something sinister
underfoot. Changez takes a bite from each dish to assure the American that the food is safe.
Chapter 9
The American asks if the waiter will bring utensils. Changez replies, “… allow me to suggest that
the time has now come for us to dirty our hands. We have, after all, spent some hours in each
other’s company already; surely you can no longer feel the need to hold back. There is great
satisfaction to be has in touching one’s prey…” (123). The American digs in.
 When Changez arrived in Pakistan, he found himself “observing” his home and homeland
through foreign eyes. He was ashamed of the house where he grew up, which now seemed
underwhelming and humble. He was horrified to realize he had become an elitist American and
resolved to “exorcise” himself of that attitude (124). Once Changez managed to adjust his
attitude, he saw once again his house’s historic charm.
 Changez’s brother picked him up from the airport. His parents did not want to discuss the
possibility of war, preferring to hear about Changez’s life in America. Changez felt odd sharing
the details of his foreign life with them and left Erica out of his stories.
 That night, the conversation turned to the possibility of war with India. Everyone agreed that
America would not help Pakistan, even though Pakistan had given America aid in its invasion of
Afghanistan. Preparations for battle had already begun and troops were stationed on the Indian
border. Changez’s family was making their own, smaller preparations at home.
 Changez felt like a helpless traitor because he would be returning to America instead of staying
to help defend Pakistan.
 Changez offered to stay in Pakistan longer, but his parents insisted that he return to New York.
His mother told him to shave the beard he had grown.
 On the plane, Changez noticed how many of the passengers were Pakistanis his own age. He
considered it ironic that they, the smart and strong, were leaving the country rather than fighting
to defend it. This thought filled him with self-loathing.
The American indicates that he is accustomed to the atmosphere of worry that comes before war.
Changez takes this to mean that the American has served in the military.
 When Changez returned to Underwood Samson, his beard seemed to perturb his colleagues. He
had kept it because he did not want to fit in with them. For a variety of reasons, he felt
continually furious.
 Changez’s beard made more him susceptible to prejudice than ever. Wainwright advised him to
shave it, because, he cautioned, “This whole corporate collegiality veneer only goes so deep”
(131). Changez ignored his friend’s warning.
 Business was slow, so Changez spent much of his time at work researching the conflict between
India and Pakistan online. He thought it strange that America was able to cause such conflict
abroad seemingly without suffering any repercussions on its own soil.
 After obsessing over what to write, Changez sent Erica a long email. She replied a few days later,
explaining that she was in a clinic outside the city. She invited him to visit.
 When Changez arrived, a nurse greeted him. She said that Erica had gotten nervous and gone for
a walk. The nurse told Changez that Erica was in love with someone else and that, however
illogical, she found the world of her imagination more vibrant and tolerable than the real world.
Changez, the nurse said, made things harder for Erica by being “the most real” thing she knew
and disturbing her protective reverie.
 Changez joined Erica on a hilltop near the clinic. She looked very thin and seemed entranced,
giving her the appearance of someone who is devout at the expense of his own health.
 Erica apologized for separating herself from Changez, saying that she wanted to protect him. She
thanked him for helping her and attempted a final goodbye, saying, “Try to be happy, okay? I’m
sorry about everything. Please take care of yourself” (136).
 After his visit with Erica, Changez became even more distracted and angry at work. He was so
uninvolved in his work that he expected to be fired. Instead, Jim was supportive; he said he
didn’t care about Changez’s beard and gave him a very important assignment at a publishing
company in Valparaiso, Chile. Changez would be working with a vice president and no one else.
The American has stopped eating because he is full. Changez orders dessert, mysteriously
encouraging the American to “[sugar] his tongue before undertaking … the bloodiest of tasks”
(138).
Chapters 10-11: Late Night in Old Anarkali/Final Falling-Out with America

Chapter 10
Changez notices the American has a bulge in his shirt where an armpit holster would be. The
American shifts his posture upon hearing this, but Changez assumes aloud that the bulge is not a
gun but a travel wallet.
 Despite flying first class, Changez was uncomfortable for the duration of the flight to Chile.
Erica’s deterioration and his inability to help her consumed his thoughts.
 Changez liked the chief of the publishing company, Juan-Bautista. He told him that his uncle
was a Punjab poet. However, Juan-Bautista was not happy to have Underwood Samson value the
company. He did not own the business—the owners were selling it—and Underwood Samson
was working for the potential buyer. The buyer would most likely shut down the trade (literary)
division, which was not as profitable as the commercial and professional publishing divisions.
 After Jim left, Changez did little work; he spent the bulk of his time researching the international
conflict. America’s failure to stand up for Pakistan bothered him.
 Valparaiso reminded Changez of Lahore because of its nostalgic atmosphere. It too had been a
great and lively center of trade before becoming “peripheral” (144).
 The vice president grew frustrated with Changez’s lack of progress. Changez realized he was
unable to work because he could no longer wear his professional “blinders” and ignore the
human consequences of his work (145).
 One day, Juan-Bautista approached Changez and verified the name of his poet-uncle, whom he
had located in a literary anthology. Then he told him that Changez appeared “lost” (146). He
told him to visit Pablo Neruda’s house. Changez was not sure why Juan-Bautista was interested
in him at all. However, the older man’s attention encouraged him to keep reevaluating his job
and his lifestyle.
Dessert arrives; the American declares it to be too sweet.
 Changez played hooky from work in order to visit Pablo Neruda’s house. While there, he
contemplated his relationship with Erica. He deduced that he was unable to help her because he
lacked a strong identity. He wrote Erica an email and sent it without any revision.
 Changez called his parents. Rumors were circulating that America and India were conspiring to
pressure the Pakistani government. Adding to the tension in Lahore was a household misfortune;
the water main in the house broke, so they had little access to water. Changez sent his savings to
his parents so that they could fix it.
 One day, Juan-Bautista invited Changez to lunch. He asked Changez, “Does it trouble you … to
make your living by disrupting the lives of others?” He tells Changez about the janissaries,
Christian boys whom the Ottomans kidnapped and transformed into Muslim soldiers and then
forced to “erase their own civilization.” When Changez tells Juan-Bautista that he arrived in
America at the age of eighteen, the older man suggests that—since he was ‘converted’ at a much
younger age than the janissaries—he could not be totally loyal to his “adopted empire” (151).
The American is wearing a skeptical expression. He questions whether Changez is telling him the
truth, which Changez assures him he is.
 Juan-Bautista had hit the nail on the head in terms of Changez’s inner conflict. He did feel like a
janissary, having been integrated into a foreign civilization now threatening his homeland.
Again, Changez alludes to an air of importance and danger that surrounds the evening.
 The day after his lunch with Juan-Bautista, Changez told the vice president he was returning to
New York. The vice president called Jim, who implored Changez: “In wartime soldiers won’t
really fight for their flags, Changez. They fight for their friends, their buddies. Their team. Well,
right now your team is asking you to stay” (153).
 Despite his loyalty to Jim, his need for money, and his visa’s dependence on his job, Changez
refused to complete his assignment.
The waiter brings green tea. It has gotten late and they are his only remaining customers.
Chapter 11
Changez remarks on the eeriness of abandoned places, such as the marketplace in which he and
the American now sit alone. He points out the scent of the desert, wafting in with darkness.
 On his flight back to New York, Changez felt the atmosphere to be ominous. He had never
approved of America’s interference in other countries’ affairs for its own economic benefit;
because of this connection between American capitalism and American war waging, he refused to
be a part of the finance sector any longer.
 Before he went to bed, Changez resolved to view New York through a purely objective gaze, “an
ex-janissary’s gaze.” Suddenly, America was devoid of the romance that he had formerly ascribed
it. He mentally thanked Juan-Bautista for opening his eyes to the world around him.
 Changez awoke gripped by anxiety over his actions. He was careful to keep his emotions in
check as he left Underwood Samson behind. Despite being disappointed in Changez, Jim offered
his emotional support to him. Out of all Changez’s colleagues, only Wainwright said goodbye;
the others seemed suspicious of him.
 At home, Changez took a call from his brother. With the money he sent, his parents had already
been able to fix their water main. Changez’s brother tried to dissuade him from returning to
Pakistan—it was growing more dangerous—but, with his visa expiring, Changez had to leave.
Changez asks for the bill and insists on paying.
 Changez went to visit Erica. The nurse he had spoken with before explained to him Erica had
disappeared after becoming increasingly detached from those around her. She had been wishing
people farewell. Then her clothes were found on a cliff above the Hudson River. Her body was
missing. The nurse showed Changez the spot where Erica most likely jumped to her death.
 Changez went to see Erica’s mother and offered his support to her. She gave him a copy of
Erica’s manuscript.
 The city seemed different with Erica gone. Changez was left with only his memories of their
time together to comfort him. Eventually, he read her manuscript. Its content surprised him; it
was not tortured and introspective, but a hopeful and thoughtful tale of adventure. After he read
it, Changez finally came to terms with the fact that, whatever happened to Erica, “she had
chosen not to be part of [his] story” (167).
 Changez was very Debate it!

moody during his last
Resolved: That Erica committed suicide. Take stands, craft
days in New York. He arguments, and practice presenting with your team.
resolved to combat
America’s complacent brand of warfare, both for the world’s sake and for America’s.
 As Changez rode to the airport, he imagined Erica stripping herself of her clothes—symbolically
“[shedding] her past”—and then being taken in by a woman in the forest (168).
The American asks Changez what he did to combat America. Changez replies, “Have you really
no idea, sir?” Then he says he will tell the American as soon as they leave the market. He offers
to walk the American to his hotel, the Pearl Continental.
Chapter 12: Mall Road/Life in Chosen Exile

