Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
LINGUISTICA E CULTURALE
AN IN-BETWEEN LIFE
REPRESENTATIONS OF THE MIGRANT SUBJECT IN
POSTCOLONIAL WRITING
A.A. 2013/2014
INDICE
SINOSSI
p.1
1. BACKGROUND
p.3
p.3
p.8
p.19
p.22
p.29
p.35
p.41
p.42
p.45
p.49
BIBLIOGRAFIA
p.54
SITOGRAFIA
p.56
RINGRAZIAMENTI
p.57
SINOSSI
1.
BACKGROUND
Hall, Stuart, The Emergence of Cultural Studies and the Crisis of the Humanities, in October, Vol. 53, The
Humanities as Social Technology, Summer 1990
2
Barker, Chris, The SAGE Dictionary of Cultural Studies, SAGE Publications, 2004, p. xix
3
Williams, Raymond, Keywords, Oxford University Press, 1983, p.87
4
Ibidem, p.87
the raw and uncultivated masses. 5 Later on, in the first half of the XX
century, F.R. and Queenie Leavis insisted on the importance of high or
literary culture 6 and emphasized the debilitating effects of modernity, in
particular the decline in literary taste due to the new business ethos 7 and
the processes of cultural massification.
Furthermore, over the XIX and up until the XX century, the so-called
culture and civilization tradition served as a mean to justify the
establishment of the colonial dominion, on account of a cultural comparison
that advantaged Great Britain.
During the XX century and particularly after the Second World War,
however, popular classes began to experiment healthier and wealthier ways
of living, thus acquiring self-consciousness. The deep transformations
triggered the argument between those who still supported a selective and
conservative perception of culture and those who, instead, strongly
encouraged a radical change.
Reporting the words of Stuart Hall:
For me, cultural studies really begins with the debate about the nature of social and
cultural change in postwar Britain. 8
The author traced the birth of Cultural Studies back to that specific
period in which Hoggarts Uses Of Literacy (1957), Williams Culture and
Society (1958) and E.P. Thompsons The Making of the English Working
Barker, Chris, The SAGE Dictionary of Cultural Studies, SAGE Publications, 2004, p.44
Ibidem, p.44
7
Leavis, Q.D., From Shakespeare to the business ethos, in Pagetti, Carlo and Palusci, Oriana, The Shape of a Culture,
Carocci Editore, 2004, p. 97
8
Hall, Stuart, The Emergence of Cultural Studies and the Crisis of the Humanities, in October, Vol. 53, The
Humanities as Social Technology, Summer 1990
6
Class (1963) were published: these three books constituted the caesura out
of which among other things Cultural Studies emerged.9
The approach of these writers, customary labelled as culturalist,
claims that, by analysing the culture of a society, it is possible to reconstruct
the behaviour and the ideas shared by the men and women who produce and
consume the culture of that society. It stresses human agency, the active
and creative capacity of people to construct shared meaningful practices,
and the ordinariness of culture: in the words of Williams, culture is
ordinary, in every society and in every mind.10
In 1964, Hoggart founded the Centre for Contemporary Cultural
Studies (CCCS) at Birmingham University, consequently establishing them
as an academic field.
During that period, profound social changes were affecting Great
Britain: first of all, the large-scale immigration from the ex-colonies, which
had increased since the British Nationality Act of 1948 which guaranteed
freedom of entry from the Commonwealth and colonies and had generated
a multicultural context, and secondly the technological development in mass
communication, which in turn had led to globalization.
Hoggarts initiative responded to the need of finding new methods of
research that could interpret and deal with those extraordinary
transformations that Great Britain and western societies in general were
experiencing.
Hall, Stuart, Cultural Studies: two paradigms, in Media, Culture and Society, Vol.2, 1980
Williams, Raymond, Culture is ordinary, in Pagetti, Carlo and Palusci, Oriana, The Shape of a Culture, Carocci
Editore, 2004, p.130-131
10
Barker, Chris, The SAGE Dictionary of Cultural Studies, SAGE Publications, 2004, p.190
15
Thus, Foucault
Ibidem, p.160
Ibidem, p.41
14
Ibidem, p.54
15
Ibidem, p.54
13
Ibidem, p.97
Ibidem, p.84
18
Rushdie, Salman, in Ashcroft, Bill, Griffiths, Gareth and Tiffin, Helen, The Empire Writes Back, Routledge, 2004, p.i
17
The idea of Postcolonial Theory emerged during the late 1970s. Two
symposia were held at Essex University in 1982 and 1984, both of them
entitled Europe and Its Others. In addition, in 1982 the Centre for
Contemporary Cultural Studies published The Empire Strikes Back: Race
and Racism in 70's Britain, whereas the seminal study on postcolonialism,
The Empire Writes Back, was published in 1989 by Bill Ashcroft, Gareth
Griffiths and Helen Tiffin.
