The book insists that human beings are more—and more complex—than the simplified stories that are told about them. Even so, she ends up caught between the stereotypes, forced to play out an end that, it feels, might almost have been prescripted by the screenwriters of the movie her life story will surely become. No longer just a doll, at the end she appears to be an automaton fulfilling programmed instructions from the cultural zeitgeist. There is a sense that by embracing her fate, the Doll, with no way out, has finally turned into the murdering madwoman the press have invented.

Peter Morey, Islamophobia and the Novel, loc. 357