Chapter 12
The American keeps looking over his shoulder as he and Changez walk to the hotel along Mall
Road. There are other people on the road, including the waiter.
Changez points out the quaint architecture from the British era and that from the seventies and
eighties, the latter that was built without regard for historical preservation.
At the America’s suggestion, they begin to walk faster. Changez asks him if he has read The
Legend of Sleepy Hollow. The American replies that he has seen the movie. Changez recounts the
moment in the novel when Icabod Crane becomes aware of the Headless Horseman’s presence
for the first time. He says that the story sometimes spooks him when he walks alone at night.
The American appears anxious, so Changez continues his story.
 Changez was still emotionally fraught when he returned to Lahore, largely because of his grief
over Erica. He pictured the life they would have lived together had she not disappeared.
Changez’s enduring love for Erica made him realize being in love had changed him and that he
would never be quite the same. Hearing this, the American looks at him as though he is crazy.
 Changez’s brother married the previous year, around the time Changez turned twenty-five. His
mother began pressuring him to get married, though he was and is not interested in doing so yet.
The American is very antsy. Changez assures him the sound they heard was not a bullet, but a
car misfiring. The American asks if they are being followed and Changez says no. The American
points out the men behind them on the road have stopped; he asks whether Changez has
signaled to them. Changez says, “Of course not!” and tries to reassure the American.
The American reaches for his cell phone and sends a text message. They are about fifteen
minutes away from the hotel.
 Pakistan and India seemed on the brink of war in the days after Changez returned to Lahore.
However, the conflict did not proceed (though America invaded Iraq half a year later). Changez
observed America’s stereotyping of those living in Muslim countries as terrorists; America used it
to justify war.
 He got a job as a university finance lecturer. From his podium, he tried to convince students that
Pakistan should disassociate from America and to take part in the movement towards Pakistani
international independence. According to Changez, the foreign press eventually began calling
these actions “anti-American” (179).
 One of the protests, which occurred during the American Ambassador’s visit, escalated into a
violent conflict. Changez spent that night in jail because he tried to break up a fight.
 Changez became a very popular lecturer and a mentor to his students. However, Changez is
unpopular with the university administration. He emphasizes to the American that he teaches
motivated intellectuals, not criminals. For this reason, he was dismayed to learn one of his
students was accused of being involved in an assassination plot. Changez is sure of his student’s
innocence because his time at Underwood Samson made him a good judge of character.
The American takes on an antagonistic tone and asks how Changez knows the student is
innocent if he himself was not involved in the plot. Changez is offended; he says he is a pacifist
except in cases of self-defense. The American does not seem to believe him.
 The student was arrested and never heard from again. When the media interviewed Changez
about the student’s actions, he spoke out against America’s quickness to violence. His interview
was played repeatedly on the news; his colleagues warned him he might be in danger. Now
Changez is paranoid; he feels he is being watched. He tries not to be afraid of his “fate” (183).
The American is glancing over his shoulder again. The men have come closer and the waiter has
nodded to Changez, who assures the American that nothing is wrong. Changez remarks, “It
seems an obvious thing to say, but you should not imagine that we Pakistanis are all potential
terrorists, just as we should not imagine that you Americans are all undercover assassins” (183).
They are almost at the Debate it!
hotel. The waiter is
Resolved: That the American is concealing a gun. Take stands, craft
approaching them
arguments, and practice presenting with your team.
rapidly and signaling for
Changez to keep the American from entering. Changez tries to shake the American’s hand. The
American reaches into his jacket. Changez notices the light glance off something metallic. He
says, “Given that you and I are now bound by a certain shared intimacy, I trust it is from the
holder of your business cards” (184).
Conclusion
 The Reluctant Fundamentalist uses the form of the dramatic monologue and also switches
between the present in the café and Changez’s recent past.
 Shifting between the present and past allows each time period to illuminate the other.
 As a whole, the novel can be seen as a story of the rise and fall of Changez’s relationship with
America.
 Does the progression of the meal shed light on the meaning of what is happening in the story?
 Why do you think the last chapter is different in setting than the rest of the novel?
 What happens at the end of the novel?
VI. Narrative Strategies

Subtle. We will use many words to describe The Reluctant
Fundamentalist, but this is not one of them. Just like his narrator
and protagonist, Changez, Hamid is upfront when it comes to
telling a story. In this section, we will explore the clever, but not
understated, tools that Hamid uses to get his messages across.
Objectives
 How does the novel’s structure affect our perceptions of the story?
 What are the main instances of symbolism?
 Which characters are foils for Changez and what do they reveal about him?
 What do Hamid’s literary allusions tell us?
Introduction
The Reluctant Fundamentalist is a frontier novel, so to speak. It was released in 2007, so it is on the
forefront of literature. It deals with recent events that are still ongoing, including conflicts in Afghanistan
and Iraq. As you read this guide, the footprint of the former World Trade Center is still being excavated
and no new structure stands in its place. In addition to giving us an insight into current events,
analyzing as fresh a novel as The Reluctant Fundamentalist has another advantage: its author is alive.25
We cannot ask Shakespeare why he held so dutifully to iambic pentameter. We cannot request that
Dunne explain to us one of his poetic conceits, but we can read current interviews with Hamid—or even
track him down and ask him ourselves—to gain insight into his intentions. It goes without saying that
Hamid is a skillful writer; however, might there be some elements to The Reluctant Fundamentalist that
he created unintentionally? Might there be other meanings we can glean from it?
Let us examine the novel’s structure, symbolism, and other elements with one ear to Hamid’s statements
and one ear to our own impressions.
Structure
The novel’s structure is one of its most striking narrative strategies. It takes the form of a dramatic
monologue, a device common to stage plays and, sometimes, to the narration of films. In a dramatic
monologue, a single speaker addresses another person. In the course of his monologue, he provides
insight into his own character. The distinction between a monologue and a soliloquy is important to our
discussion, although the two terms are often used interchangeably.
25
Happy for us; even happier for Mohsin Hamid. Being alive is a good thing.  --Tania
A soliloquy is addressed to the speaker himself; when Hamlet expounds on the question of “To be or not
to be,” 26 he is talking, ostensibly, to himself. How much poorer thematically would the The Reluctant
Fundamentalist be, were it a soliloquy rather than a monologue! Changez addresses his monologue to the
American, who, despite his infrequent interruptions, is never actually heard. By structuring the novel as
a one-sided conversation, Hamid accomplishes two things. First, he symbolically makes America ‘hear
the other side of the story.’ According to Changez, America has its own kind of fundamentalism,
capitalist fundamentalism, which makes it blind to the human toll of its foreign policy. By addressing his
story to an American, Changez attempts to cut through that single-mindedness and add a new
dimension to the American’s and—symbolically—America’s view of 9/11, the War on Terror, and what
it means to be from a country that America oppresses.
Second, Hamid puts the reader in the American’s position. In so doing, he invites the reader to make his
own judgments about what is happening in the story. Changez is not an omniscient narrator. That is, he
tells only his side of the story. With the exception of the American’s implied interjections, he leaves us to
fill in the truth of what is happening. For example, in the final scene, we are left to decide whether
Changez is trustworthy or whether he is leading the American (us) into danger. We are also left to decide
whether the American is (we are) harmless, or whether he is (we are) carrying a gun. This is a part of
Hamid’s overarching strategy to leave the story open-ended, which we will discuss in the context of
several narrative strategies. By cultivating ambiguity in The Reluctant Fundamentalist, he challenges us to
see the events of Changez’s life and the scene in Old Anarkali from multiple perspectives.
Hamid begins and ends every chapter by having Hamid talks about The Reluctant
Changez address the present scene in Old Anarkali Fundamentalist’s structure
(at the end, on Mall Road). It is important that “The form of the novel, with the narrator and his
Hamid chooses to use this facet of the dramatic audience both acting as characters, allowed me
monologue, since not every speaker interrupts to mirror the mutual suspicion with which
himself to address the audience.27 Hamid’s America and Pakistan (or the Muslim world)
look at one another. The Pakistani narrator
structural choice reminds us continually that we are wonders: Is this just a normal guy or is he a killer
hearing a story. In this way, it makes us aware of out to get me? The American man who is his
the subjectivity of what we are reading. audience wonders the same. And this allows the
novel to inhabit the interior emotional world
Changez’s and the American’s shared nervousness much like the exterior political world in which it
in these sections adds another element to our will be read. The form of the novel is an
invitation to the reader. If the reader accepts,
experience of the story. It creates an atmosphere of
then he or she will be called upon to judge the
tension, much like that in One Thousand and One novel’s outcome and shape its ending.”
viii
Nights. That speaker’s tale, Scheherazade, entertains

a king with stories so that he will not kill her as he has done his previous wives. Hamid creates a similar
apprehension in The Reluctant Fundamentalist when Changez says things like: “tonight, as I think we
both understand, is a night of some importance” (92). We are continually aware that the act of
26
For a humorously condensed version of Hamlet, see The Complete Works of William Shakespeare, Abridged. My favorite line:
“It is I, Omelet the Danish!” –Tania
27
In the theater, one would call this “breaking the fourth wall,” “wall” referring to the imaginary boundary between the
actors and the audience. A good way to train actors not to break the fourth wall is to install a sheet of very clear plate glass at
the end of the stage. Kidding. –Tania
storytelling, and listening, has ominous associations. However, at the novel’s end, we are not sure who is
in power and who is in danger.
Nowhere is Changez and the American’s mutual suspicion clearer than in the novel’s homestretch.
Hamid accelerates the story’s pace by making his characters literally move. Their walking lends this part
of the story a new urgency. On the second to last page, Changez remarks: “It seems an obvious thing to
say, but you should not imagine that we Pakistanis are all potential terrorists, just as we should not
imagine that you Americans are all undercover assassins” (183). Though Changez says their safety is
“obvious,” it is clear he suspects the American to be an assassin just as much as the American suspects
him to be a terrorist.
Symbolism
Next to structure in Hamid’s literary toolbox is symbolism. We have already examined his symbolic
treatment of setting in the section on Setting. Now let us probe the other symbolic meanings in The
Reluctant Fundamentalist.
Predator and Prey

