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B.E.G.E.-108
Reading the Novel
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away and was later rediscovered. Many women writers involved in the literary movement of the late 1800s were not
able to read Chopins work because it was not readily available; it had practically been socially banned (Showalter
82). The Awakening has gone on to be a greater influence in the later part of its existence than it had been when it was
first published.
Q. 2. What is significant about Dickenss representation of women in A Tale of Two Cities.
Ans. Curiously, one of the aspects readers most commonly overlook when studying A Tale of Two Cities is the
centrality of women in the story. The characters around whom the action revolves in both London and Paris are
women: Lucie Manette and Madame Defarge. Additionally, Dickens uses women throughout the book to represent
the moral climate of a group or family. Although Dickens may not develop his female characters as fully as he does
some of the male characters in A Tale of Two Cities, nevertheless, the women provide the men in the novel with an
emotional foundation that causes the men to act for or react against what the women represent.
Lucie and Madame Defarge, for instance, drive the action in their respective spheres of influence. As the golden
threadthat binds the lives of Doctor Alexandre Manette, Mr. Lorry, Darnay, and Carton together, Lucie is a passive
character who influences others through who she is rather than by what she does. The comfortable home she creates
comforts the men in her life and her devout compassion for others inspires them. Her goodness enables them to
become more than they are and to find the strength to escape the prisons of their lives.
On the other hand, Madame Defarge stands at the center of the revolutionary activity in Paris as an active agent
of change, even when she is just sitting in the wine-shop and knitting her death register. Madame Defarge instigates
hatred and violence, exemplified by her leadership in the mob scenes and the way The Vengeance and Jacques Three
feed off of her desire to exterminate the Evrmonde line. Her patient ruthlessness helps to support her husband when
he has doubts about the Revolution. In the end, however, her desire for revenge becomes something Monsieur
Defarge reacts against as he recognizes that the killing must end somewhere.
Dickens also portrays the other women in the novel as either nurturing life or destroying it. Mothers play an
especially important role in this sense, as Dickens differentiates between natural and unnatural mothers. Women
such as Darnays mother, Madame Evrmonde, and Lucies mother, Madame Manette, represented mothers who die
young but leave their children with a sense of conscience and love. Madame Evrmondes exhortations to Darnay to
atone for the familys wrongdoing, for instance, motivate him to risk his life in order to help others. Lucie is also a
natural mother, nurturing her daughter and protecting her from harm.
The women of Monseigneurs court, however, represent unnatural mothers, who care so little for their children
that they push them off on wet nurses and nannies and pretend that the children dont even exist. Similarly, Dickens
portrays even the mothers of Saint Antoine who do nurture their children as unnatural in the fact that they can spend
the day as part of a vicious mob killing and beheading people and then return home smeared with blood to play with
their children. The behaviors of both the aristocratic and the peasant women are destructive in that they either create
an environment that lacks love and guidance or they guide the next generation into further anger and violence.
Q. 3. Trace the development of the African novel in English.
Ans. Keith Bookers The African Novel in English provides an excellent introduction to the discussion of
selected African novels as well as to the critical and theoretical debates that have accompanied African literatures
rise to prominence.
The African Novel consists of three basic parts: The first section introduces the reader to three main issues
(history, language, genre) necessary to understanding African cultural practices in their own historical and aesthetic
contexts. The second part provides a literary history of the African novel written in English. It also, however, includes
a brief overview of lusophone and francophone African fiction whose discussion Booker otherwise deliberately
excludes as part of a general emphasis on accessibility to American and British undergraduate readers (p. ix). The
third and longest part of this textbook includes extended discussions of eight novels written in English,[1] their
historical background, and their authors biography. The eight books discussed are: Chinua Achebes Things Fall
Apart and Buchi Emechetas Joys of Motherhood (Nigeria), Ayi Kwei Armahs The Beautiful Ones Are Not Yet
Born and Ama Ata Aidoos Our Sister Killjoy (Ghana), Nadine Gordimers Burgers Daughter and Alex La Gumas
In the Fog of the Seasons End (South Africa), Nguigi wa Thiongos Devil on the Cross (Kenya) and Tsitsi
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Dangerembgas Nervous Conditions (Zimbabwe). Booker explains his omission of difficult writers like Nigerias
Wole Soyinka and South Africas Bessie Head in terms of the emphasis on accessibility mentioned above.
