By the middle of the 2000s, it had been established that Islamist terror was the Defining Theme of Our Time, and any novelist, film-maker, playwright, poet or TV dramatist worthy of the title had to tackle it. Most artistic efforts of the time tended to concentrate on the radicalisation process, perhaps because the political classes' efforts to address it were so glib and lacking, perhaps because it offered the most obvious window to explaining terrorism.
Just about all of the works of art about radicalisation went something like this: young Muslim man from Afghanistan or Palestine sees their friends or family killed, goes to radical mosque, comes out convinced that suicide bombing is the only way to redress the balance,…