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Heba Al-Wasity’s background as an Iraqi refugee directly informs the sociopolitical landscape of Weavingshaw. The flight of Leena’s parents from the fictional Algaraan civil war mirrors the real-world displacement of millions of Iraqis following decades of conflict. In 1990, Iraqi President Saddam Hussein ordered the invasion of Kuwait. In response, the United States and President George H.W. Bush led a coalition of nations in a bombing campaign on Iraq. The Gulf War ended on February 28, 1991, with Iraq’s defeat and retreat from Kuwait. In 2003, a US-led coalition once again launched major combat operations in Iraq. U.S. president George W. Bush and UK prime minister Tony Blair claimed that the invasion’s purpose was to disarm Iraq of weapons of mass destruction (WMDs). However, United Nations inspectors found no evidence of WMDs. The month-long invasion resulted in Hussein’s overthrow and the deaths of hundreds of thousands of Iraqis.
The United Nations High Commissioner for Refugees (UNHCR) has long described the situation as a major humanitarian crisis, with nearly 1.2 million Iraqis remaining internally displaced and hundreds of thousands living abroad as of 2023 (“Internally Displaced People.” UNHCR, 2026). Al-Wasity’s experience provides a personal lens on the challenges faced by diaspora communities, which are fictionalized in the novel’s “New Algaraa District.” The residents’ poverty, marginalization, and tense relationship with the Morish authorities reflect real-life integration difficulties reported by Iraqi refugees in Western countries, including “the trauma of the war, more serious medical needs and a lack of English and French” (Levitz, Stephanie. “Iraqi Refugees Fared Worse than Others in First 3 Years: Internal Study.” The Canadian Press, 15 Aug. 2016). Furthermore, Al-Wasity’s medical training lends authenticity to the public health crises depicted in the novel. The deadly “Sweeper’s Cough” that afflicts Leena’s brother and her memory of widespread sickness in the refugee camps evoke the dire health conditions documented in real camps, where respiratory and other infections are often a consequence of poor sanitation and overcrowding. This authorial context grounds the fictional struggles of the Algaraan people in the lived experience of the Iraqi diaspora.
Weavingshaw is deeply rooted in the British Gothic tradition, a literary genre that rose to prominence in the late 18th and 19th centuries. This tradition is characterized by its use of often terrifying landscapes, mysterious and decaying aristocratic estates, and a brooding, powerful male protagonist, often identified as a Byronic hero. The author describes the novel as “a loving ode to all the gothic stories of the past,” especially Daphne du Maurier’s Rebecca, Charlotte Brontë’s Jane Eyre, and Emily Brontë’s Wuthering Heights (Dumpleton, Elise. “Q&A: Heba Al-Wasity, Author of ‘Weavingshaw,’” The Nerd Daily, 24 Feb. 2026). These classic texts utilize the wild, desolate moors of northern England to mirror their characters’ turbulent inner lives. Al-Wasity pays homage to these conventions, describing Weavingshaw as a foreboding “fortress, built to withstand the salt-laden grit of the northern sea” and situating it upon “the grieving moors” (55). The enigmatic St. Silas, a merchant of secrets who is “intimidation at a single glance” (14), functions as the novel’s Byronic hero, echoing figures like Mr. Rochester or Heathcliff. However, Al-Wasity subverts the historically Eurocentric nature of the genre. Classic Gothic literature almost exclusively centered white, Christian, British protagonists and often portrayed foreigners or non-white characters as exotic, dangerous others. In contrast, Weavingshaw places an Arab-coded refugee, Leena Al-Sayer, at its narrative core. Her identity is central to the plot, and her cultural perspective, which includes a belief in “jinns” rather than Morish “demons,” reframes the supernatural elements of the story. By centering a character from a displaced Middle Eastern background within a traditionally British literary space, Al-Wasity uses the Gothic framework to explore themes of cultural alienation, prejudice, and the haunting nature of diasporic identity.



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