While such approaches have been essential for problematizing hegemonic mobilizations of “house”, there is additionally a danger in reading motion as constitutive of the (submit)trendy world. In particular, such frameworks typically overlook the experiences of those who are forcibly displaced. Critical funding in tropes of migrancy could unwittingly recycle imperialist assumptions by producing imagined spaces of alterity that serve to liberate the centred, “at house” subject on the expense of historicized experiences of homelessness. Abdulrazak Gurnahs 2001 novel By the Sea represents one such historicized experience, that of its protagonist, asylum seeker Saleh Omar. This article argues that, via its narrative funding in homes and household objects and within the significance of narrative for creating a sense of residence for its migrant protagonist, Gurnahs novel poses a problem to an aesthetic valorization of displacement.
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