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carpet” (2006a: 79). Ironically, it is the self-degraded and
physically weak Jas
—
the white boy who tries so hard to imitate the
rudeboys in the ways he speaks, walks, and behaves and to
assimilate himself into the desi culture by learning Punjabi, Hindi,
and a little Urdu
—
who has a father who needs to work around the
clock to make a living in his small shop selling mobile phones.
Here, through the contrast between Jas’ lack of self-confidence and
the desi boys’ wealth, physical strength, and linguistic prowess, the
novel has an almost inverted reversal of the Orientalist stereotypes
of weak, poor, and inferior colored immigrants.
Secondly, the desi rudeboys in the novel are not gangsters as
much as they are mommy’s boys. Hardjit and the other desi boys
may swear and act like gangsters, but their overly exaggerated
words sound awkward and hilarious at times. The following words,
spoken by Jas during the scene when Hardjit, Amit, and Ravi
verbally and physically abuse the white boy, demonstrate very well
how Jas is aware that their gang identity is simply a performance:
To make up for my useless shitness I decided to offer the
followin,
carefully crafted comment
: Yeh, bredren, knock
his fuckin teeth out. Bruck his fuckin face. Kill his
fuckin . . . well, his fuckin, you know, him. Kill him.
This was probly a bit over the top but I think I’d got the
tone just right an nobody laughed at me. (Malkani, 2006a:
9; emphasis added)
Here, and in several other places in the novel, as Michael Mitchell
points out, language is “a fabric” worn by Jas “like a costume as a
conscious part of his performance” (2008: 332). Hardjit and the
other desi rudeboys may not be as self-aware as Jas of their
“inauthentic” gang identity, but their self-claimed gang identity is
likewise a performance and an expression of their hyper-
masculinity. A huge gap can be detected between what they say and
what they do. For example, on their way to an expectedly violent
fight with Tariq, a Muslim boy in the neighborhood, whom they