This paper examines Mohsin Hamid's novel Moth Smoke as a departure from conventional postcolonial literature, arguing that Hamid adopts a "post-post-colonial" framework to explore how economic globalization—rather than British colonialism alone—has transformed identity and social structure in contemporary Lahore, Pakistan. Through close reading of key characters, particularly Daru and Mumtaz, the paper explores how globalism introduces new markers of class division, intensifies internal cultural conflict, and simultaneously opens space for emerging female autonomy. The paper also considers Hamid's argument that social inequality in Pakistan predates Western influence, tracing its roots to historical formations such as the Mughal Empire.
"Pakistan is often perceived as merely one of those far-away places that serve as breeding grounds for extremism and violence," yet this is not an accurate image of reality (Perner 23). Pakistan is in the midst of an internal conflict between those who want to embrace globalism and those fighting to reject it in favor of a misguided vision of life before international influence. In many ways, Hamid's novel Moth Smoke differs significantly from other postcolonial literature in its suggestion that the West is not entirely responsible for the divides in cultural identity and regional politics. Rather, the West simply brought new tools with which to distinguish those with access to elite social circles from those without. Still, Hamid does identify some positive benefits of a globalized identity, most clearly visible in the image of a stronger female role within an ever-modernizing Pakistani society.
Much of postcolonial literature looks nostalgically at a cultural past untainted by Western and global influences. Yet this is not what Hamid proposes in his work, making Moth Smoke a new and unique portrayal of a country forever changed by globalism and its evolution toward a modern identity. To read Mohsin Hamid's novel is to engage with the intricate relationship between past and present within contemporary literature. Watching the characters develop tells the reader a great deal about urban living in modern Pakistan.
The novel centers on a newly established and burgeoning elitist society in the city of Lahore, Pakistan. Hamid employs multiple narratives in order to provide a holistic account of overlapping stories, representing a broad cross-section of this new and evolving Pakistani society. Darashikoh Shezad, also known as Daru, is one of the characters tracked in the novel. He exists on the outer edge of society and tries desperately to fit into the elite groups emerging within it (Jay 54). His situation is sharply contrasted with that of his best friend, Ozi. Hamid writes, "God has been kind to Ozi's father," signifying that Ozi's family has been well provided for (Hamid 23). Ozi is far more affluent, fitting into the elitist circles of society in a way that Daru never can.
This is a relatively new experience within modern Pakistani society, and Hamid uses a single character to connect these abstract concepts and relationships within one individual's life. Daru, the primary protagonist, and many of his counterparts throughout the novel find themselves on the outskirts of a newly created and flourishing elite society in Pakistan. As these individuals attempt to adapt to a new lifestyle imported from the outside global world, they find themselves in deeply conflicting situations, where the past and present of their culture and country cannot coexist in harmony due to such polarizing influences within a modernizing Pakistan.
Daru wants to belong to the new elite group defined by its relation to a globalized culture and the wealth of foreign interests in the region. Yet as he tries to adapt, he finds he cannot assimilate in a healthy manner into this new image of a globalized Pakistan. He slides from a relatively comfortable position — one with perks such as reliable air conditioning — into life as a heroin addict with no prospects for the future. He and other characters, such as Murad Badshah, are consumed by the starkly contrasted Western lifestyle that conflicts with the more traditional and conservative Muslim society that existed before globalization reached Pakistan's borders.
As more of the West enters Pakistan, a clear divide opens within the culture: those living lavishly with foreign goods and privileges like air conditioning, and those who refuse to assimilate and risk losing their cultural heritage for a handful of novelties. Even Mumtaz notices Daru's position on the outside of society: "Mumtaz would later wonder whether Darashikoh's lack of air-conditioning played a role in attracting her to him" (Hamid 137). Many people feel profoundly torn, desiring a modern life yet unable to bear the fracturing of their cultural heritage. This internal conflict is embodied in the destructive trajectory of Daru throughout the novel. In his desperation to belong, he falls into profound despair.
"Hamid traces inequality to pre-colonial Pakistani history"
"Mumtaz embodies emerging female empowerment in Pakistan"
Hamid, Mohsin. Moth Smoke. Penguin, 2012.
Jay, Paul. "The Post-Post Colonial Condition: Globalization and Historical Allegory in Mohsin Hamid's Moth Smoke."
Perner, Claudia. "Tracing the Fundamentalist in Mohsin Hamid's Moth Smoke and The Reluctant Fundamentalist." Ariel: A Review of International English Literature, 42(3–4), 23–31.
Yaqin, Amina. "Mohsin Hamid in Conversation." Wasafiri. 2008.
You’re 45% through this paper. Sign up to read the remaining 2 sections.
Sign Up Now — Instant Access Already a member? Log inAlways verify citation format against your institution’s current style guide requirements.