Most of the symbolic ideas we will be discussing relate to Hamid’s usage of names. However, one
symbolic choice stands out from that category, and that is his treatment of the concepts of predator and
prey. Let us first note that this type of symbolism is confined to the present scene in Old Anarkali. Using
the predator/prey dichotomy in this context alone creates and underscores the tension between Changez
and the American.
As we have mentioned, Changez refers to the scene in Old Anarkali as “a night of some importance”
(92). Later in the novel, he says: “That morning, with the demeanor of a man facing the firing squad—
no, that is perhaps too dramatic, and a dangerous comparison on this of all evenings” (152). Though he
is vague, Changez seems to think either that he is in danger or that the American is in danger; Hamid
leaves us to decide which. Changez’s references to predators and prey have the same effect. They give us
an equally vague idea of the balance of power between Changez and the American.
Hamid sets up the vague predator/prey relationship in the beginning of Chapter 3. Changez notes: “the
frequency and purposefulness with which you glance about—a steady tick-tick-tick seeming to beat in
your head as you move your gaze from one point to the next—brings to mind the behavior of an animal
that has ventured too far from its lair and is not, in unfamiliar surroundings, uncertain whether it is
predator or prey!” (31). As Changez states quite directly, it is unclear whether the American is acting like
a predator (“on a mission” or with a “purpose,” stalking something or
someone) or prey (defensive, on the lookout for danger). Hamid uses the
metaphor of
The ambiguity of the predator/prey metaphor continues for the length of predator/prey to
the novel. We next come upon it in Chapter 5; of the bats swooping over symbolize the
the market, Changez remarks: “They are successful city dwellers, like you ambiguous balance of
and I, swift enough to escape detection and canny enough to hunt among power between
a crowd” (63). Here again, Hamid uses the language of both defense and Changez and the
offense; the bats “escape” but they also “hunt.” The bats return just after American.
Changez’s description of 9/11 and his return flight to New York. Their
placement in the story makes them mirror the tension that Changez’s description of 9/11 has created
between him and the American.
Hamid continues the metaphor in the very next chapter, Chapter 6. Changez says, “Ah, I see that you
have detected a scent. Nothing escapes you; your senses are as acute as those of a fox in the wild.” Then
he continues, “It is remarkable indeed how we human beings are capable of delighting in the mating call
of a flower while we are surrounded by the charred carcasses of our fellow animals” (77-8). Changez puts
the American in the position of predator by comparing him to a fox. Then almost immediately, he
points out his and the America’s shared humanity, equalizing them. However, then he refers to the
“charred carcasses of our fellow animals,” which leads back into the concept of predation. As we can see,
Hamid balances the concepts of predator and prey delicately, never giving us a definitive answer about
which position either Changez or the American occupies.
The predator/prey metaphor culminates in Chapter 9. In the chapter’s first page, Changez urges: “the
time has now come for us to dirty our hands ... Surely you can no longer feel the need to hold back.
There is great satisfaction to be had in touching one’s prey … I see you need no further convincing; your
fingers are tearing the flesh of that kebab with considerable determination” (122). When Changez says
“surely you can no longer feel the need to hold back,” he is referring not so much to the American’s
politeness as to what Changez perceives as his hidden motives. Changez seems to assume that the
American is the predator, an assassin sent to kill him by the American government. Still, the
predator/prey relationship is vague. Changez is, simultaneously, inviting the American to participate in a
mutual act of predation; this puts both of them in the predator’s role. Right through the novel’s last line,
Hamid leaves us to make the judgment for ourselves (is the American going to kill Changez? Are
Changez and the waiter setting the American up?)
Names
In the section on Characters, we discussed the symbolic meanings of the names “Juan-Bautista” and
“Jim.” There are three names in The Reluctant Fundamentalist that beg a more detailed analysis:
“Changez,” “Underwood Samson,” and “Erica.” As we will see, name symbolism is one technique for
which Hamid forgoes his characteristic ambiguity.
Changez
Out of thousands of possible names for his speaker/protagonist, Hamid chooses “Changez.” In the
context of our study of empires, this is crucial; Changez is the Pakistani equivalent of “Genghis,”
connecting Changez to the great Mongolian conqueror Genghis Khan. There are several ways to
understand Changez’s name. In one sense, it is ironic; it mocks the stereotype of the bearded Muslim
man as Islamic extremist. Changez is not a violent person; in fact, he states plainly that he is a pacifist.
Far from wanting to conquer the world, he is an anti-imperialist, speaking out against America’s
international abuses.
Hamid adds: “the name cautions against a particular reading of the novel. Genghis attacked the Arab
Muslim civilization of his time, so Changez would be an odd choice of name for a Muslim
fundamentalist.”ix In other words, Genghis Khan attacked Muslims; he was certainly not a Muslim
himself, much less a Muslim extremist. Despite its violent connotations, the name actually separates
Changez from the idea of Islamic extremism.
In another sense, Changez’s is like his namesake. Though peaceful in methods, he is a soldier. After his
experiences in post-9/11 New York and his revelation in Valparaiso, he devotes his life to exposing
America’s abuses. His vehicle is nothing more than a lectern, but his battlefield is the world at large,
which he is trying to reclaim from the clutches of the American empire.
Perhaps Hamid is also prodding at the ease with which, in his

Interpretations of the name “Changez”
lecturer position, Changez has the potential to associate with and
Genghis- ironic
motivate real militants. Although Changez maintains his student’s
Genghis- warrior
identity, we cannot be sure whether or not the student was
Changes/Changed/Changer
plotting an assassination. The ambiguity of the student’s guilt or
innocence lends a similar vagueness to Changez’s nonviolence.
A third reading of the name “Changez” (which is pronounced “Chen-gaze”) comes from its visual form.
In English, Changez looks like the word “Changes.”28 In the story, change is what both troubles and
motivates Changez. When he enters the world of the financial elite, he transforms from an awkward
foreign student into a suave New Yorker and valuer. After 9/11, Changez becomes disgusted with the
changes that are occurring in America and the possibly irreparable changes America is in turn making in
South Asia and the Middle East. Suddenly, he is able to see that he is complicit in the changes America
is making so boldly, with flags at home and bombs abroad. This realization transforms Changez once
again—into an agent of change. By lecturing, he takes an active role in changing Pakistan’s international
standing. Being a teacher makes him a small-scale revolutionary; he is altering the world by influencing a
small cross-section of it—his students.29
Underwood Samson
Underwood Samson. “U.S.” “United States.” “Uncle Sam.” This instance of naming exemplifies
Hamid’s purposeful lack of subtlety. Underwood Samson symbolizes one facet of the United States of
America (as we will see, Erica represents another). It is a microcosm of America’s ruthless pursuit of
money and efficiency. Sherman’s speech to Changez’s training class sums up the positive side of
corporate America: “We’re a meritocracy … We believe in being the best” (35). Where Pakistan has
failed his family, America, and Underwood Samson, give Changez limitless opportunity for financial
security. In this way, meritocracy is the foundation of the so-called American dream, the “personal
American dream” that Changez lives for a time (91).30 This dream is embodied in his expense account,
his first-class international flights, Jim’s house in the Hamptons, and Erica’s apartment. America and
Underwood Samson may have sinister underpinnings, but their trappings are innocently luxuriant.
Hamid wastes no time, however, in bringing Underwood Samson’s, and America’s, harmful nature to
light. When Changez is at a bar with his colleagues, he notes, “ … Shorn of hair and dressed in battle
fatigues, we would have been virtually indistinguishable.” Just after this, Wainwright makes the joking
Star Wars reference, “Beware the dark side, young Skywalker” (38). Wainwright quotes the movie line in
jest, but Hamid does not use it jokingly. Rather, it is a clue to the dangers of Underwood Samson’s, and
America’s, single-mindedness when it comes to finance and power.
28
Not to mention the verb “to Change” in French. I bet you French speakers had a hard time not reading “Changez” as
“Shan-jay.” –Tania
29
Incidentally, the options that my spell checker gives me for “Changez” are: “Changes, Changed, and Changer.” –Tania
30
During this time, the world is his oyster. Er, popcorn shrimp. –Tania
Hamid makes another military reference soon after, Expense—but at whose expense?
when Changez is at the Pak-Punjab Deli: “‘This
“I felt empowered, and besides, all manner of
time I insist on paying,’ I told him, unsheathing my opportunities were opening up to me … Do you
credit card and leaning forward—both know how exhilarating it is to be issued a credit
conspiratorially and drunkenly—to add, ‘I have an card and told that your company will pick up the
tab for any ostensibly work-related meal or
expense account’” (39). Here, Hamid is subtle.
entertainment? … I could, if I desired, take my
Even though Changez is being “conspiratorial,” he colleagues out for an after-work drink … and
is also being symbolically violent toward his with impunity spend in an hour more than my
countryman, the deli owner. By using the word father earned in a day!” (37).
“unsheathing,” Hamid compares the credit card to
a sword. When Changez leans forward—no matter the physical or intended reason—he is
emblematically being threatening. In this way, Hamid hints at the violence inherent in the work of
valuation, and in the ethos—the fundamentals—of America.
With the progression of Changez’s work assignments, Hamid makes the moral problems of valuation
increasingly obvious. From his travels to New Jersey (the hostile employees) to Manila (the stare down
with the Filipino driver) to, finally, Valparaiso (the conversation with Juan-Bautista), Changez gains a
clear view of the effect his work has on other people. As he says in Chapter 10, “I had thrown in my lot
with the men of Underwood Samson, with the officers of the [corporate American] empire, when all
along I was predisposed to feel compassion for those, like Juan-Bautista, whose lives the empire thought
nothing of overturning for its own gain” (152). In this quote, he also makes a clear comparison between
Underwood Samson and America, using the words “officers” and “empire” to cement both
organizations’ militant approach.
Erica
If “Underwood Samson” corresponds to “United States,” then “Erica” finishes out the country’s name—
Underwood Samson and Erica: United States of America. Similarly, where Underwood Samson
represents America’s corporate side, Erica represents its emotional side. As we will discuss in the section
on Major Themes (The Self-Destructive Nature of Empires), Erica is like America outwardly and
inwardly. She is wealthy, glamorous, and popular—all the qualities a celebrity has. However, like
America, Erica is deeply flawed. She is so wrapped up in her own problems that she detaches from the
rest of the world.
Underwood Samson represents America’s forceful involvement in the world at large. In contrast, Erica
embodies America’s aloofness to the point of selfishness. Changez cannot predict when Erica will be her
magnetic self and when she will ignore him; their interactions are as varied as the romantic picnic in
Central Park and Changez’s visit to Erica’s apartment in Chapter 8, when she is especially detached.
What complicates the metaphor of Erica/America is the fact that Erica appreciates Changez for who he is
as a person (unlike Underwood Samson, which appreciates Changez for his merits as a valuer). With
Erica, Changez can be authentically himself.
There is one, very notable, exception to Erica’s acceptance of Changez: Erica embodies
their failed attempt to make love. When Changez is being himself, Erica is America’s aloofness to
not aroused. When Changez pretends to be Chris, an American, Erica the point of selfishness.
becomes aroused. Hamid is showing us that Changez cannot be accepted in
America without pretending to be someone or something that he is not. For a time, America makes
Changez forget his roots; when he visits Lahore after living in New York, America, his homeland seems
strangely quaint and inadequate. However, as we will discuss in the Major Themes section (Homeland
as a Non-Transferable Concept), Changez’s loyalty lies firmly with Lahore, Pakistan—“the city of [his]
birth” (15). The imaginary scent of blood when they do make love symbolizes Changez’s complicity in
America’s violence abroad. By playing the role of a corporate New Yorker, Changez is contributing to
the demise of his own people.
Although by the time he meets Debate it!

