Welcome to The Valve
Login
Register


Valve Links

The Front Page
Statement of Purpose

John Holbo - Editor
Scott Eric Kaufman - Editor
Aaron Bady
Adam Roberts
Amardeep Singh
Andrew Seal
Bill Benzon
Daniel Green
Jonathan Goodwin
Joseph Kugelmass
Lawrence LaRiviere White
Marc Bousquet
Matt Greenfield
Miriam Burstein
Ray Davis
Rohan Maitzen
Sean McCann
Guest Authors

Laura Carroll
Mark Bauerlein
Miriam Jones

Past Valve Book Events

cover of the book Theory's Empire

Event Archive

cover of the book The Literary Wittgenstein

Event Archive

cover of the book Graphs, Maps, Trees

Event Archive

cover of the book How Novels Think

Event Archive

cover of the book The Trouble With Diversity

Event Archive

cover of the book What's Liberal About the Liberal Arts?

Event Archive

cover of the book The Novel of Purpose

Event Archive

The Valve - Closed For Renovation

Happy Trails to You

What’s an Encyclopedia These Days?

Encyclopedia Britannica to Shut Down Print Operations

Intimate Enemies: What’s Opera, Doc?

Alphonso Lingis talks of various things, cameras and photos among them

Feynmann, John von Neumann, and Mental Models

Support Michael Sporn’s Film about Edgar Allen Poe

Philosophy, Ontics or Toothpaste for the Mind

Nazi Rules for Regulating Funk ‘n Freedom

The Early History of Modern Computing: A Brief Chronology

Computing Encounters Being, an Addendum

On the Origin of Objects (towards a philosophy of computation)

Symposium on Graeber’s Debt

The Nightmare of Digital Film Preservation

Richard Petti on Occupy Wall Street: America HAS a Ruling Class

Bill Benzon on Whatwhatwhatwhatwhatwhatwhat?

Nick J. on The Valve - Closed For Renovation

Bill Benzon on Encyclopedia Britannica to Shut Down Print Operations

Norma on Encyclopedia Britannica to Shut Down Print Operations

Bill Benzon on What’s an Object, Metaphysically Speaking?

john balwit on What’s an Object, Metaphysically Speaking?

William Ray on That Shakespeare Thing

Bill Benzon on That Shakespeare Thing

William Ray on That Shakespeare Thing

JoseAngel on That Shakespeare Thing

Bill Benzon on Objects and Graeber's Debt

Bill Benzon on A Dirty Dozen Sneaking up on the Apocalypse

JoseAngel on A Dirty Dozen Sneaking up on the Apocalypse

JoseAngel on Objects and Graeber's Debt

Advanced Search

Articles
RSS 1.0 | RSS 2.0 | Atom

Comments
RSS 1.0 | RSS 2.0 | Atom

XHTML | CSS

Powered by Expression Engine
Logo by John Holbo

Creative Commons Licence
This work is licensed under a Creative Commons License.

 


Blogroll

2blowhards
About Last Night
Academic Splat
Acephalous
Amardeep Singh
Beatrice
Bemsha Swing
Bitch. Ph.D.
Blogenspiel
Blogging the Renaissance
Bookslut
Booksquare
Butterflies & Wheels
Cahiers de Corey
Category D
Charlotte Street
Cheeky Prof
Chekhov’s Mistress
Chrononautic Log
Cliopatria
Cogito, ergo Zoom
Collected Miscellany
Completely Futile
Confessions of an Idiosyncratic Mind
Conversational Reading
Critical Mass
Crooked Timber
Culture Cat
Culture Industry
CultureSpace
Early Modern Notes
Easily Distracted
fait accompi
Fernham
Ferule & Fescue
Ftrain
GalleyCat
Ghost in the Wire
Giornale Nuovo
God of the Machine
Golden Rule Jones
Grumpy Old Bookman
Ideas of Imperfection
Idiocentrism
Idiotprogrammer
if:book
In Favor of Thinking
In Medias Res
Inside Higher Ed
jane dark’s sugarhigh!
John & Belle Have A Blog
John Crowley
Jonathan Goodwin
Kathryn Cramer
Kitabkhana
Languagehat
Languor Management
Light Reading
Like Anna Karina’s Sweater
Lime Tree
Limited Inc.
Long Pauses
Long Story, Short Pier
Long Sunday
MadInkBeard
Making Light
Maud Newton
Michael Berube
Moo2
MoorishGirl
Motime Like the Present
Narrow Shore
Neil Gaiman
Old Hag
Open University
Pas au-delà
Philobiblion
Planned Obsolescence
Printculture
Pseudopodium
Quick Study
Rake’s Progress
Reader of depressing books
Reading Room
ReadySteadyBlog
Reassigned Time
Reeling and Writhing
Return of the Reluctant
S1ngularity::criticism
Say Something Wonderful
Scribblingwoman
Seventypes
Shaken & Stirred
Silliman’s Blog
Slaves of Academe
Sorrow at Sills Bend
Sounds & Fury
Splinters
Spurious
Stochastic Bookmark
Tenured Radical
the Diaries of Franz Kafka
The Elegant Variation
The Home and the World
The Intersection
The Litblog Co-Op
The Literary Saloon
The Literary Thug
The Little Professor
The Midnight Bell
The Mumpsimus
The Pinocchio Theory
The Reading Experience
The Salt-Box
The Weblog
This Public Address
This Space: The Fire’s Blog
Thoughts, Arguments & Rants
Tingle Alley
Uncomplicatedly
Unfogged
University Diaries
Unqualified Offerings
Waggish
What Now?
William Gibson
Wordherders

