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Mourning Literary Nationalism in Michael Ondaatje's in the Skin of a Lion and the English Patient

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Mourning Literary Nationalism in Michael Ondaatje's in the Skin of a Lion and the English Patient Intertextual Bastards : Mourning Literary Nationalism in Michael Ondaatje's In the Skin of a Lion and The English Patient by Aaron Mauro A Thesis Submitted to the Faculty of Graduate Studies of The University of Manitoba in Partial Fulfillment of the Requirements of the Degree of Master of Arts Department of English University of Manitoba Winnipeg 2007 TITE T]NTYERSITY OF MJ.NITOBA FACULTY OF GRÄDUATE STI]DIES COPYRIGHT PERMISSION Intertextual Bastards: Mourning Literary Nationalism in Michael ondaatje's In the skin of a Lion and rhe Engrish patient BY Aaron Mauro A ThesisÆracticum submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfillment of the requirement of the degree MASTER OF ARTS Aaron Mauro @2007 Permission has been granted to the University of Manitoba Libraries to lend a copy of this thesis/practicum, to Library and Archives Canada (LAC) to lend a copy of this thesis/practicum, and to LAC's agent ([IMlÆroQuest) to microfilm, sell copies and to publish an abstract of this thesis/practicum. This reproduction or copy of this thesis has been made available by authority of the copyright ovvner solely for the purpose ofprivate study and research, and may only be reproduced and copied as permitted by copyright Iaws or with express written authorization from the copyright owner. Abstract In her 1969 text Semeiotikè, Julia Kristeva coins the term intertextualité which functions to displace intersubjective relations between literary authors. The form and structure of a book, within Kristeva's estimation, enacts a specific political ideology. As such, between the beginning and end of a novel is an analogy to the author's life and death, which irrevocably links the author as the guarantor of meaning for any given text. By extension, between the bounds of a book and the borders of a nation, literary nationalism manifests the sovereignty of the nation and the authority of the author based on a family structure. By contrast, accepting the movement of intertextuality as beyond the authority of an author, as an extension of Kristeva's thought, literary nationalism must be redefined beyond the sovereign authority of the nation. This thesis seeks to demonstrate how a genealogical family structure, and the resulting hierarchies found in patemity, patriotism, and national identity, continues to support a familiar form of national literary tradition. By reading the intertextual structure of a text, a dismantling of the genealogical model may then be effected. In the words of Edward Said in Culture and Imperialism, nations are of the connections, not outside and beyond them. Thus,I will read Michael Ondaatje's two interlinked novels, In the Skin of a Lion and The English Patient, which dismantle familial structures and genealogical literary tradition through an open set of intertextual relations. Where a national gathering is defined as movement, there is no fixed or perrnanent space tobe of connection, not even in the intertextual text where citations are gathered. At stake within this model of intertextuality as movement, and of intemationality as intertextuality, is an abyssal thought of relations which does not inflict violence upon texts or peoples. Acknowledgements I would like to thank Dr. David Williams of St. Paul's College for guiding me over mountains to rivers of wisdom. I would also like to thank Dr. Dawne McCance of the Department of Religion for always encouraging me to stay close to the text. I also wish to express my gratitude to the University of Manitoba, the Social Sciences and Humanities Research Council of Canada, the Province of Manitoba, St. Paul's College, and the University of Manitoba Students Union for the financial support that made this work possible. Table of Contents Chapter 1: Introduction...... ........1 Chapter 2: "otherwise They were Just Men From Nowhere": Beginnings, Family Ties, and Saving Traditions inln the Skin of a Lion.. .......34 Chapter 3: "Destroy Not Thy People and Thine Inheritance": Mouming, the Rogue's Gaze, and Intertextual BastardsinThe English Patient. ......70 .Works Cited. .. .. 1 10 Chapter 1 : Introductron "Never again will a single story be told as though it were the only one." So Michael Ondaatje begins his novel In the Skin of a Lion with a citation from John Berger's novel G. (133). With the addition of a citation from the epic of Gilgamesh,whatbearing do these epigraphs have on a reading of In the Skin of a Lion and Ondaatje's fiction in general? In a novel that is decidedly political, how is Berger's statement, and Ondaade's citation of it reflected in the politics of the novel? Is a citation, a restatement from another text, necessanly a political statement? Texts, whether they are plays, poems, essays, newspapers, or novels, are clearly able to act within and with the political field; but then few forms of writing are without politics. As the foundation of the cultural study of literature, such an assumption about writing