Cultural and identity scars have been engraved in the body of ethnic minority of Muslims in America due to the bloody attacks of 9/11. These events have created thus traumatic experiences on the party who witnessed the events at close and the people on whom the blame is conclusively directed, Muslim Americans. For Americans, the attacks resulted in a proud reassertion of the national virtue and communal integrity from which Muslim Americans were excluded. This reassertion is accompanied for Muslims by a reconstruction of a cultural identity away from their origin homeland and under pressures and prejudices that made the process of reconstruction to be severely challenging. Accordingly, the challenge needed to be portrayed to overcome the difficulties Muslims are encountering publicly. Muslim playwrights started to establish a pad for truth revelation and dialogue between the two sides of the traumatic experiences. Sam Younis’s Browntown and Ayad Akhtar’s Disgraced attempt to postulate the choices allowed to their co- Muslim Americans within the social and political aggressive manifestations formed under the umbrella of ‘war-on-terror’. Both writers dramatize the unjust stereotyping of Muslims and its influence in shaping its subjects’ private and professional lives, leading to their partly or wholly renouncing and degrading their cultural and religious identity.