Monday, July 13, 2009

Postcolonialism Redux

Posted by Rohan Maitzen on 07/13/09 at 11:35 AM

I am still working on my understanding of postcolonial theory, with an eye to revising my paper on Soueif’s In the Eye of the Sun for eventual journal submission. The more I read, the clearer some things become, though I don’t pretend to anything like mastery over a field that (the more I read) looks increasingly complex and conflicted--which is to be expected of any field, of course, as you try to move beyond rough generalities.  I think I do now see past some of my earlier confusions and slippages, and I also understand better the importance of some of the things people with more expertise in this area have said to me along the way. I think I also see ways in which some of these things people have said to me represent specific approaches to postcolonial studies that are themselves disputed. I realize that I have nothing to contribute to expert debate in this field (except, perhaps, grounds for further correction or guidance--which, of course, I will be happy to receive), so those of you who know this already, or are tired of trying to explain, can ignore what’s below the fold, but it helps my own thinking to see if I can say ‘out loud,’ as it were, what I have been learning.

One of the most important things I’m getting better at is making distinctions between different means of “postcolonialism.” For starters, I now understand that there was a time when (particularly in certain fields of study besides literature, such as history, economics, or political science) “postcolonial” meant more or less just what it sounds like, that is, it was a chronological marker meaning after the end of colonial rule. I think that the term was (and is) still used in this way, including in some discussions of literature that try to place particular texts or writers historically and also nationally. Gradually, however, this chronological sense of “post” as “after” shifted towards “post” as “against” or “anti"--at least, in some kinds of discourse, particularly including literary or theoretical. While not the first, perhaps one of the most important works in developing this meaning, or this use, of the term to signify an attitude rather than an era is The Empire Writes Back, in which the authors argue that what makes the literature of an array of countries is “distinctively post-colonial” is that it “foreground[s] the tension with the imperial power, and emphasiz[es] their differences from the assumptions of the imperial center” (2). In Feroz Jussawalla’s words,

What most convincingly defines a postcolonial novel, then, is the author’s attitude towards his or her country and its culture, an attitude of its distinctness and difference from that of the European colonizer. ("Postcolonial Novels and Theories")

So now we have not just a historical distinction between pre-colonial, colonial, and post-colonial literature, but an ideological distinction between literature that is postcolonial in its attitude and literature that is not. Here I admit to some continuing confusion: is the opposite of postcolonial literature of this kind pro-colonial literature, or imperialist literature? Or is it the literature of the “imperial center” or “European colonizer”? Is that literature, by virtue of being, well, itself, assumed to be pro-colonial? Or is it, more neutrally, just literature that (again, by virtue of being itself) represents that against which postcolonial literature defines itself?

There is a further important distinction to be made between the discourse of postcolonial literature and that of postcolonial theory, or between postcolonialist as category of literary texts, and postcolonialist as a category of critical or theoretical discourse or a reading strategy. This issue was rightly brought up a couple of times by commenters on my previous posts (e.g. here), and I am increasingly aware of its relevance to the decisions I need to make about how (or why) to write about Soueif’s novels. Before I say more about that, though, I want to touch on a couple of additional points about identifying or defining certain texts as postcolonial, and particularly about what doing so means or implies about their relationship to canonical Western texts.