Postcolonialism initially referred only to the literary field and then it
gradually broadened its sphere of investigation to the effects of colonization
on cultures and societies. Nonetheless, even this term has been called into
question, especially its hyphenated spelling Post-colonialism since the
prefix post- highlights the temporal perspective, focusing on the period
19
after the colonization, as if the situation in the colonies could actually have
changed the day after gaining independence.
Moreover, this denomination seems to suggest that there was only one
universal type of colonization, whereas, in fact, every single colony
presented a specific context in terms of political and social systems, of
language and traditions, and so forth, all of which makes the colonial and
postcolonial culture of that country a distinct affair.21
Indeed, as far as British dominions are concerned, there were at least
three different types of colonies: settler colonies, where colonials replaced
the native population and settled down (it is the case of U.S.A, Australia and
New Zealand); colonies of occupation (such as India and some parts of
Africa), where power was exercised by an oligarchy linked to the Empire
that never replaced the majority of the local population; slavery-based
colonies (Caribbean), where slaves, mostly coming from African colonies,
were taken to and forced to work.
The dispute around the term is still ongoing, since Postcolonialism
seems to underline colonialism as the key-event influencing and shaping all
the cultures of the ex-colonies, which is rather a colonialist perspective.
However, nowadays Postcolonialism is generally used to refer to a
body of writing and critical practices which entail a decontructionist
analysis of colonialism and its consequences.22
Frantz Fanon (1925 1961) and Edward Said (1935 2003) were the
two pioneers of Postcolonial Studies, the first ones who analysed the
21
22
Palusci, Oriana and Bertacco, Simona, Postcolonial to Multicultural, Hoepli, 2012, p.2
Ibidem, p.3
10
Ibidem, p.5
Ibidem, p.6
25
Barker, Chris, The SAGE Dictionary of Cultural Studies, SAGE Publications, 2004, p.180
26
Said, Edward, Culture and Imperialism, Vintage Books, 1994, p.xii
27
Rushdie, Salman, Il nuovo Impero in Gran Bretagna, in Rushdie, Salman, Patrie Immaginarie, Oscar Mondadori,
1994, p.150
24
11
12
30
Bhabha, Homi, The Other Question. Stereotype, discrimination and the discourse of colonialism, in Bhabha, Homi,
The Location of Culture, Routledge, 1994, pp.70-71
31
Bhabha, Homi, Signs Taken for Wonders. Question of ambivalence and authority under a tree outside Delhi, May
1817, in Bhabha, Homi, The Location of Culture, Routledge, 1994, p.107
13
1.3.
32
Palusci, Oriana and Bertacco, Simona, Postcolonial to Multicultural, Hoepli, 2012, p.10
Hall, Stuart, in Minimal Selves, in Appignanesi, Laura and Bhabha, Homi, Identity: the Real Me, Institute of
Contemporary Arts, 1987
33
14
I have lived that moment of the scattering of the people that in other times and other
places, in the nations of others, becomes a time of gathering. Gatherings of exiles
and migrs and refugees. [] Gathering in the half-life, half-light of foreign
tongues, or in the uncanny fluency of anothers language. 34
Bhabha, Homi, in Dissemination. Time, narrative and the margins of the modern nation, in Bhabha, Homi, The
Location of Culture, Routledge, 1994, p.139
35
Barker, Chris, The SAGE Dictionary of Cultural Studies, SAGE Publications, 2004, p.51
36
Ibidem, p.51
15
37
Grossberg, Lawrence, Identity and Cultural Studies: Is That All There Is?, in Hall, Stuart and Du Gay, Paul,
Questions of Cultural Identity, SAGE Publications, 2003, p.89
38
Hall, Stuart, Cultural Identity and Diaspora, in Rutherford, Jonathan (ed.), Identity: Community, Culture,
Difference, Lawrence & Wishart, London, 1990, p.225
39
Hall, Stuart, Introduction: Who Needs Identity?, in Hall, Stuart and Du Gay, Paul, Questions of Cultural Identity,
SAGE Publications, 2003, p.4
16
40
41
Rushdie, Salman, Patrie Immaginarie, in Rushdie, Salman, Patrie Immaginarie, Oscar Mondadori, 1994, p.14
Said, Edward, Culture and Imperialism, Vintage Books, 1994, pp.xxvi-xxvii
17
then once again our distance, our long geographical perspective, may provide us
with such angles.42
42
Rushdie, Salman, Patrie Immaginarie, in Rushdie, Salman, Patrie Immaginarie, Oscar Mondadori, 1994, p.20
18
2.
