{'fraction_non_alphanumeric': 0.03077889447236181, 'fraction_numerical': 0.015703517587939697, 'mean_word_length': 5.174418604651163, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Islamic Writers and Muslim Writing in the United States

One immediate consequence of 9/11 was to make Muslim minorities living in the US visible: all of a sudden, bearded men and veiled women were identified not simply as “immigrants” or “outsiders” but as “Muslims,” and their “marked” bodies gradually came to represent a collective threat to liberal democracies in the West, regardless of nuances in their religious and ethnic backgrounds or political leanings. The sweeping generalizations about the Muslim community, envisioned as a homogeneous and uncomplicated group, singled out Islam as a belief system incompatible with Western modernity. Perhaps more importantly, the demonization of the Muslim in media outlets covering the “war on terror” legitimated Islamophobia, then a relatively new and growing form of hostility. As one Muslim writer noted, “We got a glimpse of what to expect on September 12, when instead of continued World Trade Center coverage, the local news reported that three mosques in neighboring suburbs had been shot at that morning” (Hassanali 115). Indeed, the Gallup Poll conducted a year after 9/11 reported that crimes against Muslim minorities in the US had increased 1700% in the first few months after the attacks (Sheridan 329). The escalation of intolerance is noted in Moustafa Bayoumi’s book, How Does It Feel to Be a Problem? (2009), which follows seven Muslim teenagers living in Brooklyn, New York. After studying the challenges awaiting these youngsters in the post-9/11 world, Bayoumi concludes that regardless of their cultural, spiritual, and