Therefore, a certain critical distance can be useful. We may, perhaps, see Islamophobia more clearly as a structuring frame if we can stand back and understand it as a kind of call-and-response: certain demands are made of the writers who deal with “Muslim issues,” and they either accede to or problematize those demands. In other words, framing is always dialogic, and it takes a certain amount of cunning and guile for the writer to be able to circumvent imposed limitations on what they can say and how it will be interpreted. Critics need to be similarly supple.

DEFINE: Frames literary production around imposed limitations that writers must cunningly work around.

Peter Morey, Islamophobia and the Novel, loc. 60