Rushdie, Salman, Homeless is where the art is, in The Bookseller, 15 July 1994
19
20
and the welsh writer, Eliot Crane, who is also a paranoid schizophrenic and
kills himself at the age of thirty-two.
Chekov and Zulu is the second short story and it deals with events
surrounding Prime Minister Indira Gandhis 1984 assassination, undertaken
by Sikh nationalists. The two protagonists, who got their nicknames from
Star Trek, work as diplomats in England and Zulu goes underground to
infiltrate the Sikh extremists assumed to be behind Mrs. Gandhi's homicide.
In the end, Zulu tells his friend that the Sikhs have been set up by the
Congress Party, he decides to abandon the job and moves back to India.
Chekov dies in the terrorist attack in which Rajiv Gandhi is murdered.
The narrator of the last story of the book, The Courter, writes about
the unlikely relationship that occurred between his ayah (nanny) and the hall
porter, who she wrongly but prophetically had called courter.
East, West is a collection of narratives about identity formation in
cross-cultural circumstances.
The cultural mix is firstly reflected in Rushdies narration, since his short
fiction takes different forms: parody, satire, postmodern historiographical
metafiction, and so forth.
Moreover, his characters and the situations he builds around them
clearly show Rushdies intention of undermining any idea of purity pure
race, pure culture, pure religion.
Quoting his own words, Rushdies writing
[] celebrates hybridity, impurity, intermingling, the transformation that comes of
new and unexpected combinations of human beings, cultures, ideas, politics, movies,
songs. It rejoices in mongrelisation and fears the absolutism of the Pure. Mlange,
21
hotchpotch, a bit of this and a bit of that is how newness enters the world. It is the
great possibility that mass migration gives the world, and I have tried to embrace
it.44
44
Rushdie, Salman, In Buona Fede, in Rushdie, Salman, Patrie Immaginarie, Oscar Mondadori, 1994, p.431
Stanford Friedman, Susan, Bodies on the Move: A Poetics of Home and Diaspora, in Tulsa Studies in Womens
Literature, Vol. 23, n.2, Fall 2004
46
Terkenli, Theano, Home as a Region, in Geographical Review, Vol.85, n.3. July 1995
47
Ibidem
45
22
48
Mishra, Vijay, Postcolonial Differend: Diasporic Narratives of Salman Rushdie, in ARIEL: A Review of
International English Literature, Vol.26, n.3, July 1995
49
Rushdie, Salman, The Courter, in Rushdie, Salman, East, West, Vintage International, 1996, p.181
23
Perhaps, as the narrator himself points out, she was also suffering
from feeling split between her home and Mixed-Up, the courter.
Or was it that her heart, roped by two different loves, was being pulled both East and
West, whinnying and rearing, [] and she knew that to live she would have to
choose?51
50
Ibidem, p.209
Ibidem, p.209
52
Ibidem, p.202
53
Ibidem, p.211
51
24
It is the condition shared by the migrants: being both here and there
and neither here nor there at one and the same time. 54 In Imaginary
Homelands, Rushdie describes it as the impression of falling between two
stools.
At the Auction of the Ruby Slippers is the central short story of the
book, and it is the one that more patently deals with the concept of home,
since the ruby slippers in question are those of Dorothy Gale, from The
Wonderful Wizard of Oz, and they clearly refer to her yearning for home,
felt by the narrator of Rushdies short story as well.
Moreover, it is not a coincidence that Gale is also the name of the
narrators cousin, whose love he so desperately wants to win back.
Gale stands as a metaphor of home.
This is shown quite evidently when, telling us about their past
relationship, the narrator says:
she chose to cry out at the moment of penetration: Home, boy! Home, baby, yes
youve come home!55
The condition of the narrator is thus similar to that of the migrant who
has lost his home and dreams of going back.
However, in Imaginary Homelands Rushdie clearly states that
memory is not a reliable tool, that it remoulds objects and modifies them.
But if we do look back, we must also do so in the knowledge - which gives rise to
profound uncertainties - that our physical alienation from India almost inevitably
54
Bammer, Angelika, in Introduction, in Bammer, Angelika (ed.), Displacements: Cultural Identities in Question,
Indiana University Press, 1994, p.xii
55
Rushdie, Salman, At the Auction of the Ruby Slippers, in Rushdie, Salman, East, West, Vintage International, 1996,
p.95
25
means that we will not be capable of reclaiming precisely the thing that was lost;
that we will, in short, create fictions, not actual cities or villages, but invisible ones,
imaginary homelands, Indias of the mind.56
In At the Auction of the Ruby Slippers, the narrator has not seen
Gale for years, nor has he had any contact at all with her. He only has his
memories of her, which probably would not even correspond to the real
Gale.