the American, Changez’s
Resolved: That Changez would have stayed in America if Erica hadn’t
allegiance to Underwood
disappeared. Take stands, craft arguments, and practice presenting
Samson is defunct, his passion with your team.
for Erica endures. Symbolically,
Changez loathes one part of America while loving another; he lectures against the one while continually
wishing to reunite with the other. As he says of leaving New York: “Would I not miss this city of
possibility, with its magical vibrancy and sense of excitement?” (157). Changez is willing to forgo
economic advancement to stay true to his ethics and his national loyalty. However, he remains nostalgic
for the things that make America “vibrant,” most of all Erica.
Foils
As you may know, a foil is a character that an author compares and contrasts with another character,
often the protagonist. In so doing, the author underscores certain qualities in the latter. Since Hamid
uses symbols so abundantly, it is important for us to distinguish between symbolism and foils.
Symbolism uses a person, place, or thing to represent something or someone else. A foil does not
represent the protagonist, but rather brings out the presence—or lack—of certain qualities in the
protagonist. Let us discuss several characters that are foils for Changez.31
The American is the main foil for Changez. Unlike a traditional foil, who highlights definitive qualities
in the protagonist, the American emphasizes possible qualities in Changez. As we saw in the discussion of
predator/prey, the relationship between Changez and the American is a major source of ambiguity in the
novel. The two men are mutually suspicious; accordingly, we do not know whether one, both, or neither
of them has sinister intentions.
One of the ways Hamid creates this effect is by having the American reach into his jacket repeatedly.
Changez seems suspicious that the American has a gun; at the same time, he imagines the object in the
American’s jacket to be something else—a travel wallet or business card holder. Changez’s suspicion
makes us question the American’s integrity, but his calm excuses make us question Changez’s integrity.
If he suspects the American to have a gun, why is he so comfortable in continuing to entertain him?
Does his suaveness indicate a sense of power over the American? Does he have a co-conspirator in the
waiter on this “important” night? Does he have a gun of his own?
If we flip this idea on its head, Changez’s reactions highlight his innocence. As we discussed earlier,
Changez is a pacifist. He is also, perhaps, an idealist; he believes that he can effect international change
31
And in Shakespeare, a foil is what a character uses to try to kill the protagonist. –Tania
from his lectern.32 Maybe, then, Changez truly believes that the American is carrying an innocent object
and not a gun. It is possible that Changez’s references to the night’s “importance” are innocent as well.
Perhaps Changez is merely pointing out the significance of an American’s sitting down with a Pakistani
for an ordinary meal and conversation.
As we know, the structure of The Reluctant Hamid talks about his demands on the reader
Fundamentalist puts the reader in the American’s
“Depending on how the reader views the world in
position. Therefore, the vague foil relationship which the novel takes place, the reader can see the
between Changez and the American extends to novel as a thriller or as an encounter between two
the reader. It begs us to ask: How am I similar to rather odd gentlemen … The journey I am asking
x
Changez? How am I similar to the American? readers to undertake is emotional and troubling.”
What do my judgments on them say about my own biases and assumptions? Any work of literature is a
reflection on the world, and any character within one says something about human nature. However, by
involving the reader in the story on such a personal level, Hamid does more than suggest that we
evaluate ourselves in comparison—he demands it.
We know already Erica is a symbol for America and that Changez’s relationship with her represents his
relationship to America. In another sense, Erica is a foil for Changez. She has the things that he initially
wants: wealth, the power to influence others, and membership in the unofficial club of New York City’s
elite. As Erica unravels emotionally, we see that these things—her money, her “gravity,” and her social
status—are meaningless next to her all-consuming grief. She is engaged in a struggle with depression,
considering the question of whether life is worth living. As she says in Chapter 8, “’I used to turn to it,
my writing, when I needed to get out something that was stuck inside. But I can’t get it out now. It pulls
me in, you know? … It’s whether there’s something left … or whether it’s all already happened” (112).
Aside from the part about

Debate it!
writing, this statement might as
well have come from Changez. Resolved: That Erica is a foil for the American. Take stands, craft
arguments, and practice presenting with your team.
Yes, Erica’s musings on life
disturb Changez because they are bleak and because they reveal how sick she is. More importantly,
though, they mirror Changez’s own inner conflict. When Changez sees New York City decked out in
belligerent patriotism, he wonders whether there is a place for him in such a country. In Erica’s words,
he is wondering “whether there’s something left” for him in America … “or whether [everything he
could accomplish there] has already happened.” Erica’s way out of her grief is (presumably) jumping
naked into the Hudson. It is an act of suicide, but it is also a symbolic act of cleansing, like baptism in
Christianity or the mikvah (ritual bath) in Judaism: she “[sheds] her past” and jumps into the sin-
absolving water (168). Changez’s way out of his inner conflict is leaving America and returning to
Pakistan. By leaving, he cleanses himself of his American past so that he can fight for Pakistan’s future.
At Underwood Samson, Changez has two foils: Jim and Wainwright, both who mirror the challenges
and disadvantages that Changez faces. In Jim, Hamid reflects Changez’s economic background. Like
Changez, Jim had to work his way through Princeton—secretly, to avoid the shame of having his
wealthier friends find out. Even though Jim grew up “outside the candy store” and Changez grew up “on
32
Personally, I believe in the power of the lectern, the pen, the camera, and the stage. However, not everyone thinks that
intellectual and artistic power can affect real change. Boo hiss! –Tania
its threshold as the door was being shut,” they share an understanding of what it is like to long for
money (71). They also share a sense of being an outsider, a fact that Jim points out continually.
According to Jim, this makes both of them like sharks; they “never stop swimming,” that is they work
hard constantly and they cultivate an air of false suaveness.
We can think of Jim as Changez’s ‘could-have.’ Jim is grooming him for a high-level position at
Underwood Samson. Had Changez not purposely gotten himself fired, he could have had all the things
that Jim does: a high salary, a place of power in an elite organization, and a house in the Hamptons. At
the end of The Reluctant Fundamentalist, Hamid capitalizes33 on the comparison he has established
between Jim and Changez. Instead of furthering the comparison, he uses it implicitly to expose their
differences. Instead of money, corporate power, and a house in the Hamptons, Changez has chosen a
low salary, grassroots power, and a deteriorating family home in Lahore. For most of the novel, Jim
seems like a noble character—even as Underwood Samson begins to assume negative connotations.
However, at the story’s end, the contrast between Jim and Changez exposes Jim as an “officer” of the
American empire (152).
Wainwright provides a contrast to both Changez and Jim. He is suave, but authentically so and not out
of watchfulness. Hamid establishes this fact early on when Wainwright quotes from popular movies:
Wainwright is very American and fits in easily. Changez is charming in an unusual way, which certain
people like Erica can appreciate. Wainwright is the outgoing, popular, and universally liked type of
person that Changez is not. We see this contrast again at the party in the Hamptons. Changez separates
himself from the group. Wainwright, on the other hand, is debonair—the life of the party: “Wainwright
seemed very much in his element: he took one of the associates by the arm and soon they were twirling
to the beat of the music. The rest of us watched from the sidelines, cocktails in hand” (43).
Wainwright is more of a social insider than Transcending Foreignness

Changez, but he and Changez share the problem of
“I was the only non-American in our group, but I
ethnic foreignness. Although Wainwright is suspected my Pakistaniness was invisible,
American, he is black; this makes him an outsider cloaked by my suit, by my expense account,
in his own society because he faces some level of and—most of all—by my companions” (71).
discrimination. Because they are the two highest-
ranking trainees, Wainwright and Changez stand apart from the crowd at Underwood Samson. What’s
more, they both have an opportunity to transcend their foreignness via their involvement in corporate
America. Recall Changez’s observation about his Underwood Samson colleagues at the bar: for all their
diversity, they are remarkably alike. He may be Pakistani and Wainwright may be black, but despite
their outsider status in regular society, they can be insiders in the world of finance.
Hamid asserts that corporate America equalizes people from different

