My discussion will focus on the representation of Fellaheen identities in On the Road, addressing the numerous thematic, ideological and narrative complexities they give rise to in the context of the changing yet still considerably conservative Cold War America.
The term Fellaheen occurs repeatedly in On the Road.
John Lardas argues that the depiction of the Fellaheen in the novel serves to project the "search for authenticity onto a racial other" (2001: 185).
The Fellaheen seem to be highly problematic nostalgic simulations of an earlier era producing an image that is historically inaccurate; it does not correspond to an actual situation of the past, and it is also discordant with the concrete conditions of African-American people's lives in Sal's present.
The forlorn fellaheen, who, for financial reasons, struggle to cultivate five acres at the most, say that the Government should trust them more than Arab or Egyptian investors, who have let it down before.
The frustration of the fellaheen was upheld by Al-Ahali leftist newspaper.
Hoerder's migrant workers are not only the laborers he knows so well, those who went to North America, but also the miners in the coalfields of West Bengal, the some twenty thousand Egyptian fellaheen
who dug the Suez canal, and the uncounted Asians, Africans, and Europeans who opened the Panama Canal.
To portray this female, Kerouac relied upon three character types: the white goddess, the fellaheen, and the grotesque.
The fellaheen is a subset of the primitive, a category to which Western culture has historically relegated blacks, women, and the feminine.
The grotesque, in combination with the fellaheen and the White American Woman, provides an ideal mechanism to create indeterminacy, open-endedness, counter-identification, and disidentification--all key elements in Kerouac's love stories.
While their story features no fellaheen women per Se, his account of the relationship establishes imaginative patterns of the fellaheen and the grotesque that lay the groundwork for Mardou Fox, and Tristessa.
What particularly sparked his memory was the sight of paddle-tailed sheep tethered for sale all around Cario, and city men in suits and fellaheen
in galabias carrying these home on their shoulders, much as he would lug his balsam fir.