I am aware that, after all these years of separation and non-communication, the Gale
I adore is not entirely a real person. The real Gale has become confused with my reimagining of her, with my private elaboration of our continuing life together in an
alternative universe []. The real Gale may by now be beyond our grasp,
ineffable.57
56
Rushdie, Salman, Patrie Immaginarie, in Rushdie, Salman, Patrie Immaginarie, Oscar Mondadori, 1994, p.14
Rushdie, Salman, At the Auction of the Ruby Slippers, in Rushdie, Salman, East, West, Vintage International, 1996,
p.96
58
Ibidem, p.96
59
Ibidem, p.97
57
26
The choice of the songs is not casual, for all of them deal with the idea
of nostalgia and homecoming.
Swanee is a popular American song written in 1919.
I've been away from you a long time
I never thought I'd miss you so
Somehow I feel, your love is real
Near you I want to be
[]
Swanee, how I love ya, how I love ya
My dear old Swanee I'd give the world to be
Among the folks in D-I-X-I-Even60 know my mammy's
Waitin' for me, prayin' for me down by the Swanee
The folks up North will see me no more when I get to that Swanee shore 61
27
back: once banished, the exile lives in an anomalous and miserable life,
with the stigma of being an outsider.62
Therefore, in this case home is presented as the point of return that can
never be reached. It is an imagined place only existing in the astronauts and
in the narrators memory.
More than that, through the voice of the narrator, Rushdie states:
Home has become such a scattered, damaged, various concept in our present
travails. There is so much to yearn for. [] how hard can we expect even a pair of
magic shoes to work? They promised to take us home, but are metaphors of
homeliness comprehensible to them, are abstraction permissible? Are they literalists,
or will they permit us to redefine the blessed world? 63
Therefore, it remains clear that home does not refer only to ones
place of birth. It is strictly connected and sometimes even represents
ones cultural identity, which is not stable nor definable once and for all.
Migrancy [] involves a movement in which neither the points of departure nor
those of arrival are immutable or certain. It calls for a dwelling in language, in
histories, in identities that are constantly subject to mutation. Always in transit, the
promise of a homecoming completing the story, domesticating the detour
becomes an impossibility.64
62
Said, Edward, Reflections on Exile, in Said, Edward, Reflections on Exile and Other Essays, Cambridge: Harvard
University Press, 2002, p.181
63
Rushdie, Salman, At the Auction of the Ruby Slippers, in Rushdie, Salman, East, West, Vintage International, 1996,
p.93
64
Chambers, Iain, An Impossible Homecoming, in Chambers, Iain, Migrancy, Culture, Identity, Routledge, 1994, p.5
28
65
Said, Edward, Reflections on Exile, in Reflections on Exile and Other Essays, Cambridge: Harvard University
Press, 2002, p.177
66
Rushdie, Salman, Gnter Grass, in Rushdie, Salman, Patrie Immaginarie, Oscar Mondadori, 1994, p.303
67
Rushdie, Salman, At the Auction of the Ruby Slippers, in Rushdie, Salman, East, West, Vintage International, 1996,
p.87
68
Ibidem, p.90
69
Ibidem, p.91
70
Ibidem, p.93
29
Indeed, living in the third space, here and there without being
exactly here nor there, could be a painful condition, also implicating
isolation.
As already mentioned, the astronaut of At the Auction of the Ruby
Slippers represents the migrant away from home. He has no chance of
coming back and is completely alone. Furthermore, being stuck on another
symbolical planet, he becomes an alien and bears a stigma, he is now seen
as different, as a Martian.
He is separated from the rest of the world, but his conditions are
constantly filmed by the cameras installed in his spacecraft, exactly as the
migrant in a foreign land is at the same time isolated and in plain sight.
The third place taken not only as the site of the migrants but, in a
much broader sense, as the place pertaining to the postcolonial people
formerly subject to foreign rule is a difficult position to occupy also
because, other than the intimate troubles, external obstacles can often occur.
For example, both the protagonists of Good Advice is Rarer than
Rubies and The Courter have to face some forms of racism.
In the first short story, the so-called Tuesday women go to the English
Consulate in Pakistan, in order to apply for a permit to emigrate to England.