Wainwright exposes
backgrounds, but with a major catch; in order to move up in the
both Changez’s insider
corporate world, one must be willing to lose one’s identity to a certain
and outsider status.
extent. Not only must one shelf one’s morals and ignore the human cost
of valuation, but one must also fit in physically. Changez observes in the bar, “not one of us was either
short or overweight” (38). We can imagine the trainees’ appearance: tall, thin, shaven and neatly
groomed, and wearing suits.
33
Pun intended. –Tania
When Changez grows out his beard, he no longer fits in; his colleagues find his appearance threatening.
Wainwright tells him, “Jerk chicken is common where I come from … but I don’t smear it all over my
face. You need to be careful. This whole corporate collegiality veneer only goes so deep. Believe me”
(130-1). By warning Changez, Wainwright acknowledges their shared outsider status. Of course,
Wainwright would never smear jerk chicken on his face. However, were he to make his appearance more
ethnically distinct, grow an Afro, for example, he might also face discrimination in the workplace.
Hamid portrays Wainwright in a positive light, but he also makes the point that Wainwright is willing
to sacrifice his ethnic identity—and his individuality—in order to fit into the world of finance.
Literary Allusions
A literary allusion is a reference to another piece of literature. An author may make an allusion to
explicate a theme, to provide information about a character, or just as a literary in-joke.34 One allusion in
The Reluctant Fundamentalist occurs in Chapter 3; Changez recalls that Jim’s house in the Hamptons
reminded him of The Great Gatsby. The Great Gatsby is a piece of literature that Hamid has said he
admires.
There are several similarities between the two works. Both are stories told in retrospect by a
speaker/protagonist. Both examine the emotional discomfort that can accompany material comfort.
Both grapple with the concept of, as Hamid states, “a social class in decline.” Perhaps most importantly,
both paint a “portrait of a nation and of an age,” Gatsby’s being 1920s New York City and Long Island
and The Reluctant Fundamentalist’s being early-21st-century New York City (with Jim’s house being on
Long Island).xi
When Changez and the American are walking down Mall Road, Changez mentions The Legend of Sleepy
Hollow. As we discussed, the act of walking accelerates the pace of the story and lends it an air of
urgency. The allusion to Sleepy Hollow contributes to this effect, because the protagonist of Sleepy Hollow
thinks that a ghostly, headless horseman is pursuing him. At the same time, Sleepy Hollow can be said to
dull the tension of the last scene. The headless horseman in the story is not really a ghost; he is just the
protagonist’s rival. They want to marry the same woman, so the rival pretends to be a ghost and runs the
protagonist out of town. In this second sense, Hamid’s allusion suggests that neither the American nor
Changez is a dangerous person; they are merely rivals that have spooked one another.
Conclusion
 By putting the reader in the American’s position, Hamid both involves the reader more deeply in
the story and demands that the reader make his own judgments about the events therein. The
overall structure lends the story an open-endedness and ambiguity, especially the ending.
 Hamid uses the predator/prey dichotomy to cultivate a relationship of mutual suspicion between
Changez and the American. It is unclear which of them is the predator and which of them is the
prey, or whether the danger is only perceived and not actual.
34
(Or as a meta-in-joke: on page 24, Changez considers impressing Erica with “well-timed literary allusion.”) –Tania
 The names “Changez,” “Underwood Samson,” and “Erica” have symbolic meanings that help us
understand the overarching themes of The Reluctant Fundamentalist (which we will do in the
next section).
 Hamid uses Erica, Jim, and Wainwright as foils for Changez. Each of these foils highlights a
unique aspect of Changez’s character—particularly what makes him an insider and an outsider in
America.
 Hamid’s literary allusions to The Great Gatsby and The Legend of Sleepy Hollow serve two
different purposes. Gatsby helps point out some of the novel’s themes as well as Hamid’s mission
in writing The Reluctant Fundamentalist. Sleepy Hollow encourages the ominous mood of the
novel’s last chapter and also suggests that neither Changez nor the American is out to do the
other harm.
 Thinking back to the section on Characters, where and in what way does the predator/prey
metaphor intersect with Hamid’s war imagery? You may want to start your investigation with
the “tick-tick-tick” quote on page 31 of the novel.
 Considering the open-ended and ambiguous nature of The Reluctant Fundamentalist’s message,
why do you think Hamid treats name symbolism so obviously?
 We have discussed the symbolic meanings of several main characters. What about Sherman
(sure-man), Wainwright, and Chris? Do their names have any symbolic significance?
 How might Chris be a foil for Changez?

 We have discussed two literary allusions that Hamid makes. Consider Changez and
Wainwright’s Top Gun and Star Wars movie quote exchanges (p. 35 and 38) and Changez’s
mention of Mr. Palomar (24). How might they be significant?
VII. Major Themes

Zoom Out. We have spent much of this guide zooming in on the
details of The Reluctant Fundamentalist: its settings, characters,
and narrative strategies. Now that we understand the finer points
of the story and of Hamid’s technique, we can examine the way in
which these elements interact to convey messages. The messages—
the “big pictures,” so to speak—are the novel’s major themes.
Objectives
 What are the major themes of The Reluctant Fundamentalist?
 What message does Hamid send by making his themes, like his narrative, open-ended and
multifaceted?
 What is Hamid’s definition of a “reluctant fundamentalist?”
Introduction
As we saw in the last section, one of Hamid’s foremost narrative strategies in The Reluctant
Fundamentalist is ambiguity. Not only events, such as Erica’s death and the story’s end, are left open-
ended, but also characters’ identities. Hamid leaves us to judge whether Changez is truly just a lecturer,
whether the American is a government agent, and whether Chris was as wonderful as Erica believes.
The themes in a piece of literature are what bind it together; we expect them to untangle the myriad
ideas in the narrative and weave them into a cohesive entity that we can easily analyze and comprehend.
However, though the themes themselves may be clear and definable, they are rarely simplistic. So is the
case with the themes in The Reluctant Fundamentalist. Hamid’s ambiguity in the narrative extends into
its themes. As we will see in the following analyses, the themes of The Reluctant Fundamentalist hinge on
the complex nature of human emotions and relationships. They are a testament to Hamid’s desire and
skill for making the reader evaluate issues from more than one angle.
The Self-Destructive Nature of Empires

As you may have gleaned already from the History Resource Guide, empires often contribute to their
own demise, by overstretching themselves, by alienating their citizens, or by losing control of their
fringes.35 The Reluctant Fundamentalist makes mention of the British Empire and Pakistan’s Mughal
Empire. However, America is the empire that takes center stage in the novel (scholars may debate
America’s empire status, but Hamid clearly accepts it). Because we hear the story of The Reluctant
Fundamentalist from Changez—a Lahori who lived in New York—we are in a unique position to see
Pakistan decline while American rises, financially and in terms of international power.
35
The latter, I believe, is also a fashion faux pas. –Tania
As we discussed in the section on Narrative Strategies, Erica is one of In discussing empires,

Hamid’s symbols for the American empire. Erica has many of the same Hamid conflates the
positive traits as America: she is sexy, creative, and has a magnetic, personal with the
powerful effect on those with whom she comes in contact; she is like a political.
celebrity. Likewise, America has a reputation for being glamorous, for
being a hotbed of certain creative industries (music, film, television), and for therefore attracting
travelers and immigrants from around the globe. Using Erica’s decline, Hamid frames for us America’s
eventual and inevitable decline from its status as the world’s most imposing superpower. Despite being
captivating to others, Erica is becoming increasingly detached from reality and is allowing her grief to
slowly kill her.
From Erica’s self-injuring quality, we can deduce Changez opines on America’s history of
as much about America. From the outside—like imperialism
Erica—America is powerful. Not only that, but it
“…Your country’s constant interference in the
is so aware of its own power that it has long been affairs of others was insufferable. Vietnam, Korea,
exercising power in distant regions of the world. the straits of Taiwan, the Middle East, and now
Extending its sphere of influence by flexing its Afghanistan: in each of the major conflicts and
standoffs that ringed my mother continent of
financial muscles, says Changez, is America’s
Asia, America played a central role” (156).
brand of imperialism. He makes it his personal
mission to bring light to America’s abuses in Pakistan and to encourage (peaceful) resistance against
American power. There are many possible reasons why Hamid does not make Changez into a more
violent protester—the kind of fundamentalist that the American media tends to portray. These include
his wish to tell ‘the other side of the story’ and his intent to leave judgment of character up to the
readers. However, in a more literary sense, Changez does not need to be a powerful warrior like his
namesake because America does not need to be brought down. If we follow Erica’s story, replacing Erica
with America, the empire is bringing itself down.
Erica’s decline begins with a traumatic event: Chris’s death. Instead of mourning and moving on, she
dwells on the past to the extent that her loss starves, isolates, and eventually kills her. America’s decline,
Hamid implies, has begun with the tragic events of 9/11. Rather than mourn and move on, America
transforms its grief into a nostalgic and belligerent brand of patriotism. (We will discuss the motif of
nostalgia in our next Major Theme.) There is, of course, a major difference between Erica and America’s
reactions to trauma. While Erica emotionally implodes, America explodes—figuratively and literally.
That is, it sends its energy of grief outwards, invading and (the literal part) bombing Afghanistan.
As Changez explains, rather than target the specific terrorist networks responsible for the attacks,
America has focused its grief and rage in the general direction of Afghanistan and Iraq. He reasons:
“A common strand appeared to unite these conflicts, and that was the advancement of a small coterie’s concept of
American interests in the guise of the fight against terrorism, which was defined to refer only to the organized and
politically motivated killing of civilians by killers not wearing the uniforms of solders … This, I reasoned, was why
America felt justified in bringing so many deaths to Afghanistan and Iraq, and why America felt justified in risking so
many more deaths by tacitly using India to pressure Pakistan.” (178)
In other words, America’s grief—goaded by a small, executive elite36—has made it detach from the
reality of the terrorist attacks, reject what would be an appropriate response, and instead take action in
broad and violent strokes. If America is indeed to take the same course as Erica, its reaction—in this
case, its seemingly indiscriminate violence—is what will cause its decline. How exactly the decline will
occur, Hamid leaves the reader to discern. However, following the idea of self-destruction, he seems to
imply gently that America will become so detached that it stops taking care of itself.37 Like Athens and
like the Mughal Empire, Hamid implies, America will finally abdicate its self-bestowed crown and
assume its place in history as a former world superpower.
Nostalgia as both Poison and Salve

