The Present Elsewhere: Theorizing an Aesthetics of Displacement in Contemporary African American and Postcolonial Literatures
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THE PRESENT ELSEWHERE: THEORIZING AN AESTHETICS OF DISPLACEMENT IN CONTEMPORARY AFRICAN AMERICAN AND POSTCOLONIAL LITERATURES Mary Alice Kirkpatrick A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2010 Approved by: Minrose Gwin William L. Andrews Pamela Cooper Rebecka Rutledge Fisher Trudier Harris © 2010 Mary Alice Kirkpatrick ALL RIGHTS RESERVED ii ABSTRACT Mary Alice Kirkpatrick: The Present Elsewhere: Theorizing an Aesthetics of Displacement in Contemporary African American and Postcolonial Literatures (Under the direction of Minrose Gwin) “The Present Elsewhere” investigates the aesthetic traits and political implications of displacement in contemporary African American, Caribbean, and Canadian works. Arguing that displacement resonates textually, I interrogate the degree to which artists purposely leave their works in states of flux. Framed through the lens of nomadic, transitional figures (including diasporic cultural orphans, child clairvoyants, and reincarnated ghosts), this project develops the notion of an aesthetics of displacement – that is to say, an aesthetics informed by political urgency. Writers such as Michael Ondaatje, Toni Cade Bambara, and Octavia Butler rearrange customary geographic and chronological placements, unsettle narrative lines, and challenge shared histories of oppression. Propelled into active engagement, readers are encouraged to adopt new roles as migrants and witnesses. The political significance of works that displace radiates externally, as readers are directed toward sites of change well beyond the confines of individual texts. By bringing together seemingly divergent traditions, “The Present Elsewhere” examines the specific historical conditions, cultural backgrounds, and geographic contexts that produce sites of displacement within the Caribbean island, U. S. South, African desert, New Orleans cityscape, and even architectural landscapes. While carefully upholding the distinction and integrity of individual experience, I demonstrate that this aesthetics of displacement, as a theoretical model that engages with iii literary aesthetics, politics, and ethics, generates new opportunities for comparativist scholarship within and between African American and postcolonial literatures. iv For Dee Anne and Kathryn, my biggest believers, dearest friends, and greatest inspirations v ACKNOWLEDGMENTS Unofficially, this project is dedicated to my mother. I say unofficially because she never saw me graduate from college, much less enter a PhD program. Yet one of her oft-repeated sayings, a platitude she reserved for seemingly insurmountable tasks – and writing a dissertation certainly qualifies as such – helped me maintain focus. With a gleam in her eye, Jackie would exclaim, “How do you eat an elephant?” One of her three daughters, typically she to whom the question was directed would, eyes rolling heavenwards, begrudgingly reply, “One bite at a time.” And this dissertation has been written – finally – one bite at a time. As time has marched on, my intellectual and personal debts have accumulated. What a wonderful, humbling realization! Writing a dissertation signals an incredibly solitary undertaking, but completing this project involved the overwhelming support from a vast network of mentors, friends, and family members. Minrose Gwin took me on as her first UNC doctoral student veritably sight (and certainly work) unseen. Quite simply put, she astounds me. As a scholar and a writer, she has left no genre unturned. Her relentless drive and high expectations for her own pursuits pushed me to conduct rigorous research, articulate strong arguments, craft clear prose, chase theoretical sophistication, and embrace ethically responsible scholarship. An unexpected yet delightful benefit of writing under Minrose’s direction was gaining Ruth Salvaggio’s input as well. Her intellectual generosity and unflagging spirit for endless projects ending proved instrumental at several key junctures along the way. Some of the most respected minds converged on my committee and thus shaped my dissertation. I have been so honored and privileged to work with these individuals. From the outset, Bill Andrews and Trudier Harris sparked and nurtured my abiding interest in African American literature. As models for visible, committed, and lifelong intellectual engagement, they represent the very best of what a public university can offer. In working with Bill Andrews, I had the wonderful opportunity both to contribute to and collaborate on his North Carolina Roots anthology. I reserve the utmost respect for Dr. Harris. Her