The first form of racism shown in the text is that of the English
employees who are eating their breakfast and do not bother letting the
women wait for them, even for hours.
When Miss Rehana asks the man who is watching the gates of the
consulate when they will open, he answers:
30
Half an hour [] Maybe two hours. Who knows? The sahibs are eating their
breakfast.71
71
Rushdie, Salman, Good Advice is Rarer than Rubies, in Rushdie, Salman, East, West, Vintage International, 1996,
p.5
72
Ibidem, p.9
31
They all looked frightened, and leaned heavily on the arms of uncles or brothers,
who were trying to look confident.73
73
Ibidem, p.6
Ibidem, p.5
75
Rushdie, Salman, The Courter, in Rushdie, Salman, East, West, Vintage International, 1996, p.204
74
32
The ayah and the mother are targeted because they are Indians and
because they are women. This is even more evident from the fact that the
narrators mother is not even the woman that the two men were looking for,
but since she is Indian and a woman they keep on harassing her anyway.
Another problem that the inhabitants of the third place have to face is
that concerning language: as mentioned above, the use of English in the
Indian area is the legacy of the period of colonial domination, during which
British English was established as the standard version while Indian English
was only a marginal and incorrect variation
The difficulties in the use of English by Indian people are shown in
both Good Advice is Rarer than Rubies and The Courter.
For starters, the characters often insert in their speeches words coming
from their native tongue, giving birth to such expressions as completely
genuine and pukka goods.77
Moreover, they reformulate sentences, or make grammar mistakes, or
use some words instead of others, originating some funny gaffes like the one
in The Courter involving the narrators father and a pharmacist.
She hit me, he said plaintively.
Hai! Allah-tobah! Darling! cried my mother fussing. Who hit you? Are you
injured? Show me, let me see.
I did nothing, he said, [] I just went with your list. The girl seemed very helpful.
I asked for baby compound, Johnsons powder, teething jelly, and she brought them
out. Then I asked did she have any nipples and she slapped my face.
76
Ibidem, p.204
Rushdie, Salman, Good Advice is Rarer than Rubies, in Rushdie, Salman, East, West, Vintage International, 1996,
p.11
77
33
Indeed, the ayah is the one having more troubles with the whole
process of adjusting to England. As already explained, she suffers from a
heart condition that in the end turns out to be caused by her nostalgia and
sense of non-belonging.
The narrator of the story himself admits to have problems of
communication.
My schoolfellows tittered when in my Bombay way I said brought-up for
upbringing (as in where was you brought-up?) and thrice for three times and
quarter-plate for side-plate and macaroni for pasta in general.80
Rushdie, Salman, The Courter, in Rushdie, Salman, East, West, Vintage International, 1996, pp.183-184
Ibidem, p.176
80
Ibidem, p.185
79
34
As I witnessed their wars I felt myself coming unstuck from the idea of family itself.
[] And I looked at my choleric, face-pulling father and thought about British
citizenship.81
81
Ibidem, p.202
Hugo of St.Victor, in Said, Edward, Reflections on Exile, in Said, Edward, Reflections on Exile and Other Essays,
Cambridge: Harvard University Press, 2002, p.185
83
Rushdie, Salman, Lambientazione di Brazil, in Rushdie, Salman, Patrie Immaginarie, Oscar Mondadori, 1994,
p.137
82
35
A full migrant suffers, traditionally, a triple disruption: he loses his place, he enters
into an alien language, and he finds himself surrounded by beings whose social
behavior and codes are very unlike, and sometimes even offensive to, his own.
Roots, language and social norms have been three of the most important parts of the
definition of what is to be a human being. Denying all three, the migrant is obliged
to find new ways of describing himself, new ways of being human. 84
Rushdie, Salman, Gnter Grass, in Rushdie, Salman, Patrie Immaginarie, Oscar Mondadori, 1994, p.302
Rushdie, Salman, Good Advice is Rarer than Rubies, in Rushdie, Salman, East, West, Vintage International, 1996,
p.15
86
Ibidem, pp.15-16
85
36
For instance, the narrators sort-of-cousin 87 Chandni at the folkmusic hangout Bunjies answers to the name of Moonlight, which is what
chandni means,88 and the little Scheherazade becomes Scare-zade.
As for the ayahs name, the porter calls her Certainly-Mary, the
children have always called her Aya palindromically dropping the h89
and Durr gives her the nickname Jumble-Aya Look, see, its JumbleAya whos fallen for Mixed-Up, she shouted90 linking Mary and Mr
Mecir not only romantically, but as akin in their confusion, jambalaya being
famously a multi-ingredient creole dish.91
Mixed-Up is the nickname given to the hall porter, whose real name is
Mecir. It is an Easter European name, difficult to pronounce.
