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Ken Bugul's Cendres Et Braises "Mother and l, We are Muslim Women": Islam and Postcolonialism in Mariama Ndoye's Comme Je bon pain and Ken Bugul's Cendres et braises By Fatoumata Diahara Traoré Institute of Islamic Studies McGill University Montreal Canada August 2005 A Thesis Suhmitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Master of Arts ©Fatoumata Diahara Traoré 2005 Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 978-0-494-24927-7 Our file Notre référence ISBN: 978-0-494-24927-7 NOTICE: AVIS: The author has granted a non­ L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell th es es le monde, à des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. ln compliance with the Canadian Conformément à la loi canadienne Privacy Act some supporting sur la protection de la vie privée, forms may have been removed quelques formulaires secondaires from this thesis. ont été enlevés de cette thèse. While these forms may be included Bien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. ••• Canada 11 Abstract Author: Fatoumata Diahara Traoré Title: "Mother and I We Are Muslim Women": Islam and Postcolonialism in Mariama Ndoye's Comme le bon pain and Ken Bugul's Cendres et braises Department: Institute of Islamic Studies, McGill University Degree: Master of Arts This thesis is a literary analysis of two novels, Comme le bon pain (2001) by Mariama Ndoye and Cendres et braises (1994) by Ken Bugul. 1t examines the representation of Islam in relation to African women's identity, with particular emphasis on its relationship with the postcolonial context of francophone West Africa. Chapter I reviews the emergence of African francophone literature by women authors and the trends of criticism that developed as a result of it. It also presents the theoretical framework of this research, namely feminist and postcolonial theories inspired by Frantz Fanon and African women theorists. Chapter II of this thesis explores the use of Sufi imagery in Cendres et braises and its metaphorical description of decolonization and of the postcolonial subject. Chapter III examines Comme le bon pain for Islamic elements and their interaction with African traditional beliefs, as it attempts to understand Ndoye's own attitude towards Islam. It briefly reviews definitions of syncretism and what was termed "African Islam." Chapter IV poses the question of whether the two novels can be inscribed within a feminist ideology, specifically in a postcolonial, West African and Muslim context. Hi Résumé Auteur: Fatoumata Diahara Traoré Titre: "La Mère et moi, nous sommes des musulmanes»: Islam et post-colonialisme dans Comme le bon pain de Mariama Ndoye et Cendres et braises de Ken Bugul Faculté: Institut d'Études Islamique, Université McGill Grade: Maîtrise es Arts Cette thèse consiste en une analyse littéraire de deux romans, Comme le bon pain (2001) de Mariama Ndoye et Cendres et braises (1994) de Ken Bugul. Il s'agit d'une étude de la représentation de l'Islam par rapport à l'identité de la femme africaine, avec un intérêt particulier pour le rapport qui existe entre cette dernière et le contexte post-colonial en Afrique de l'Ouest francophone. Le premier chapitre présente le développement de la littérature féminine francophone en Afrique et les critiques littéraires qui en ont résultés. Elle introduit les théories sur lesquelles cette étude repose, notamment, les théories post-colonialistes inspirées par Frantz Fanon et les théoriciennes africaines sur le féminisme. Le second chapitre analyse les images évoquant le soufisme dans le roman Cendres et braises, ainsi que la construction d'une métaphore de la décolonisation et du sujet post-colonial. Le troisième chapitre interroge le roman Comme le bon pain en tentant d'en relever les éléments islamiques et des religions indigènes africaines afin de situer la position de Ndoye par rapport à l'Islam. Le quatrième chapitre pose la question du féminisme dans les deux œuvres littéraires, et de sa nature dans un contexte post-colonial, africain et musulman. iv Acknowledgements First, l owe a debt of gratitude to Professor Michelle Laura Hartman, my acaderIÙc advisor and thesis supervisor, without whose support and encouragement, this thesis could not have been completed. From the moment l considered undertaking this project, Professor Hartman has offered her advice and suggestions. l am grateful for the countless hours she has devoted to supervising my research, for the intellectual stimulation and her unwavering support as this thesis took shape. It was my honour to be a student of a woman whose persistence, remarkable attention to detail, and inestimable reliability will remain sources of inspiration. l wish to express my heartfelt thanks to the staff of the Institute of Islamic Studies, most particularly to Kirsty McKinnon and Ann Yaxley, for their con cern and kind assistance. l am grateful to the Institute of Islamic Studies for offering me two fellowships and for awarding me the Cedrik Goddard Scholarship. l thank aIl my fellow colleagues, friends, and professors at the Institute for making my experience there an enriching and entertaining one. My husband must be acknowledged for his patience, support and appreciation of my enterprise. l cannot imagine that any of this would have been possible without him and the countless hours of discussions that have "unstuck" me during difficult times while writing. l am blessed to have him. Last, but not least, l thank my parents and sisters for their constant and unconditional encouragement. It is to my daughters, Iman and Leyla Myriam, whose background noise has paced my writing, that l offer this work. v Table of Contents Abstract ii Résumé iii Aclmowledgements iv Table of Contents v Preface 1 Chapter 1: Introduction 5 Chapter II: Cendres et braises: Mystical Islam as Resistance to Colonialism 20 Chapter III: Comme le bon pain: Between Islam and Traditional Religion 40 Chapter IV: Towards and African Feminism: Resistance and Transgression in 65 Cendres et braises and Comme le bon pain Conclusion 86 Selected Bibliography 90 Traoré MA thesis ©2005 1 Preface This thesis represents an attempt to explore the question of "woman's experience of religion" in West Africa and in an Islamic society. This work follows in the footsteps of Kenneth Harrow's enterprise of exploring Islam in African literature. The two novels at the center of this discussion, Comme le bon pain (2001) by Mariama Ndoye and Cendres et Braises (1994) by Ken Bugul, share the following characteristic: their authors are Muslim women, their themes center on the female condition in a the Muslim society of Senegal, and the two were published in 2001 and 1994 respectively, making them very contemporary. Mariama Ndoye was born June 28, 1953 in Rufisque (Senegal). She holds a doctoral degree in literature and has worked for several international organizations such as the African Development Bank and the Institut Fondamental d'Afrique Noire as a consultant and researcher. She is married and the mother of three children and a grandmother of three. She currently resides in Tunis (funisia). Her published work includes two collections of short stories, children's books, and three novels. Comme le Bon Pain is her most recent novel. Ken Bugul, whose given name is Mariétou Mbaye, was boro in 1948 in Senegal. She finished her high school education in Senegal, where she also spent a year in .the university . there, before obtaining a scholarship to Belgium. When she retumed from Belgium, she became the twenty-eighth wife of an old marabout who died a few months later. She later Traoré MA thesis ©2005 2 remarried a doctor from Ben1n-now deceased-- and had a daughter. She now works in a non-profit organization dedicated to African art. Her first nove!, Le Baobab Fou (1982) is an autobiographical narrative; Cendres et braises (1994) is the continuation of this first novel. Most recently, she published three novels Riwan ou le chemin de sable (1991), Lafolie ou la mort (2001) and Rue Félix-Faure (2005). Bugul's work has become a classic of African women's literature and is the focus of a number of works of criticism. Critics have analyzed mostly her novel Le Baobab fou for the themes of insanity, colonialism, hybrid identity, and it was translated in English. Mariama Ndoye's work has received far less recognition outside of West Africa, as 1 have not found any critical work on her novels. My research proposes to bring a new perspective to the study of African literature by women writers in francophone West Africa.
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