Consider the following quote:
“Within the infant rind of this small flower / Poison hath residence and medicine power: / For
this, being smelt, with that part cheers each part; / Being tasted, slays all senses with the heart. /
Two such opposed kings encamp them still / In man as well as herbs, grace and rude will; / and
where the worser is predominant, / Full soon the canker death eats up the plant.” (Romeo and
Juliet, II, iii) 38
Here William Shakespeare (in the voice of Friar Lawrence) conveys a universal truth about the close
relationship between good and evil. This centuries-old claim is quite relevant to our discussion of the
Mohsin Hamid’s contemporary story. If you did not see a clear connection the first time, reread the
quote with our motif of grief in mind. The flower Friar Lawrence is holding can both heal and kill a
person; in The Reluctant Fundamentalist, the same applies to nostalgia.
At times, nostalgia provides a service to the Changez gets nostalgic

nostalgic. It allows Changez to remember his time
“I was, in four and a half years, never an
in the United States fondly, despite his negative American; I was immediately a New Yorker.
stance on American foreign policy. For the former What? My voice is rising? You are right; I tend
Pakistani elite, it soothes the pain of economic to become sentimental when I think of that city.
decline (though with major consequences). At other It still occupies a place of great fondness in my
heart, which is quite something, I must say,
times, nostalgia is a stealthy kind of venom. It given the circumstances under which, after only
consumes Erica from the inside out until the pain is eighteen months of residence, I would later
so severe that she (presumably) throws herself into depart” (33).
the Hudson. At the novel’s end, it is driving America off a metaphorical cliff,39 into a future of
unsustainable decisions and disastrous consequences.
In its positive distillation, nostalgia is a remedy to ease the pain of loss. Several times in the novel,
Changez becomes nostalgic about facets of his former American life. When the American jokingly
36
Presumably Changez means the government and its special interest groups.
37
There is certainly an economic decline happening in America. To what extent it relates to America’s foreign policy, I will
let you decide for yourself. –Tania
38
I played Juliet a couple years ago. One night, as Romeo died, he threw the poison cup all the way across the stage. Since I
was playing dead at the time, I didn’t know. When I had to say the line, “What’s here, a cup, closed in my true love’s hand?”
there was no cup. Luckily, I had the presence of mind not to mention the cup. Fun times. –Tania
39
Wile E. Coyote is much luckier when he falls off cliffs. Who else but a cartoon character could survive a five-hundred-foot
fall without a parachute? –Tania
compares the jasmine blossoms to popcorn shrimp, Changez wishes, “What I would not give for a
bucket of American popcorn shrimp—fried in batter until a delicious golden brown and served with a
sachet of tomato sauce!” (84). It is easy to discern the fondness Changez has for this particular American
dish, one that transcends his distaste for the country it represents. If only momentarily, it allows him to
recall his enjoyment of America without the painful associations of Erica, the world of finance, the post-
9/11 hostility he experienced, or his falling-out with the nation as a whole.
At an earlier moment, Changez recalls the majesty of an American landmark: “Think of the expressive
beauty of the Empire State Building, illuminated green for St. Patrick’s Day, or pale blue on the evening
of Frank Sinatra’s death. Surely, by night New York must be one of the greatest sights in the world”
(48). These instances of nostalgia are similar to those we may have experienced from time to time
ourselves. Events like coming across a childhood picture or hearing the strains of a familiar song can
activate our memories and our imaginations, creating a pleasant sensation. This is the benevolent
aspect—the “grace,” as Shakespeare coined it—of nostalgia.
Nostalgia can also make people feel good and bad simultaneously. Consider Changez’s comparison of
nostalgia to crack cocaine. He reflects, “Some of my relatives held onto memories the way homeless
people hold onto lottery tickets. Nostalgia was their crack cocaine, if you will, and my childhood was
littered with the consequences of their addiction: unserviceable debts, squabbles over inheritances, the
odd alcoholic or suicide” (70). Like crack cocaine, nostalgia has a positive anesthetic quality—it numbs
the pain of reality—but it is also highly addictive and therefore destructive.
As we discussed in The Self-Destructive Nature of Empires, nostalgia grips America after the traumatic
events of 9/11. Through Changez’s eyes:
“… It seemed to me that America, too, was increasingly giving itself over to a dangerous nostalgia at the time … I
had always thought of America as a nation that looked forward; for the first time I was struck by its determination to
look back. … What your fellow countrymen longed for was unclear to me—a time of unquestioned dominance? of
safety? of moral certainty? I did not know—but that they were scrambling to don the costumes of another era was
apparent. I felt treacherous for wondering whether that era was fictitious, and whether—if it could indeed be
animated—it contained a part written for someone like me” (115).
In this quote, Changez questions whether America is nostalgic for something real or imaginary, just as he
wonders in another part of the novel whether Erica’s relationship with Chris was as wonderful as she
remembers. However, it does not matter whether the object of nostalgia ever existed; nostalgia, like a
fantasy, is an imaginary escape from a world that has suddenly become all too real.
For Changez’s relatives, for

Debate it!
Erica, and for America, nostalgia
is like Friar Lawrence’s flower: Resolved: That Hamid portrays patriotism in a negative light. Take
stands, craft arguments, and practice presenting with your team.
simultaneously cure and toxin.
In fact, Changez connects these three nostalgic entities in his story. In recalling his relatives’ experience
of nostalgia, he mentions suicide; this foreshadows Erica’s (assumed) suicide. As we discussed in the
Narrative Strategies section, Hamid uses Erica as a symbol for America throughout the novel. Changez
makes this symbolism explicit when he says, “It seemed to me that America, [like Erica], was increasingly
giving itself over to a dangerous nostalgia at the time” (115). Just as Erica is regressing to her teenage
years, before Chris’s death destroyed her sense of security, America is regressing to a time before the 9/11
attacks destroyed its sense of national security. In fact, America seems to be reverting to the WWII era—
the last time America was attacked on its own soil. America, like Erica, is turning to violence.
We usually consider memories harmless; they are intangible and—however emotionally painful—cannot
physically harm us. However, Hamid makes the case that sometimes, memories become activated to
such an extent that they can do physical harm. They can cause people to become alcoholics, to commit
suicide, and to turn their violence outwards on other people and even entire nations (as Shakespeare
wrote, to “[slay] all senses with the heart”). Nostalgia, then, is a ‘substance’ to be handled with care, lest
it manifest its “rude will” and become an agent of destruction rather than a balm to ease pain.40
Homeland as a Non-Transferable Concept

When Erica meets Changez, she appraises: “You give off this strong sense of home “ (19). As she notes
Changez’s grounded and loving nature, Erica introduces the motif of home and homeland that weaves
its way through The Reluctant Fundamentalist. Through his story, we learn that Changez’s “strong sense
of home” refers to more than just his demeanor; it is a clue to the strength of his loyalty to Pakistan and
the inevitability of his return there.
At college, Changez is undeniably a foreigner. He observes, as a scientist might observe a species of

interest, his classmates’ casual, sometimes impolite behavior. In Greece, he is shocked to see his fellow
travelers addressing their elders disrespectfully. However, when Changez enters the corporate world, he
discovers his politeness and other features that made him so foreign in college work to his advantage.
The corporate world does more than give Changez a sense of belonging in America; it changes his very
identity. He recounts: “On [that first day at Underwood Samson], I did not think of myself as a
Pakistani, but as an Underwood Samson trainee, and my firm’s impressive offices made me proud” (34).
As we know, Underwood Samson is a symbol for America. Therefore, becoming an Underwood Samson
trainee symbolically makes him an “American trainee.” He is assimilating into American culture with its
focus on financial success and its cold calculative attitude. For a time, Changez becomes not exactly an
American, but an upscale New Yorker.41 However, he does not realize until after 9/11 that, by being in
the American finance world, he is participating in the nation’s financial brand of imperialism and tacitly
acting against his own country’s interest.
In Wainwright’s playful Star Wars reference, “Beware the dark side, young Skywalker,” Hamid gives us a
clue to Changez’s later moral dilemma (38). Just seconds before, Changez noticed he and his colleagues
resemble an elite, confident, corporate battalion. Changez’s realization connects American success to
American belligerence. Wainwright’s simultaneous quip implies two things. In a more general sense, the
corporate world (“the dark side”) is capable of corrupting Changez’s values. Second, just as Luke
Skywalker ends up fighting against his father, by working in the American financial sector, Changez will
become complicit in the intimidation of his fatherland. Only later does Changez realize he must choose
between national loyalties, but even as early as his first night out with his colleagues, he and we have a
sense that Changez is becoming an unwitting traitor to Pakistan. He may live in America for a time, but
when push comes to shove, Changez has no doubt where his loyalties lie. His homeland is Pakistan.
Changez has already begun to discover the truth about homeland for
Juan-Bautista
himself, but it is Juan-Bautista who convinces him that he cannot be a
convinces Changez
that he cannot be a
40
There is a song called “There’s a Balm in Gilead.” When I was little, I thought it was called ‘dual
“There’s a Bombin
citizen’ in terms
Gilead,”
and I wondered why that was a good thing. –Tania of national loyalty.
41
NYC is considered by many to be a separate entity from the United States. –Tania
‘dual citizen’ in terms of national loyalty. In the context of the Valparaiso valuation project, Juan-
Bautista is oppressed. The new owners are trying to prove the trade bureau obsolete; this threatens the
literary-minded Juan-Bautista’s happiness and possibly his job. We can compare this to Changez’s
evaluation of America’s foreign policy post-9/11. The owners’ wish to eliminate the trade division
implicitly threatens Juan-Bautista; in the same way, a “small [American] coterie’s” desire to eliminate
terrorism threatens the innocent citizens of Afghanistan, Iraq, and Pakistan.
All the while he has been in America, Changez has never fit in completely and has been doubtful about
his loyalties. The post-9/11 atmosphere has only exacerbated his sense of not belonging. As he admits to
the American, “… That [your fellow countrymen] were scrambling to don the costumes of another era
was apparent. I felt treacherous for wondering whether that era was fictitious, and whether—if it could
indeed be animated—it contained a part written for someone like me” (115).
Juan-Bautista gives Changez the vocabulary he needs to describe himself: “ex-janissary.” He says:
“There really could be no doubt; I was a modern-day janissary, a servant of the American empire at a time when it
was invading a country with a kinship to mine and perhaps even colluding to ensure that my country faced the threat
of war … I had thrown in my lot with the men of Underwood Samson, with the officers of the empire, when all
alone I was predisposed to feel compassion for those, like Juan-Bautista, whose lives the empire thought nothing of
overturning for its own gain.” (152)
Hamid underscores Changez’s Changez states his loyalty (my emphasis)

true national loyalty in Chapter
“As a society, you were unwilling to reflect upon the shared pain that
11. At the beginning of the united you with those who attacked you. You retreated into myths of
chapter, Changez refers to your own difference, assumptions of your own superiority. And you
America, calling it “your acted out these beliefs on the stage of the world, so that the entire
homeland” (156). By ascribing planet was rocked by the repercussions of your tantrums, not least my
family … Such an America had to be stopped in the interests not only of
America to the American and not the rest of humanity, but also in your own. I resolved to do so as best I
to himself, Changez separates could. But first I had to depart.” (167-8).
himself from America. Directly
after this, Changez describes America as he was able to see it through his “ex-janissary’s gaze,” his
newfound holistic and detached perspective. Later in the chapter, Changez emphasizes his separation
from America even more, again using the pronoun “you” (see quote). Changez underlines his loyalty’s
singularity when he says: “But first I had to depart” (168). Technically, the expiration of his visa forced
him to leave. However, when he says this, he makes it clear he could not fight America from within the
system, for as long as he was benefiting from being in America, he was complicit in its imperialism.
Foreignness as Subjective and Therefore Universal

