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This contribution examines the intricacies of the construction of Pakistani American identity in Disgraced (2012), Ayad Akhtar's Pulitzer Prize-winning play, in the larger context of the emerging field of South Asian American drama and also within the framework of Akhtar's general thematic concern with the intercultural and interreligious tensions at the heart of our increasingly global society. The essay considers the ways in which the play problematizes a number of key issues in the articulation of a post-9/11 Pakistani American identity at the intersection of a complex network of allegiances and positionalities circumscribed by the triad "America"--"Islam"--"South Asia." The analysis focuses on a number of interrelated issues, such as the paradoxes of assimilation, the dynamics between patterns of representation and self-representation, and the impact of a resurgent neo-Orientalist discourse in the (re)negotiation of such identities. [ABSTRACT FROM AUTHOR]