You were supposed to say Mishirsh because it had invisible accents on it in some
Iron Curtain language in which the accents had to be invisible, my sister Durr said
solemnly, in case somebody spied on them or rubbed them out or something. His
first name also began with an m but it was so full of what we called Communist
consonants, all those zs and cs and ws walled up together without vowels to give
them breathing space, that I never even tried to learn it. 92
Rushdie, Salman, The Courter, in Rushdie, Salman, East, West, Vintage International, 1996, p.187
Ibidem, p.187
89
Ibidem, p.178
90
Ibidem, p.181
91
Gane, Gillian, Mixed-Up, Jumble-Aya, and English: How Newness Enters the World in Salman Rushdies The
Courter, in ARIEL: A Review of international English Literature, Vol.32, n.4, October 2004
92
Rushdie, Salman, The Courter, in Rushdie, Salman, East, West, Vintage International, 1996, pp.178-179
88
37
Mecir is, indeed, mixed-up, since a stroke left his mind turned to
rubble94 and, in this sense, the nickname may sound cruel and offensive.
On another level, however, mixed-up can be seen as having positive associations.
[] This story, like virtually all of Rushdies work, rejects notions of pure origins
and authenticity in favour of the impure, the hybrid. [] In light of this ringing
affirmation, the name Mixed-Up can be seen as not an insult but a tribute. 95
What is even more interesting to notice is the power that these new
names actually have.
The ayah, who now is Certainly-Mary because she never said plain
yes or no; always this O-yes-certainly or no-certainly-not96 at the end of
the story stands up for herself and decides to go back home.
God knows for what-all we came over to this country, Mary said. But I can no
longer stay. No. Certainly not. Her determination was absolute. 97
93
Ibidem, p.179
Ibidem, p. 193
95
Gane, Gillian, Mixed-Up, Jumble-Aya, and English: How Newness Enters the World in Salman Rushdies The
Courter, in ARIEL: A Review of international English Literature, Vol.32, n.4, October 2004
96
Rushdie, Salman, The Courter, in Rushdie, Salman, East, West, Vintage International, 1996,p.176
97
Ibidem, p.209
94
38
98
99
Ibidem, p.177
Ibidem, pp.194-195
39
by his girlfriend who represents home the other is an Indian boy living
in England.
Thus, both of them live in an in-between space, although their
attitudes towards their respective homes are different. The narrator of At
the Auction of the Ruby Slippers wants his ex-girlfriend back, while the
narrator of The Courter feels torn between two sides.
However, in the end they both decide to let the past go.
The narrator of At the Auction of the Ruby Slippers decides to stop
bidding: he renounces to Gale.
So it is that my cousin Gale loses her hold over me in the crucible of the auction. So
it is that I drop out of the bidding, go home, and fall asleep.
When I awake I feel refreshed, and free.100
As for the ropes around his neck, pulling him in two different
directions,
I buck, I snort, I whinny, I rear, I kick. Ropes, I do not choose between you. Lassoes,
lariats, I choose neither of you, and both. Do you hear? I refuse to choose.102
100
Rushdie, Salman, At the Auction of the Ruby Slippers, in Rushdie, Salman, East, West, Vintage International,
1996, p.102
101
Rushdie, Salman, The Courter, in Rushdie, Salman, East, West, Vintage International, 1996, p.211
102
Ibidem, p.211
40
3.
41
103
42
Being a story about migrant people, the novel addresses the concepts
of home and displacement and deals with the difficulties faced by the
coloured people settling in England.
The reason for leaving the island is linked with the condition of black
people and with the hope of a better life and a better future.
Michaels grandfather gives him a speech about their status as
opposed to that of white people.
Next time you see a piece of sugar cane ask yourself when the last time you did see
a white man cutting or weeding in the field. I want you to think hard when the last
time you did see a white man doing any kind of coloured man work and I want you
to remember good.
[] In Panama an old, old man, he can barely pick up an axe, he tell me that the
economics of the world be soldered with my sweat. [] Well, boy, it take me nearly
forty years to realize that I done meet a prophet, for the economics of the world be
soldered with my sweat and your sweat and the sweat of every coloured man in the
world, you understand? 104
Moreover, Leila suggests her reasons while thinking about the African
trees that grow on the island.