No understanding of African fiction would be complete without a knowledge of the theoretical paradigms and
critical dilemmas, which Booker discusses in the first section of his book and invokes again throughout his analyses
of individual texts. Following Jamesons influential and controversial essay[2], Booker warns, for instance, against
the temptation to judge African culture by European aesthetic and formalist standards which claim to be universal
but fail to respect the role of African oral traditions in the development of modern African literature. Inversely, he is
also conscious of the difficulty of accounting for the otherness of African aesthetics without reverting to an orientalist
tendency that sees African culture as an alien and exotic curiosity (p. 8). This double bind (universalism versus
orientalism) is further complicated, Booker explains, by the fact that critics who seek to acknowledge the dialogue
between African and European literatures still risk perpetuating Europes colonial and cultural domination of Africa
if they lean too far in one direction or another in appreciating this hybridity (p. 7). After discussing the difficulties
critics face in approaching African culture, Booker highlights the dilemmas with which African writers themselves
have to contend when producing their fictional works. In succint but cogent sub-sections, the author investigates the
three basic issues of history, language and literary genre--fraught notions for postcolonial writers invested in developing
their own national cultures. The concepts were all originated and/or have developed in a Eurocentric discursive and
capitalist framework and make, for instance, the choice of English (the language of the colonizer) or of the novel (the
quintessential European bourgeois genre) a highly political and debated act for African writers.
Even as Booker emphasizes the need to appreciate the hybridity of the African novel (p. 7), his position remains
firmly grounded in a Jamesonian paradigm. His textual analyses which are significantly followed by historical,
political and economic details about each authors country of origin confirm Jamesons much-debated claim that
Third World literatures function as national allegories. Like Jameson, Booker argues that in Third World fiction,
the protagonists development parallels that of the nation and that separating the characters private and public lives
would only further the fragmentation of social life triggered by capitalism. This reification ultimately draws any
energies away from the public world of politics and thus weakens any attempt to oppose the current structure of
power (p. 136). The influence of Marxist thinkers like Jameson and Lukacs on Bookers approach is also evident
when he tackles the issue of the relevance of African literature to a Western audience. Drawing on Jamesons
discussion of the global dominance of late capitalism and of its resulting homogenization of cultural life across the
world, Booker emphasizes the importance of African literature for Western readers on two counts: first, he argues
that in todays interconnected global cultural system, African and Western culture no longer exist as separate, pure
phenomena (p. 3), and that Western students need to know about African culture; secondly, African cultural
productions provide new and important perspectives on Western literature insofar as they resist the homogenizing
tendencies of third stage capitalism and represent instead an empowering collective experience. In other words,
African novels are both like and unlike Western cultural productions. We can not only relate to them and understand
them but also use them to better understand ourselves.
Q. 4. Sunlight on a Broken Column traces, not only the entry into adulthood of Laila, but also marks the
change from tradition to modernity. Comment.
Ans. In this respect, Attia Hosains Sunlight on a Broken Column (hereafter Sunlight) is an important book for
coming to terms with the continuing effects of nationalism in postcolonial India. The novel spans a thirty-year period
between 1932 and 1952, covering Indias transition from a colonial to postcolonial state. It is narrated from the point
of view of Laila, a Muslirn girl who has been orphaned at a young age and is now living with her extended family of
ta1uqdars (landlords) in Lucknow. The novel portrays Lailas growth from girlhood to womanhood and her experience
moving from her grandfathers more traditional, orthodox household to her uncle s more modern, reform
household. Although historically, tradition and modernity have been figured as opposites in the dominant discourse
of the Muslim community in colonial north India, Hosains novel suggests this is a false dichotomy used to manage
elite, patriarchal and ethnic interests competing for ascendancy during the nationalist movement and after. Despite
their emancipatory claims, arguments or both traditional/orthodox and modern/refom attitudes toward womens
education and marriage enroll wornens subjectivities as an object of concern used to justify various patriarchal,
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not only Leela but also implicitly to religious fundamentalism which was the basis of the 1984 riots and the 1985
bombing. The diasporic wisdom of hybrid existence is offered as a critique of religious fanaticism of all kinds and of
the Sikh separatist demand for a nation-state based on a single religion. The critique of fundamentalism is welltaken, but is the vantage point of the diasporic or the lessons of multiculturalism necessary to formulate this critique?
Further, while the novel is critical of a section of the diaspora for supporting separatist politics and for funding
militant activities in India, it still privileges the diasporic. How are we to read the end with the return of the native,
with the child adopted by diasporic Canadians returning to the grieving biological mother in India, and obviously
symbolically returning to his damaged motherland? Even if the gesture is of repentance by the diaspora for
sympathizing with militant fundamentalists, or an attempt by the novel to distinguish between different kinds of
diasporic involvement, there is also a claim here that the hopes of the motherland are the responsibility of the
diaspora.
Badamis novel promotes the idea of a globe where everyone is connected and teaches that collective violence
spreads globally so that everyone gets hurt. There is little more for a reader familiar with the complexities of the
history it covers than an affective engagement with this somewhat clichd liberal lesson. While the traumatic events
preceding 1985 that the book covers are, no doubt, of supreme importance in Sikh imagination, the novels rendition
of twentieth-century Sikh history as a series of disasters is ultimately reductive. Nor is the story able to probe deep
enough to encounter the real difficulties or problematics of 1947 or 1984. Given its imperative to tell a Canadian
story and to fashion itself as a post-9/11 disaster-tale, perhaps it cannot.
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