Because fewer members of their cultural community speak English, there is less pressure to be local in English language literary production. In addition, the post-colonial guilt of Britain and America have caused a dramatic increase in cultural awareness and the desire to understand and come in contact with other cultures, and English language novels provide a way for them to come in contact with different societies.
	As my case study for this type of novel, I will be using The Kite Runner, by Kholed Hosseini. Hosseini introduces Afghan ideas and vocabulary into his novel, but he is careful to contextualize them. One way of doing this is by giving a translation of new words in the text itself. For example, his character Hassan declines to move into Amir's house because "it was a matter of ihtiram, a matter of respect" and a story about Amir's father "would have been dismissed as laaf, that Afghan tendency to exaggerate." Another technique is to put the Afghan words in context, so that the reader can guess at the meaning of the word, without explicitly defining them. For example, in a very different dedication from that in Devil on the Cross, Hosseni dedicates his novel "to Haris and Farah, both the noor of my eyes, and to the children of Afghanistan. Although we don't know the exact meaning of noor, which is princess, we can guess that to be the noor of someone's eyes means that you are very important to them. As another evidence of Hosseini's desire for intelligibility, where   italicizes words foreign to his culture, Hosseini italicizes words that come from his culture, and are foreign to the English reader.
	In addition to local terms, when Hosseini introduces cultural concepts that are foreign to the Western reader he is also liberal in his explanations. For example, he spends three pages describing the Afghani tradition of kite flying and kite running. Throughout the book, Hosseini introduces and explains other elements of Afghani history and culture. These explanations are only necessary because he is consciously writing for a Western audience.
	At times these non-colonial authors may use terms that confuse or disorient the reader, in a process that Reed Dasenbrock calls "culturally coded defamiliarization". Dasenbrock says that the reader is defamiliarized when a writer uses a term that natives to the writer's culture would understand without difficulty, but that non-natives do not immediately understand. He gives the example of the term "ghost" in Maxine Hong Kingston's The Woman Warrior. She attaches the non-standard semantic meaning of "foreigner" to the term, as well as the traditional definition. As readers grasp this new meaning of "ghost" they are able to see Chinese culture in a new way, and "learn a good deal about Chinese perception of us." Dasenbrock says, 
	Writers can therefore choose to make moments of their work more difficult to understand, 	less immediately intelligible, because they know that the reader will work for their 	meaning. 