They were brought here to feed the slaves. They were still feeding them. They
would not feed Calvin.105
104
Ibidem, pp.40-42
Ibidem, p.18
106
Ibidem, p.11
105
43
107
Ibidem, p.115
Ibidem, p.142
109
Ibidem, p.155
108
44
The householders who have not put signs make excuses and the house
the couple finally manage to rent turns out to be a dirty slum.
At the end of the story, Michael leaves Leila, thus increasing her sense
of isolation. However, paradoxically this gives her a way out, it releases her
from an unsuccessful and destructive marriage and provides her a chance to
go back to the island, where she really belongs.
110
111
45
this and a bit of that, 112 with its carpeted walls, the reproductions of
George Stubbs racehorse paintings, the framed fragments of some foreign,
Eastern script, and an Irish flag and a map of the Arab Emirates knotted
together and hung from wall to wall. 113 Denzel and Clarence, the old
friends who are always at the pub playing domino, are Jamaicans and
Abdul-Mickey, the tall man behind the counter, is an Arab.
The friendship existing between the two main characters is symbolic
of the cultural mix that permeates all the novel.
However, Samad has many difficulties in trying to adjust himself to
England.
He is very fond of his Bengali origins and the contrast between East
and West is always present in his speeches and in his behaviours. He is
incapable of mediating between the two sets of values.
I have been corrupted by England, I see that now my children, my wife, they too
have been corrupted.114
His colleague points out the impossibility of going back to who they
were before.
I wish to live as I was always meant to! I wish to return to the East!
Ah, well we all do, dont we? murmured Shiva, [] I left when I was three.
Fuck knows I havent made anything of this country. But whos got the money for
the air fare? And who wants to live in a shack with fourteen servants on the payroll?
Who knows what Shiva Bhagwati would have turned out like back in Calcutta?
112
Salman, Rushdie, In Buona Fede, in Rushdie, Salman, Patrie Immaginarie, Oscar Mondadori, 1994, p.431
Smith, Zadie, White Teeth, Penguin Books, 2000, p.183
114
Ibidem, p.144
113
46
Prince or pauper? And who, said Shiva, some of his old beauty returning to his face,
can pull the West out of em once its in?115
Moreover, Samad has to face the difficult relationship with his twins,
born and raised in London.
Indeed, one of the main themes explored in the novel is the different
ways in which the second-generation migrants relate themselves to the idea
of homeland and home-culture.
Since childhood, Magid Iqbal has shown his desire of being integrated
and being like all his friends. For example, on his ninth birthday, some of
his white schoolmates had shown up at his house and had asked for Mark
Smith, which was the name Magid had chosen for himself.
The divergence between him and his father becomes much more
evident when it comes to decide whether the boys are going to participate to
the Harvest Festival organized by the school or not. Samad is totally against
the idea of letting them go and that is why Magid and Irie, Archies
daughter and Magids classmate, decide to protest and stop talking.
But this was just a symptom of a far deeper malaise. Magid really wanted to be in
some other family. He wanted to own cats and no cockroaches, he wanted his mother
to make the music of the cello, not the sound of the sewing machine; he wanted to
have a trellis of flowers growing up one side of the house instead of the ever
growing pile of other peoples rubbish; he wanted a piano in the hallway un place of
the broken door off cousin Kursheds car; he wanted to go on biking holidays to
France, not day-trips to Blackpool to visit aunties; he wanted the floor of his room to
be shiny wood, not the orange and green swirled carpet left over from the restaurant;
he wanted his father to be a doctor, not a one-handed waiter; and this month Magid
115
Ibidem, p.145
47
had converted all these desires into a wish to join in with the Harvest Festival like
Mark Smith would. Like everybody else would. 116
Ibidem, p.151
Ibidem, p.406
118
Ibidem, p.214
119
Ibidem, p.407
117
48
Like Magid, she wanted to fit in at school and has tried to change her
appearance. Nevertheless, in the end she starts digging in her parents past
in order to find her roots and thus find out who she really is.
In her mind, Jamaica becomes a place of freedom and possibilities, as
opposed to the secrets and lies of her family.
This well-wooded and watered place. Where thing sprang from the soil riotously and
without supervision, and a young white captain could meet a young black girl with
no complications, both of them fresh and untainted and without past or dictated
future a place where things simply were. No fictions, no myths, no lies, no tangled
webs this is how Irie imagined her homeland. [] And the particular magic of
homeland, its particular spell over Irie, was that it sounded like a beginning. The
beginningest of beginnings. Like the first morning of Eden and the day after
apocalypse. A blank page.120
Indeed, at the end of the story, she joins her grandmother in Jamaica
in the year 2000.
