Huda Mohammed Salih, Lawend Ikram Mohammed

Distorted Identity in Ahmed Saadawi’s Frankenstein in Baghdad

Introduction

Distorted identity in ahmed saadawi’s frankenstein in baghdad. Explore distorted identities in Ahmed Saadawi's Frankenstein in Baghdad, set in post-2003 war-torn Iraq. Analyzes fragmented individual & national identity, blurring lines of justice, and sociopolitical reality.

Abstract

This study examines the issue of distorted identities in Ahmed Saadawi's Frankenstein in Baghdad, set in post-2003 war-torn Iraq. The novel, inspired by Mary Shelley's Frankenstein, depicts a creature “Whatsitsname” created from the body parts of war victims, representing the fragmentation of both individual and national identity at a period of tremendous violence and instability. This study looks at how Saadawi depicts the collapse of personal and moral identities in the characters of Hadi, Mahmoud, and Baghdad residents as they deal with the horrors of war and occupation. Furthermore, the novel criticizes the erosion of Iraqi national identity, highlighting the profound sectarian splits that match the creature's fractured form. By examining the blurring lines between justice and vengeance, victim and offender, the study contends that Frankenstein in Baghdad is a profound meditation on the complicated process of identity building and destruction in combat zones. Additionally, the study adds to the increasing body of scholarship on Middle Eastern postwar fiction by highlighting how literary works can shed light on the sociopolitical reality of oppressed states.

Review

This study presents a timely and highly relevant examination of "distorted identities" within Ahmed Saadawi’s critically acclaimed novel, *Frankenstein in Baghdad*. Set against the backdrop of post-2003 war-torn Iraq, the paper aptly positions the novel's creature, "Whatsitsname," as a potent symbol for the profound fragmentation of both individual and national identity. The abstract effectively outlines the study's intention to explore the collapse of personal and moral identities among key characters and Baghdad residents, while also criticizing the erosion of Iraqi national identity through the lens of sectarian divides, promising a comprehensive and insightful analysis of a crucial contemporary text. The proposed analysis demonstrates significant strengths, particularly in its multi-layered approach to identity. The abstract’s focus on the creature as a direct metaphor for societal fragmentation is compelling, extended thoughtfully to the nuanced struggles of characters like Hadi and Mahmoud, alongside the broader populace. The explicit connection drawn between the creature's fractured form and the deep-seated sectarian splits within Iraqi national identity promises a particularly insightful sociopolitical critique. Furthermore, the study's commitment to examining the blurring lines between justice and vengeance, and victim and offender, suggests a nuanced and ethically aware exploration of the moral complexities inherent in conflict zones, thereby offering a valuable contribution to understanding the human experience under extreme duress. While the abstract clearly articulates the study's focus and anticipated findings, a more explicit indication of the specific theoretical frameworks or critical methodologies employed would further strengthen its methodological grounding. Nevertheless, this study offers a compelling and significant contribution to both literary criticism and the broader discourse on sociopolitical realities in post-conflict states. Its argument regarding the intricate processes of identity building and destruction in combat zones is profound, making it a valuable addition to the increasing body of scholarship on Middle Eastern postwar fiction and deepening our understanding of how literature grapples with profound national trauma.

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