Abstract

Deborah Rodriguez’s The Kabul Beauty School belongs to the body of Western humanitarian literature produced post-9/11 portraying the significant role of America in the reconstruction of Afghanistan. This study analyzes how the memoir embodies what is conceptualized as ‘autoethnographic orientalism’, a critical framework that identifies how the Western subject constructs knowledge of the Orient through personal narratives that prioritize self-discovery by using autoethnographic conventions of reflexivity, participant observation, personal disclosure and affective engagement. Integrating intersectional complicity into the framework reveals the reproduction of orientalist hierarchies while claiming feminist solidarity with Afghan women. The close reading and qualitative analysis of the memoir identifies five dimensions of representational politics—memoir as an orientalist form, the autoethnographic gaze, intersectional complicity, rescue narratives and agential empowerment, and narrative blind spots. The study demonstrates how Rodriguez’s observation and documentation of cultural practices reinforce colonial discourse of perceived differences and deficiencies rather than arriving at a deeper cultural understanding. The findings suggest that post-9/11 humanitarian memoirs need to employ a critical reading practice that will engage with both the empathetic dimensions of the text as well as the structural complicity embedded in them.

IPC Classification

Keywords