First, in my conference paper, I framed my reading of In the Eye of the Sun with an argument about how the novel resists being read as a “postcolonial novel”. I knew I was using a broad brush, but I felt from the reading I’d done so far that the generalization I had in mind was a reasonably safe one: that “postcolonial novels” were understood to be those that wrote back (to use Ashcroft, Tiffin, and Griffith’s phrase) against the literary language and forms of “the West"--again, those having (or assumed to have) a particular political attitude. So far, what I’ve read since has rather reinforced this view than undermined it (e.g. Jussawalla, who writes that “postcolonial literature is widely understood to be a literature that writes against empire"). There is an easy slip from here to the idea that all texts from postcolonial circumstances (historical, national) are assumed to be written about the same range of issues and from the same perspective. The very close relationship in critical writing between texts identified as postcolonial and postcolonial criticism and theory is part of what makes the big picture look this way, I think: that is, as a commentor pointed out at The Valve, it is typical for postcolonial texts to be addressed by postcolonial critics, which means they are known and talked about within a relatively specific (I might even say, narrow) context that artificially homogenizes their actual variety. At the same time, given the specific understanding of postcolonialism as an attitude or worldview, one to which the texts selected for such analysis need to, or are expected to, conform, some circularity in this process seems inevitable. This is what I had gathered, albeit impressionistically, from my own previous ventures into this field, and some of the articles I have read make points similar to mine about the resulting interpretive constraints. Here’s what I said in the previous exchange,

Your second point, about the distinction between postcolonialism as reading strategies and literature labelled “postcolonial” rightly identifies a slippage in my usage of that term, one I struggled with--but one that I think does happen in a more general way, in that books coming from “postcolonial” places are read with an emphasis on the kinds of issues (political, national) that are also primary in postcolonial theory. That is, a frequent starting assumption is that these books are primarily about colonialism, national identity, etc.--if not unambiguously as “national allegories,” then at least as statements about postcolonial positionality.

And here, for instance, is Jussawalla again:

Another unfortunate consequence of the rise of postcolonial theory is the unwillingness of some proponents to see anything in postcolonial literature except its challenges to hegemonic forces. Indeed, some novelists have articulated a sense of frustration with continually being tied to the colonial millstone.

Working towards a more nuanced understanding of the ways writers have engaged with the Western literary tradition, I thought John Marx’s essay “Postcolonial literature and the western canon” gave a very helpful synthesis; like the authors of The Empire Writes Back, who propose a development from “settler” literature to “literature produced under ‘imperial licence” to varieties of resistance and then appropriation, Marx highlights a movement from repudiation to critique, with an emphasis on anti-imperialism, to revision and rewriting, a less confrontational and more transformative form of engagement. Marx writes,

[A]cts of unwriting and rewriting had the effect of destabilizing the homology between colonial mastery and the mastery of European culture. . . . though such reworked versions tend to reinforce the centrality of Western writing by default, treating canonical texts as a source of raw material could not help but transform them . . . moreoever, they estranged the canon for Western readers, and uncovered complexity many had never noticed before.

I found particularly interesting Marx’s argument that the incorporation of postcolonial writing into the curriculum--and its wider audience more generally--has “enabled [even obliged, he implies] educators and their students to re-examine the interaction between literature and history as well as to redefine the meaning of cultural literacy and literary culture.” He sees as a result the emergence of a new, inclusive model of humanism. He quotes Anthony Appiah: “What is necessary to read novels across gaps of space, time, and experience is the capacity to follow a narrative and conjure a world: and that, it turns out, there are people everywhere more than willing to do.” In Marx’s view,

Because it maintains an authority to mediate local culture, postcolonial literature reveals that cultural differences can be overcome, as demonstrated by what Appiah describes as a basic human capacity to read and understand literature (at least of the narrative sort). Without sacrificing its point of entry into literary curricula as the representative of cultures repressed by imperialism, therefore, postcolonial literature seems poised to acquire the responsibility once claimed by the Western canon of mediating and defining the essential elements of our humanity.

The idea that literature bridges difference is hardly new, but this particular spin on it--that postcolonial literature in particular is coming to define a new ethically reinvigorated humanism for a global world-- intrigues me and marks one of the key points I want to explore further. (It provides, among other things, a framework for reading both the literary and the ethical value of something like Nadeem Aslam’s extraordinary novel The Wasted Vigil, which I am currently reading.)

