Although Hamid rarely speaks extensively about specific novels or stories, just by the style in which The
Reluctant Fundamentalist is written we can see how highly he values
storytelling. Not simply reading, or simply
writing, but the experience of telling and being told a story. He uses the pronoun you in order to make his
writing very conversational. At times
the reader feels as though he or she is speaking the words (reading “you” as
though he or she were speaking to the acquaintance in the novel); other times
he or she feels as though the story were being told to him or her (this time he
or she reads “you” as though someone else were addressing the reader). This method, and the use of other pieces of literature
that are scattered throughout the novel, clearly show the two themes of The Reluctant Fundamentalist which Hamid wants us to take away from his novel: first,
that the telling of a story creates a bond between the listener (the reader)
and the storyteller (the writer); second, that the telling of the story is
therapeutic for both the listener and reader.
The first reference to another text is on page 43: he
states that Jim’s home makes him “think of The
Great Gatsby” (Hamid 43). This
reference functions on one level as a descriptor of Jim’s house, but it also
goes deeper. The Great Gatsby follows the story of a young man trying to fit
into high society, just as The Reluctant
Fundamentalist does. Of course, The Reluctant Fundamentalist takes place
much later and Changez is doing much more than trying to fit into high society;
he is trying to fit into America in general (a task that proves much more
difficult than fitting into the elite). This
bond of not quite belonging is strong between the two characters. Changez chose to reference The Great Gatsby for a reason other than
a description of scenery. The emotional
link between the two speaks volumes about Changez’s acclimation to American
society.
The next text referenced by Changez is The Legend of Sleepy Hollow, on page
171. Again, the reference is made to
create a link, although this time it is between Ichabod Crane and the American.
Changez references “the terror of poor
Ichabod Crane” and states that he is “reminded of the sound of those spectral
clip clops” when strolling through the streets at night (Hamid 171). He remarks that his companion appears “decidedly
anxious” at the thought, and offers to speak of something else (172). Hamid then has the opportunity to connect
with his listener, by telling him that he is often afraid by it and offering a
solution. Not only does Crane connect
with the American, Hamid – the storyteller – does as well, which illustrates
the idea that a storyteller and the audience should connect.
The final text Changez references is the novel Erica
writes. Although imaginary, this novel exemplifies the other theme, the other reason for telling a
story: it is therapeutic. In Erica’s
words, before the return of her depression she “used to turn to it” so that she
could expel negative emotions when she “needed to get something out that was
stuck inside” (Hamid 111). One can
surmise that Hamid does the same when telling his story to the American. He does so willingly, and throughout the experience,
he is relaxed and comfortable. Telling his
story aloud feels good; as Erica says, he is getting “something out that was
stuck inside” (Hamid 111). This is the
main function of storytelling, according to Hamid, and this conviction – along with
the idea that a storyteller and listener should connect – echoes throughout the
novel to shape every detail of how The
Reluctant Fundamentalist is written.