contributions to the field are renowned, yet her advocacy on behalf of students is far more impressive. I was privileged to witness and experience both firsthand. Many thanks to Rebecka Rutledge Fisher, whose insightful comments on a late chapter draft prompted me to begin conceptualizing this project as a book manuscript. I can imagine neither a better nor more instrumental mentor than Pam Cooper, who literally accompanied me from my first day of graduate school until my very last. At each step, whether introducing me to The English Patient or directing my M.A. thesis, counseling me through the prancing demands of doctoral exams or chairing my dissertation committee, she has offered tangible support and unending kindness. I am forever grateful. vi I also am indebted to several individuals well outside my fields of expertise. Chief among those is Megan Matchinske, whose sage wisdom, incisive reading, concrete suggestions, and collegial banter made both the job market and finishing this year almost pleasant. Perhaps I should have received a minor in early modern studies, if only by proxy. Throughout my graduate career, Reid Barbour and Jessica Wolfe offered excellent counsel and undaunted enthusiasm, typically dispensed as I was either arriving to or departing from their house while dogsitting for the dynamic dachshund duo. Among a wonderful group of friends and colleagues, I am deeply, profoundly grateful to these folks: Julie, who physically brought me bags of food in the waning weeks and, long ago, became more like family than any friend; Phil, the best colleague and commuting partner-in-crime for two years running, who offered a patient listening ear and humor of the most deliciously biting sort; Mary, whose consistent encouragement and strong belief proffered invaluable perspective; Donna, whose prophylactic support shored up sanity at an insane time; Susan, whose shocking (if fleeting) subversion provided much-needed levity in a challenging moment; and Robert, whose long-distance rallying and formatting genius propelled me across the finish line. Other colleagues, mentors, friends, and family who deserve mentioning by name: Claudia Allums, Kristina Bobo, Melissa Bostrom, Anne Boyle, Maura D’Amore, Nancy Dayton, Neal Fann, Evan Gurney, Chris Hill, Anna (Kirkpatrick) Scott Huser, Judy Kencke, Jennifer Larson, Andy Leiter, Steve Messer, Emily Plummer, Karah Rempe, Rose & John Scott, Amy McGuff Skinner, Tara Tang, Jane Thrailkill, Rashmi Varma, and Alicia Wagner. And the list could go on. Thanks very much to each of you. I have saved the very best for last: acknowledging my immediate family’s bountiful support. Thanks to my father, whose occasional query – “Well, when are you going to make any real progress?” – kept me honest. Moreover, the Stonehenge intensity, work ethic, ambition, and appreciation for advanced degrees gave me the confidence to “give ‘em hell.” To F. Jeremy Freeman, truly the best brother-in-law in the world, there’s only one suitable thing to say: “Boomtown!” This project is dedicated to my amazing sisters, Dee Anne and Kathryn. I really am at a loss for words. Suffice it to say, your presence kept me alive and sustained me through the darkest times imaginable. And finally to Matt, who hung in there through the bitter end. You are, unequivocally, the year’s best surprise. I look forward to what’s to come. vii TABLE OF CONTENTS INTRODUCTION…………….………………………………………………………………1 Chapter I. VEXING HISTORIES IN THE CARIBBEAN HOME-PLACE: DIASPORIC FLIGHT AND RETURN IN TONI MORRISON’s TAR BABY, SHANI MOOTOO’s CEREUS BLOOMS AT NIGHT, and JAMAICA KINCAID’s A SMALL PLACE………………………………………………………18 Multiple Migrations, Ideological Opposition, and the Diasporic Aesthetic: Searching for Home and Identity in Tar Baby……………………………………….27 Colonial Abuse, Paternal Incest, and the Controversial Space(s) between: Portraits of South Asian Diaspora in Cereus Blooms at Night………………………48 The Personal as Political: Jamaica Kincaid’s Violated Small Place…………………66 Multiple Routes Embedded in the Caribbean Home-Place………………………….76 II. POLITICALLY RECASTING THE SOUTHERN LANDSCAPE: ROVING VISIONARIES IN THE FICTIONS OF TONI CADE BAMBARA AND RANDALL KENAN…………………………………………….81 The Salt Eaters: Healing and Community across a Space-Time Continuum………..85 Randall Kenan: Biographical and Textual Revisions of the South…………………..97 Vectored Visionaries: Remapping the Southern Field……………………………...108 Aesthetic and Political Implications for an Expanding South……………………...119 III. BREACHING NARRATIVE TIME AND SPACE: REPETITIOUS RUPTURE AND TIME TRAVEL IN OCTAVIA BUTLER’S KINDRED AND PHYLLIS ALESIA PERRY’S STIGMATA………………………………….122 Legacies of Cultural Memory………………………………………………………123 viii The Past’s Vexing Kinship…………………………………………………………127 Ancestral