Marx’s (and, I gather, Appiah’s) interest in humanism seems like a useful place to return, however, to the distinction between talk about postcolonial literature and talk about postcolonial theory, as I think in theoretical discourse humanism would still largely be equated with Eurocentrism and thus regarded with suspicion. Here, what I’ve been trying to figure out how to understand (if not necessarily reconcile) arguments about the meaning of “implication” (as discussed, for instance, here) alongside claims that postcolonial theory is not “totalizing” (e.g. here). Still in the interests of trying to grasp larger principles (which are hard for a beginner to discern from ‘primary’ theoretical texts--though I have been reading what I can of these too), I found the distinction proposed in Neil Lazarus’s introduction to the Cambridge Companion to Postcolonial Literary Studies illuminating, though no doubt it (like everything else) is controversial.

Lazarus suggests that there are two main approaches to postcolonialism, one which considers Eurocentrism an “ideology,” and one which considers it an “episteme.” He considers Said someone who held the former view along with a “realist epistemology,” the implications of which are that one can stand outside Eurocentrism and “subject its claims to scrutiny”; “it is quite obvious [in Said’s work] that there is an ‘East’ and that it is systematically misrepresented in Orientalist discourse.” (Lazarus believes that scholars following Said have wrongly emphasized the Foucauldian idea that discourses produce worlds or realities.)

The second approach he describes considers Eurocentrism as “a hegemonic mode of conceptualization, whose structuring propensities are so deeply and insidiously layered that they cannot but be determinative of all scholarly production.” Resistance to Eurocentrism on this model can lead to scholars rejecting “modernity, Europe, and rationality itself"--because these modes of thought replicate (reflect, are constitutive of) Eurocentric values, and it is thus impossible to critique Eurocentrism from within.

I’m not sure, but I wonder if this distinction is at the heart of the objection raised here to my protest about postcolonial theory appearing to assume its conclusions when it claims that all literature of the colonial era is “implicated” in colonialism or imperialism. If Eurocentrism functions as what Lazarus is calling an episteme, that implication does seem inevitable. But of Eurocentrism is what he calls an ideology, then some writers, even Victorian writers, might, in principle, stand outside it and “subject its claims to scrutiny.” Would they still be “implicated”? Here, I’m still confused about whether the intent is to accuse (and, as I’ve said before, not only is the word “implication” not neutral, but neutrality is probably not a morally appropriate stance towards slavery or colonialism) or just to make a sort of obvious point that every writer during the colonial era had some link--personal, financial, etc.--to colonial enterprises, just as today most of us in the west have some link to, say, child labour or deforestation. The account of “implication” offered to me here,

Pointing out that a novel is implicated in colonialism is akin to arguing that, much like the society it seeks to describe (and out of which it was produced), a novel necessarily confronts, and is confronted by, its colonial legacy—even, and especially, when it does not do so explicitly.

does not altogether help me sort this out, because it continues to blur textual and critical postcolonialism, because I’m not sure what the “colonial legacy” of a novel would be, and because I don’t see why not confronting colonialism directly means confronting it (or being confronted by it)especially. I also continue to wonder whether, once you’ve adopted the view that everything is always already Eurocentric, it doesn’t became crucial (just as it might have been before that was your perspective) to distinguish between those that, despite (even in spite of) these lurking structural or systemic implications, nonetheless set out on the face of things to oppose or criticize colonialism. In any case, if the point of the postcolonial reading is to reveal how a novel “confronts, or is confronted by, its colonial legacy,” then I’m still not convinced that there isn’t something reductive about that approach (the same comment argued that it was reductive on my part to say “that post-colonial critics simply create confrontational, or corrective, readings")--but as was also pointed out, every critical approach has its domain, and it may be no more reasonable to object to the emphasis of postcolonial critics on empire than it would be to object to the emphasis of feminist critics on gender.

Though I hope I’m making progress, clearly I still have a lot to learn about the terms and stakes of these debates. Perhaps ironically, then, the most important insight I have arrived at in the past couple of weeks may be in answer to my oown very early question about Soueif, which was “whether working on an Egyptian novelist writing in a post-colonial context necessitates using post-colonial theory” (here). RFD noted that “if non-post colonial readings of novels like Soueif’s are going to happen, the novels need to be read by people who aren’t interested in post-colonial reading.” As I replied to him,

In fact I was not initially inclined to approach In the Eye of the Sun as a postcolonial text, or through postcolonial theory, but as I went along I felt--perhaps wrongly--that given the existing critical literature on it and the novel’s own awareness of moving between cultures and languages and so on, I had to start by trying to explain why I thought that was not in fact the best way to go. So that was the strategy I settled on for framing this paper, though in many ways the heart of the paper, for me, is the middle section I omitted here, in which I try to demonstrate the “affinities” between the two novels.