Ibidem, p.402
Ali, Monica, Brick Lane, Scribner, 2003, p.176
49
the immigrant experience for her arranged marriage with an older man,
Chanu.
The novel follows Nazneens life from the first obedient years, during
which Nazneen is frightened by her alien surroundings, through her affair
with the young radical Karim until her final decision to start a new
independent life.
This process is accompanied by the emotional and cultural shock of
migration, the everyday reality of racism, the hardships of settling in and
adapting to an unfamiliar country, the feeling of dislocation and identity
confusion.
London is presented as much colder and more alienating than
Nazneens birthplace.
You can spread your soul over a paddy field, you can whisper to a mango tree, you
can feel the earth between your toes and know that this is the place, the place where
it begins and ends. But what can you tell to a pile of bricks? The bricks will not be
moved.122
At first, Chanu seems to be well settled in England, with his job and
his expectations of being promoted.
Indeed, he criticizes the general attitude of Bengali immigrants
Uneducated. Illiterate. Close-minded. Without ambition. 123 who have
come to live in London.
They dont ever really leave home. Their bodies are here but their hearts are back
there. And anyway, look how they live: just recreating the village here. 124
122
Ibidem, p.66
Ibidem, pp.15-16
124
Ibidem, p.19
123
50
Ibidem, p.21
51
about the terrific struggle to preserve ones sanity while striving to achieve the best
for ones family.126
Ibidem, p.88
Ibidem, p.144
52
would appear that the real menace are the Bengali gangs whose existence
Karim had previously denied, and who ultimately take over the anti-racist
march and transform it into a violent riot.
Therefore, Karims perception of his own identity and culture is
confused and, as much as he tries, he does not seem to find a definitive
place or self-consciousness.
Both Chanu and Karim are caught in an in-betweenness and
ambivalence, which turn them in impotent men.
Nazneen, on the contrary, undergoes a process of emancipation.
She learns to take more control of her life by making her voice heard
in her home and making her own decisions. In the end, she rejects Chanu
and Karim, both of whom want in different ways to cast her in certain roles,
having the first defined her as A good worker. Cleaning and cooking and
all that. [] A girl from the village: totally unspoilt128 and the second as
His real thing. A Bengali wife. A Bengali mother. An idea of home.129
Nazneen realizes that things have changed.
She had wanted to go. But now she did not know. [] She was not the girl from the
village anymore. She was not the real thing.130
She decides to stay in London with her daughters and starts a business
with her friends.
I will decide what to do. I will say what happens to me. I will be the one.131
128
Ibidem, p.11
Ibidem, p.382
130
Ibidem, p.322
131
Ibidem, p.339
129
53
BIBLIOGRAFIA
Testi primari:
Ali, Monica, Brick Lane, Scribner, 2003
Phillips, Caryl, The Final Passage, Vintage International, 1995
Rushdie, Salman, East, West, Vintage International, 1996
Smith, Zadie, White Teeth, Penguin Books, 2000
Testi secondari:
Appignanesi, Laura e Bhabha, Homi, Identity: the real me, Institute of
Contemporary Arts, 1987
Ashcroft, Bill, Griffiths, Gareth e Tiffin, Helen, The Empire Writes Back,
Routledge, 2004
Bammer, Angelika (ed.), Displacements: Cultural Identities in Question,
Indiana University Press, 1994
Barker, Chris, The SAGE Dictionary of Cultural Studies, SAGE
Publications, 2004
Bhabha, Homi, The Location of Culture, Routledge, 2004
Chambers, Iain, Migrancy, Culture, Identity, Routledge, 1994
Hall, Stuart e Du Gay, Paul, Questions of Cultural Identity, SAGE
Publications, 2003
Pagetti, Carlo e Palusci, Oriana, The Shape of a Culture. Il dibattito sulla
cultura inglese dalla rivoluzione industriale al mondo contemporaneo,
Carocci editore, 2004
54
55
SITOGRAFIA
56
RINGRAZIAMENTI
57
Un grazie anche a Max, Veronica, Leo, Davide, Gio, Andre, Robi e Saba,
per le serate a mangiare insieme, quelle a bere, e grazie pure per quelle in
cui non si fa nulla.
Grazie a Mirca e a Carlo, per avermi accolta e fatta sentire a casa.
Grazie a Milano, al Birrificio di Lambrate, al Kobe 2 in Porta Romana e al
Papiro di Precotto.
E, infine, grazie alla mia relatrice, Nicoletta Vallorani, per avermi aiutata in
questo lavoro, e soprattutto per essere stata dispirazione fin dalla prima
lezione, tempo fa.
Grazie di cuore a tutti.
58