A writer, in the postcolonial situation, may be faced with difficult missions of resisting to the colonization on the one hand, and struggling against the top-down elite of his nation. Brendan Behan, for example, was fighting against both ideologies of imperialism and nationalism, when he turned himself from a IRA soldier into a dramatist. This predicament seems to be the same with other writers from the former colonial nations of Asia, Africa, Latin America, etc. Why didn’t he hide the hot hostility to the new governments of Eamon de Valera and Cosgrave, not to mention of England? It is because the Irish leaders could not show their ability to satisfy the material and spiritual poverty of the people, while oppressing and depressing them by censoring and arresting the opposing citizens. In The Quare Fellow and The Hostage, the postcolonial regimes of Ireland followed the same bad manners of imperial social system and continued the dissatisfaction and discontent of the Irish people. Behan, in his The Hostage, is telling us three points: first, it is inappropriate for a nation after independence to resort to the nationalist and imperialist dichotomy of enemy and friend. Second, the postcolonial movement of a nation should begin with political, economical, and cultural democratization. Last, the new order of postcolonial nation should not discriminate those minorities for their marginalities such as whores, aliens, homosexuals, and black people: Colette, the Russian sailor, Rio rita, Princess Grace in The Hostage should have their own seat in the new society.