informs the study of national literatures, which are read as agents in the formation of nations, national identities, and nationalisms. However, the form and structure of a book enacts a specific political ideology. Between the bounds of a book and the borders of a nation, literary nationalism manifests the sovereignty of the nation and the authority of the author based on a family structure. In his Imagined Communities, historian Benedict Anderson describes the history of nations as a "family history" (201). The sovereignty or independence of nation-states, like the distinction of their cultural products (such as literature) from that of other nations, has become the foundation of both political and cultural inheritance: "and, as an ínheritance, it was compelled to enter a genealogical series" (196), says Anderson. Thus, literary and national histories seem to be modelled on the hierarchical structures of the family, which Anderson identifies as being disseminated and homogenized through the spread of "print- capitalism." Such printed forms, along with the authority of national authors, are a means of distilling or summarizinga national identity within a common language and ideology. As I hope to demonstrate, citations, references, and allusions, which open the whole field of intertextual relations, disrupt the "natural" genealogical, familial series that structure many of the hierarchies seen in the modern nation and novel. With the globalization of communication, travel, and immigration, many writers have commented upon the breakdown of national, economic, cultural, and geographical territories. As a result, a national author or an author from a nation (which is merely a privilege of birth) is less able to summarize the national experience. Canadian literature, and in particular the works of Michael Ondaatje, tend to foreground the heterogeneous nature of nationalism. For Ondaatje, the relationship between writing and the political is a discourse on relations and relationships, connections and communities, and inheritance and heritage. As Edward Said says, speaking as an Arab-American in Culture and Imperialísm on the "question of our relationship to [. .] other cultures, states, histories, experiences, traditions, peoples, and destinies," we "are, so to speak, of the connections, not outside and beyond them" (55). In the works of Ondaatje, such connections of texts, cultures, lovers, and friends become enmeshed, intertextually, with the political. In short, intertextuality becomes a program for living internationally. Intertextuality may be understood simply as movement; it is a movement between texts. Thes e intertextual territories gesture towards relationships or, perhap s, relations. Intertextuality addresses relations between one and the other territory, text, or nation. However, an intertextual reading upsets the familiar structure of tradition by which one author begets the next. The lineage of one writer "begetting" another has been the basis of Ja all relations in the Westem tradition. The linear genealogy of texts, which favours chronological priority of fathers over sons, guides our notion of inheritance from one text to the next. Under such a familial structure, texts are genetically related to each other, while remaining dependent, through family lines. If the relationship between authors is determined by place of origin (or birthright), the gathering of a canon, Lrbrary, or corpus is akin to the gathering of a nation-family. The idea of the nation, in general, belongs to a discourse of the gathering of people, much as a library is a gathering of texts. There is, however, the possibility of another logic by which nations and texts are gathered and may relate intertextually. By reading texts through, by, and within other texts, the politics of friendship and the material body become the primary guide by which readers assess relationships between texts. This thesis airns to demonstrate how a genealogical family structure, and the resulting hierarchies of paternity, national identity, and ethnocentrism, continues to support a familiar form of national literary tradition. By reading the intertextual structure of cultural gathering, both politically and textually, a dismantling of the genealogical model may then be effected. Thus, I will read Ondaatje's two interlinked novels, In the Skin of a Lion and The English PatÌent, which, hand-in-hand, dismantle familial structures and linear literary tradition. I also wish to open possibilities of the work of more reading to come with Ondaatje's most recent novel Divisadero (2007). The relationship formed between these texts attempts to open a strange space in order to understand the place of friendship and love within and without nations. Indeed, notions of the stranger, or what Julia Kristeva calls "le discours étranger" ("Poésie et Négativité" 255), are at play throughout her Senteíotikè, the text in which she coined the word intertextualité.The neologism arose from Kristeva's translation and 4 interpretation of Mikhail Bakhtin's work on the dialogic novel, which attempts to remove the hierarchies implicit in the referent-signified-signifier of Sausserian linguistics.
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