Almost every main character in The Reluctant Fundamentalist is an outsider in some way. Changez is a
Pakistani in America. Wainwright is a black man in the corporate, ‘white’ world. Jim’s childhood
poverty made him feel like an economic outsider. Erica is emotionally detached from the world around
her. Hamid begs the question of why being an outsider is such a universal phenomenon. Money, status,
and nationality—none of these things exempts a person from outsider status. The reason for this, Hamid
suggests, is that foreignness is subjective; being an insider in some situations makes one inherently an
outsider in others. Changez’s example alone demonstrates the subjectivity of outsider status.
Debate it!
As we discussed in The Self- Resolved: That Changez’s nostalgia for America compromises his
Destructive Nature of Empires, loyalty to Pakistan. Take stands, craft arguments, and practice
Changez feels alternately like an presenting with your team.
insider and an outsider in America. In college, he is very much an outsider. Being a Pakistani, he is a
minority among the college population, one of two in his class. Unlike some of his wealthy classmates,
he must work to afford his education and cook his own meals. His anglicized accent and his culturally
engrained politeness further make him an outsider in the Princeton community.42
The very things that made Changez an outsider at Princeton make him an insider in the American
corporate world. His accent, his politeness, and even his relative lack of wealth assist his assimilation; Jim
takes a special interest in Changez because of their shared economic hardship. Changez’s foreignness also
makes him fashionable in the sphere of New York City’s elite. For example, he is glad to be wearing his
kurta at the gallery opening because it makes him seem chic. At the same time, his newfound American-
ness grants him insider status; Changez need only mention his Princeton education or his position at
Underwood Samson to gain respect from Erica’s peers.
The World Trade Center attacks propel Changez back into the position of outsider in a dual sense; he
begins to take issue with his corporate position and he experiences prejudice because of his appearance.
Rather than try to re-assimilate, Changez decides to wear his foreignness like a badge by growing a long
beard. At this point he, along with reader, recognizes the universality and inescapability of foreignness.
His beard is a symbol of defiance; seeing that assimilation is a losing battle, he refuses to fight to fit in
any longer. Changez’s example does more than demonstrate the subjectivity of outsider status. It shows
us how little control a person has over his foreignness in a given situation. True, Changez’s beard or lack
thereof changes the way people perceive him. However, it is really the uncontrollable events of 9/11 that
make Changez an outsider, both inside and out.
Within the novel’s narrative, Changez is again an insider. He must translate not only words but actions
for the American, including assuring him Old Anarkali and Mall Road are safe places and that the waiter
is not plotting his demise. Then again, if we change our perspective, the American seems like an insider.
He seems to have a gun and is contacted hourly on his unusual cell phone; this makes Changez, and us,
wonder if he is some sort of government agent—a political insider. As we can see, Hamid makes
foreignness so subjective that a Lahori can feel like an outsider in Lahore. In creating such a subjective
and universal view of foreignness, Hamid implies that identity is much more complex than we may
sometimes believe. Let us now continue to The Many Faces of Fundamentalism, where we will explore
another of Hamid’s complex themes.
The Many Faces of “Fundamentalism”

As we have seen repeatedly, Hamid crafted The Reluctant Fundamentalist to be open-ended and
multifaceted. The title subject of the novel is no exception; in fact, it embodies the complexity of the
story as a whole. When you picked up the novel, did you expect the story to be the way it is? Did you
expect Changez to be the way he is? Considering the political atmosphere and media bias of our post-
42
Incidentally, Changez surmises it is Pakistan and America’s shared British Imperial (imperial: ding ding ding!) background
that makes Americans respect an anglicized accent. –Tania
9/11 world, it would be unsurprising for a reader to assume the novel is about a Muslim person who
unwillingly becomes part of an Islamic fundamentalist terrorist organization.43
However, Hamid does not craft us the Changez reacts to the American’s accusation
simple ‘other side of the story’ we might
“How could I be certain, you ask, if I had no inside
expect to read. Instead, he tells us the more knowledge? I must say, sir, you have adopted a decidedly
mundane—and therefore more real—tale of unfriendly and accusatory tone. What precisely are you
Changez’s love affair and later falling out trying to imply? I can assure you that I am a believer in
non-violence; the spilling of blood is abhorrent to me, save
with the United States of America (read
in self-defense. And how broadly do I define self-defense,
also: the United States and Erica). In the you ask? Not broadly at all! I am no ally of killers; I am
context of this ordinary tale, Hamid simply a university lecturer, nothing more or less. I see
challenges us to reevaluate our conception from your expression that you do not believe me. No
matter, I am confident of the truth of my words” (181).
of the word “fundamentalist.” The
Merriam-Webster Dictionary defines fundamentalism (in its non-religious and non-political sense) as: “a
movement or attitude stressing strict and literal adherence to a set of basic principles.” How different the
word is when stripped of its 9/11-buzzword connotations, and that is Hamid’s point. In the course of
The Reluctant Fundamentalist, he gives us four different conceptions of the idea “reluctant
fundamentalist,” in order to redefine the concept of fundamentalism.
Hamid definitively separates Changez from the stereotypical “reluctant fundamentalist” when Changez
openly disapproves of a terrorist plot—the assassination plan in which his student was purportedly
involved. The American’s subsequent distrust of Changez underscores the stereotype’s strength: even
after having heard Changez’s whole story, the American still seems to suspect him of being a terrorist.
Being a professor makes Changez guilty of his student’s supposed crime, though only by association. As
he says in Chapter 12, being a Pakistani has the same effect because, “The lives of those who [live] in
lands in which such killers [fundamentalist terrorists] also [live have] no meaning except as collateral
damage” (178). In the American government’s eyes, it makes him guilty by association of the 9/11
attacks and justifies America’s own acts of violence.
Incidentally, when Changez asserts, “I am no ally of killers,” he is referring to both terrorists (those who
perpetrate “the organized and politically motivated killing of civilians by killers not wearing the uniforms
of soldiers”) and to America (the country that “inflicts death so readily upon the inhabitants of other
countries, frightens so many people so far away”) (178, 182).
So what are the four versions of “reluctant fundamentalist” with which Hamid replaces the stereotype?
 First is Changez in terms of his appearance. His Pakistani ethnicity and his beard stereotype him
as a religious extremist. Changez is neither religious nor extremist; he is a secular person and an
academic—the latter implying his carefulness and open-mindedness in making judgments. He
may now be anti-America, but he never (or so it seems) condones extremist views or tactics. In
post-9/11 New York City and even in Lahore, Changez’s appearance gives him the impression of
Islamic fundamentalism even though he is clearly not. All this makes him at most a “reluctant
fundamentalist.” As Changez states after describing his reaction to 9/11: “…I have not, I suspect,
entirely surprised you. Do you deny it? No? And that is of not inconsiderable interest to me, for
43
I refuse to confirm or deny whether that is what I expected the novel to be about. Really, I just came up with that off the
top of my head. –Tania
we have not met before, and yet you seem to know at least something about me. Perhaps you
have drawn certain conclusions from my appearance, my lustrous beard…” (75-6).
 Second is Changez as he appears at the end of the novel; he has become fundamentally opposed
to America’s generalized and dangerous view of South Asia and the Middle East. He devotes his
career to encouraging Pakistan’s resistance of American and other international interference.
 Third is Changez on assignment in Underwood Samson’s Philosophy

Valparaiso. Until then, he has been an “Focus on the fundamentals. This was
enthusiastic “fundamentalist” in the way his Underwood Samson’s guiding principle, drilled
employer defines fundamentalism. He is into us since our first say at work. It mandated a
loyal to the mission of attaining maximum single-minded attention to financial detail,
teasing out the true nature of those drivers that
efficiency and profitability regardless of the determine an asset’s value” (98).
human cost. After 9/11, Changez becomes
disheartened regarding this mission. He agrees, reluctantly, to take the assignment in Valparaiso;
when there, he finds himself no longer able to devote himself to “the fundamentals.” The
invasion of Afghanistan has made him all too aware of the human cost of “fundamentalism” and
he decides not to participate in it any longer.
 Fourth is the American. Just by being Hamid on the multiplicity of identity