My latest round of reading suggests that suggests that a postcolonial reading is not in fact called for, though an appreciation of how Soueif might (or might not) be considered a postcolonial writer might be appropriate. Though I have a number of dissatisfactions with the paper I came up with for ACCUTE, chief among it is that I did not initially set out, after reading In the Eye of the Sun, to work on the issues that seem to be central to postcolonial theory (national identity, place, language) but rather wanted to consider the novel in relation to my own previous work on the ethics of fiction, particularly in relation to George Eliot. I think now that I should have done just that--but that I am better equipped to return to that project now, not least because postcolonialism in both literature and criticism is in so many respects an ethical project.

(x-posted)


Comments

The slippages you identify between postcolonial literature and postcolonial theory and between ideology and episteme are, I think, really helpful, especially when they’re seen as interacting, and perhaps the issue with the (mostly intentional) vagueness of “implication” is the product of just this interaction.

Although not all postcolonial criticism is deconstructive in nature, I think there is almost always at work a general acceptance of some of post-structuralism’s main ideas (or slogans)--one of them being that “there is no outside-the-text.” Working with the postcolonial literature vs. postcolonial theory distinction, this idea often cashes out to a principle that the author can never stand outside her text and produce a reading of her own book that is fully self-aware and authoritative, and that this is why we need postcolonial theory--not to complete the text (because the critic can’t occupy a position fully outside the text either) but to supplement it or to intervene within it.

But this principle gets reproduced, I think, within the distinction between ideology and episteme such that even if an author understands colonialism or orientalism as an ideology and goes on to oppose it as such openly and directly, that author cannot also be understood as standing outside of it. There is thus a slippage back toward the understanding of imperialism/colonialism/orientalism as an episteme in the sense that one can never get outside of it, but this does not also mean that one is incapable of opposing it or that one is always rendered an unwilling/unwitting supporter of it, even in opposition.

So, for instance, Achebe’s novels are postcolonial literature in the sense that they understand colonialism/imperialism as an ideology and “write back” against it, but they are nevertheless open to postcolonial theory because his novels are never capable of standing outside themselves and defining their relationship to that ideology in immutable and unequivocal terms--they can’t produce univocal, unarguable readings of themselves. That isn’t to say that Achebe is ignorant of what his books contain or what they are about and it certainly isn’t to say that secretly, against his will and his knowledge, he’s supporting imperialism through his books, just that he can’t close off his own texts to the ideology of empire, that the relationship between his texts and the ideology of empire remains dynamic. Of course, the critic can no more close off the text than Achebe can (which gets back to your and RFD’s comments about totality), but in adding a reading to the text, the critic can define some of the dynamics that continue to exist between the text and the ideology of empire.

I have taken this inability to close off one’s own text as the definition of “implication,” and that definition is neutral; obviously, it’s not used that way most of the time, and in most cases it seems to connote something collusive, even if inadvertently so. Those cases are, I think, when the distinctions between postcolonial lit and poco theory and between ideology and episteme slip more than they need to, but these slippages are, in fact, necessary and productive.

By Andrew Seal on 07/14/09 at 02:31 PM | Permanent link to this comment

We should be careful of any sharp line between postcolonial theory and postcolonial literature also because so much of the theory emerged out of explanations of what the artists were already up to.

Achebe’s novels suggest a certain theoretical approach to the issues surrounding colonial histories and postcolonial transformation. 

And we see the reclamation of oppressed voices and the critique of oppressor’s representations in the work of artists before we see it as a major idea in the work of critics.  I’ve been reading H.D.’s *Helen of Troy* (1961), which came out of a project she began in the mid 40s to revise and reclaim the images of women by revising and rethinking the representation of gods and heroes/heroines in ancient and classical religious and literary texts.  What H.D. is up to is, of course, not essentially different than what Rhys was doing simultaneously in *Wide, Sargasso Sea* or what Said does in *Culture and Imperialism*. 

In fact, it would be interesting to consider the relationship between postcolonial theory and the modernist project: what Eliot and Joyce do in “the mythic method” lays the groundwork for the sort of revisionary thinking of postcolonial theory and literature.  For me, the best example is Wilson Harris, whose novels are at once a form of high modernist art and a form of postcolonial literary criticism.

By on 07/17/09 at 03:55 PM | Permanent link to this comment

Add a comment:

Name:
Email:
Location:
URL:

 

Remember my personal information

Notify me of follow-up comments?

Please enter the word you see in the image below: