In the Name of Identity by Amin Maalouf

In Amin Maalouf’s In the Name of Identity, the author portrays the idea that identity is a conglomeration of various ingredients; It should not be divided into halves or thirds or “compartmentalized” simply because of race and allegiances. Maalouf reflects on the idea that in this postmodern world, the idea of “identity” has become a dangerous one: “[The question of identity] presupposes that ‘deep down inside’ everyone there is just one affiliation that really matters, a kind of ‘fundamental truth’ about each individual. (Maalouf, 2)” The author criticizes the idea that when one gives into just one side of his overall identity, it is almost as if the rest of one’s life—journeys, beliefs, tastes, sensibilities, and affinities, and “his life itself”—counted for nothing (Maalouf 2). However, when looking deeper into defining ones identity, factors such as conflicts, hierarchy, and that of his enemy all "change with time, and in so doing brings about fundamental changes in behavior" (Maalouf, 13).

Similar to Picasso’s technique in Violin and Grapes, Maalouf recognizes that his identity is not made up an “essential allegiance”. Identity is like a game of jigsaw puzzles. Maalouf writes,”I scour my memory to find as many ingredients of my identity as I can. I then assemble and arrange them. I don’t deny any of them” (Maalouf, 16). In Violin and Grapes, the different layers and body parts of the violin is scattered about the canvas like an unsolved puzzle.

Maalouf, Amin. "My Identity, My Allegiance." In the Name of Identity: Violence and the Need to Belong. New York: Arcade, 2001. Print.