American, he is complicit in the brand of “People often ask me if I am the book’s Pakistani
terrorism that Changez says America inflicts protagonist. I wonder why they never ask if I am
upon far-away lands. (Just as Changez is, in his American listener. After all, a novel can often
xii
be a divided man’s conversation with himself.”
America and the American’s eyes, complicit
in the other kind of terrorism.) This makes the American a fundamentalist in the manner of
Underwood Samson; in terms of stereotypes, he is dedicated to the “American ideals” of profit
and efficiency and blind to the “collateral damage.” As Changez says on page 182, America is not
reluctant in its actions. America is reluctant not to act but to listen—to open its ears to stories
like Changez’s—which would make its actions seem less justified. Though the American is
willing to hear Changez out, he is watchful and distrustful right until the very last line of the
novel. By making the American a “fundamentalist,” Hamid implicitly makes the reader one, too.
In so doing, he asks us to evaluate our own values and biases.
In complicating the term “fundamentalist,” Hamid reclaims it. He challenges the singular, terrorist-
associated conception of fundamentalism and makes us do the same. Hamid does not ask us to agree
with one particular view of fundamentalism, or of the current international situation. He does ask that
we exercise caution and compassion in our judgments. He suggests exploring the intricacies of truth,
though more difficult, is better than accepting a pre-packaged stereotypical definition or perspective.
Conclusion
 Hamid’s purposeful ambiguity forces the reader to consider many definitions and viewpoints.
 The extended metaphor of America/Erica suggests that, like Erica, America will cause its own
decline from the position of world superpower.
 In The Reluctant Fundamentalist, nostalgia acts as both a remedy and a poison. On the one hand,
it can numb the pain of reality momentarily by returning the nostalgic to a safer, happier time.
On the other hand, it can destroy relationships, lives, and even empires.
 Even though Changez makes America his home for a time, when it comes down to it, his loyalty
belongs to Pakistan. Changez’s conversation with Juan-Bautista makes him realize that, by
participating in the world of American finance, he has become like a janissary. He is fighting
against his own homeland, only his uniform is a suit rather than battle fatigues. Through the
course of the story, Changez learns he cannot morally be a ‘dual citizen’ of America and
Pakistan. Moreover, he cannot remain an Underwood Samson “fundamentalist” and transfer his
loyalty to America; he must become an “ex-janissary” and return to the land of his birth to fight
for its power and independence.
 Because of its subjectivity, foreignness (or outsider status) is a universal experience. Hamid makes
each of his characters an outsider in some way in order to underline this fact. Changez’s example
demonstrates the abruptness with which one can transition from insider to outsider. Even in Old
Anarkali, it is unclear who is the outsider—Changez or the American.
 In the title of his novel, Hamid questions the post-9/11 American concept of the word
“fundamentalist.” He makes the meaning of the phrase “reluctant fundamentalist” fourfold,
asking us to challenge both the stereotypical terrorist-associated definition of fundamentalism
and our own perspectives and biases.
 Was it possible for Changez to save Erica? What does your answer to this question say about the
possibility of rescuing America from its star-crossed course?
 According to Hamid, do you think that nostalgia is more harmful than helpful, or vice versa?
 What does Hamid imply by making the reader’s position in the story ambiguous in terms of
outsider/insider?
 We have discussed four variations on the term “reluctant fundamentalist.” Can you think of
additional variations that the story suggests?
 Suppose Changez’s entire narration is an act of nostalgia: for America, Erica, and a time when he
was ignorantly happy. In light of our discussion of nostalgia, what does this say about him?
Works Consulted
Crossette, Barbara. “Lahore, a Survivor with a Bittersweet History.” New York Times. 14
June 1981: Travel.
“Fighting on Two Fronts: A Chronology.” PBS. 28 Sep 2008.
<http://www.pbs.org/wgbh/pages/frontline/shows/campaign/etc/cron.html>
Hamid, Mohsin. “Hamish Hamilton interview with Mohsin Hamid on The Reluctant
Fundamentalist.” <http://www.mohsinhamid.com/interviewhh2007.html>
(February 2007).
---. “Interview with Mohsin Hamid.” Harcourt Books.
<http://www.harcourtbooks.com/Reluctant_Fundamentalist/interview.asp>
---. “Meet the Writers: Mohsin Hamid.” Barnes & Noble.
<http://www.barnesandnoble.com/writers/writerdetails.asp?cid=1655893#intervi
ew> (Spring 2007).
---. “Mohsin Hamid and ‘The Reluctant Fundamentalist.’” Fresh Air. NPR. WHYY: 13 April
2007. Transcript.
<http://www.npr.org/templates/story/story.php?storyId=9312695>
---. “Mohsin Hamid: ‘We are already afraid.’” Man Booker Prizes Shortlist.
<http://www.themanbookerprize.com/perspective/articles/101> (2007).
---. “My Reluctant Fundamentalist.” mohsinhamid.com. 24 Sep 2008.
<http://www.mohsinhamid.com/myreluctantfundamentalist.html>
---. “Novels by Mohsin Hamid.” mohsinhamid.com. 24 Sep 2008.
---. “’Reluctant’ Success.” Entertainment Weekly.
<http://www.ew.com/ew/article/0,,20042152,00.html> (11 June 2007)
<http://www.mohsinhamid.com/novels.html>
---. The Reluctant Fundamentalist. New York: Harcourt Inc., 2007.
Johnson, David and Prem Poddar. A Historical Companion to Postcolonial Thought in
English. New York: Columbia University Press, 2005.
“Lahore.” The Columbia Encyclopedia, 6th ed. New York: Columbia University Press,
2001–07. www.bartleby.com/65/. 28 Sep 2008.
“Mughal.” The Columbia Encyclopedia, 6th ed. New York: Columbia University Press,
2001–07. www.bartleby.com/65/. 28 Sep 2008.
“September 11: Chronology of Terror.” CNN. 28 Sep 2008.
<http://archives.cnn.com/2001/US/09/11/chronology.attack/index.html>
“The Lost Subcontinent.” The Observer. 13 Aug 2005.
<http://www.guardian.co.uk/books/2005/aug/13/fiction.arundhatiroy>
About the Author

Tania Asnes is a proud seven year resident of New York City.
Hailing from Watertown, MA, she moved to NYC to attend
Barnard College in August, 2001. Tania graduated summa cum
laude from Barnard in 2005 with a B.A. in English (Creative
Writing) and a minor in Russian. When she is not placing
flowers at the foot of her DemiDec Issue Alpaca Shrine, Tania
enjoys watching Dexter, baking, and posing for photos with
gigantic green bell peppers.
About the Editor

Daniel Berdichevsky is given to nostalgia but he tries to
make the best of it. He founded the World Scholar’s Cup in
January 2006 and has been privileged to visit many countries
in order to share the program (and alpacas) with different
schools.
His current projects include coordinating the World Scholar’s

Cup, editing a book titled The Psychology of Facebook with an
old colleague from Stanford University, and serving as a
member of the California Academic Decathlon Board of
Directors. Rumors of his run for Congress are very premature.
i
“‘Reluctant’ Success.”
ii
“Novels by Mohsin Hamid.”
iii
“My Reluctant Fundamentalist.”
iv
Crossette, Barbara.
v
Johnson, 285.
vi
“Hamish Hamilton interview with Mohsin Hamid on The Reluctant Fundamentalist.”
vii
“Meet the Writers: Mohsin Hamid.”
viii
“Interview with Mohsin Hamid.”
ix
“Mohsin Hamid: ‘We are already afraid.’”
x
“Interview with Mohsin Hamid.”
xi
“Meet the Writers: Mohsin Hamid.”
xii
“My Reluctant Fundamentalist.”

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THE RELUCTANT FUNDAMENTALIST RESOURCE PAGE 1 OF 68 WORLD SCHOLAR’S CUP © 2008

THE RELUCTANT FUNDAMENTALIST RESOURCE PAGE 2 OF 68 WORLD SCHOLAR’S CUP © 2008

Wainwright ................................................................................................................................... 24

Underwood Samson ...................................................................................................................... 50

Dedicated to the Vicugna pacos

Am I allowed to double that dedication?

As I write this Novel Resource Guide, the 2008 Presidential Election in

I. About Mohsin Hamid

 Where did Hamid grow up and where has he lived?

 Under what circumstances did he compose The Reluctant Fundamentalist?

 What was the critical response to the novel?

 What does he write, aside from novels?

However, it is nearly impossible to read a novel as politically

Origins, Education, and Travels

The Reluctant Fundamentalist and Beyond

Hamid is also a journalist. He writes non-fiction Hamid as a Non-Fiction Writer

II. Historical and Literary

 What parts of Pakistani history are important to the novel?

 What is SAWE and how does it relate to Mohsin Hamid?

Selected History: Lahore

Lahore’s glory days—the ones that make Changez wax

In addition to these major architectural works, Lahore is rich

Selected History: 9/11 and the War on Terror

South Asian Writers (writing in) English

SAWE writers’ dual identities

In this section, we learned that:

 Why is it important that Changez meets Erica in Greece?

In a very broad sense, The Reluctant Fundamentalist is

Changez’s Childhood Home in Gulberg

As a setting, Old Anarkali is important less for its

Let us note, briefly, Hamid’s blatancy in explicating

New York City

Despite Changez’s firm belief in Lahore’s greatness, which we witnessed in

“Your country’s flag invaded New York after the

Not long before 9/11, Changez considered New

The Pak-Punjab Deli

The deli is one aspect of New York that makes Changez

 Hamid’s childhood home is a microcosm of Lahore as a whole. It serves as a backdrop for

 What is unique about Hamid’s treatment of characters?

Minor Characters of Note

The Filipino driver

The man in the parking lot

Chuck and Mike

 In what way is Changez a product of his relatives’ nostalgia?

V. Plot and Structure

 What is the basic structure of The Reluctant Fundamentalist?

 What effect does the structure have on the story?

Chapters 1-3: Early Evening in Old Anarkali/Young Love on the Rise

 In the bus into town, glimpses of Erica’s skin enthralled Changez.

 Erica wanted to be a Debate it!

Chapters 4-5: Night in Old Anarkali/The Towers Fall

Chapters 6-10: Ordering Dinner/An Ominous Honeymoon

Chapters 8-10: Dinner is Cooking/Downward Spiral

Chapters 10-11: Late Night in Old Anarkali/Final Falling-Out with America

 Changez was very Debate it!

Chapter 12: Mall Road/Life in Chosen Exile

VI. Narrative Strategies

 What are the main instances of symbolism?

 What do Hamid’s literary allusions tell us?

Nights. That speaker’s tale, Scheherazade, entertains

Predator and Prey

Perhaps Hamid is also prodding at the ease with which, in his

Although by the time he meets Debate it!