This essay focuses on the deviant uses of Hapsho-style, which is one of the Korean sentence enders. Hapsho-style is utilized in the translated dialogue of The Translator by Leila Aboulela. This essay sets out to explain why the phenomenon is considered as foregrounding and why the translator made use of it in the target text. It is found that Hapsho-style is used in various contexts in the translated dialogue between the male and female protagonists in The Translator, which distinguishes it from spoken language because the usage of Hapsho-style is very limited in real-life conversations. After analysing the deviation in relation to literary coherence, the foregrounded Hapsho-style can be explained in terms of translational stylistics. In other words, Hapsho-style maximizes the informativity of the dialogues, in addition to highlighting the psychological, physical, and social distance between two characters. Hapsho-style further represents a subversion of the stereotypical image of submissive female Muslims.