© 2019 IJRAR March 2019, Volume 6, Issue 1 www.ijrar.org (E-ISSN 2348-1269, P- ISSN 2349-5138) IJRAR19J5425 International Journal of Research and Analytical Reviews (IJRAR) www.ijrar.org 82 The End of Certainty: An Analysis of Mohsin Hamid’s How to Get Filthy Rich in Rising Asia Mr. Waqar Yonus Butt Research Scholar, Bhaderwah Campus University of Jammu, J&K, India. Dr Rakesh Kumar Sr. Assistant Professor Dept. of English, Bhaderwah Campus University of Jammu, J&K, India. Abstract: The paper evinces the destablilising narrative technique where the self in altering space and time invariably changes into discourse, digitisation, social being, information, a cyborg etc., thus, making the phenomena of the self more tangential, susceptible and convoluted. It is illustrated in the character of the nameless protagonist in the novel who in the postmodern world remains vulnerable and disoriented. The paper also underlines the necessity of human connection in the postmodern world as the readers too can identify with the protagonist and share his lonely anxiousness and exasperations. It explores how Hamid utilises the dialectical approach to evince his perspective not only about the relation of an individual subject like the nameless protagonist vis-a-vis postmodern globalised world but also portents towards the workings of the present historical moment, by playing with the various forms of literary genres. It also avers how he abnegates the one-dimensional discourse of the self-help fiction and asserts the many possibilities that an individual can attain and be helped to succeed. It foregrounds how globalisation and neoliberalism have disrupted the lives of the individuals and is making them susceptible to disparate cataclysms. Keywords: Hamid, Postmodernism, globalisation, neoliberalism, self-help fiction Discussion: The novel How to Get Filthy Rich in Rising Asia (Rising Asia) was published in 2013 after an incredible success of Mohsin Hamid’s two novels Moth Smoke and The Reluctant Fundamentalist. Rising Asia experiments with the form of the novel and incorporates the invidious struggle of the protagonist who is baptised only as “you” in its conventional bildungsroman plot. In his third novel, Hamid does not concoct any familiar characters but dexterously replaces the reader with the characters in the novel’s plot. The characters in the novel cherish anonymity, the places and the characters are also nameless and every major event is left on the speculations and conjectures of the reader. The story encapsulates the expedition