One of important aspects of Orientalism is that the Orientalist often considers himself as an omniscient narrator that speaks who represents the Orientals. The so-called Oriental is considered incapable of self-representation as Karl Marx puts it: “They cannot represent themselves; they must be represented” (Hartley, 2003). The Orientalist can penetrate the heart and mind of his subjects and reveal his or her intentions, motivations, wills and thoughts.
Don DeLillo takes the same approach through his use of narrative mode; he speaks authoritatively and negatively about the Orient in essentialist terms. He seems to recognize Hammad and his friend’s impulses and motivations as Muslim terrorists; he is also able to place himself in the position of a Muslim “Oriental” woman. This mode gives the writer the advantage of representing Muslim’s beliefs, values and ideological stances, as well as their attitude towards people, events and things as he wishes. As a result, the narrative of the story does not transmit a set of facts about the real world of the characters; rather it is constructed and produced as a result of the writer’s preferences and within the dominant discourse.
The Orientalist assumption about gender is also quite evident in the novel. In Orientalism Edward Said once wrote that Flaubert’s encounter with an Egyptian courtesan produced a widely influential model of the Oriental woman. She never spoke of herself; she never represented her emotions, presence, or