Writing the Lesbian: Literary Culture in Global India by Sridevi K. Nair
Total Page：16
File Type：pdf, Size：1020Kb
Writing the Lesbian: Literary Culture in Global India by Sridevi K. Nair A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English and Women’s Studies) in The University of Michigan 2009 Committee: Professor Anne C. Herrmann, Chair Associate Professor Nadine Hubbs Associate Professor Susan Y. Najita Assistant Professor Aswin Punathambekar © Sridevi K. Nair 2009 To three extraordinary women Meena, Sophie, and Srividya, for love, support, and faith ii ACKNOWLEDGMENTS My career at Michigan has been marked by the kindness of many people. My greatest debt of gratitude goes to my chair, Anne C. Herrmann, for being the kind of reader and mentor who serves as a source of inspiration for life. Without you, Anne, my career as a scholar and teacher at Michigan would not have been. I can only thank you by passing on what you gave me. I acknowledge gratefully Nadine Hubbs and Susan Y. Najita, who inspired me through their scholarship and feminist support at various stages of this project. Aswin Punathambekar remains a truly committed and supportive reader, and an inspiring scholar and friend. Elizabeth R. Cole is one of the best possible mentors for a graduate student and is the other person directly responsible for my career at Michigan – thank you with all my heart, Liz. In Women’s Studies, I thank Debby Keller-Cohen and Valerie Traub, whose support and advice came with a very meaningful dose of help when I needed it most; Elizabeth Wingrove, who taught me about feminist inquiry and pedagogy by example; Jennifer Sarafin, Shelley Shock, and Sandra Vallie, whose help has been far too long and too deep to enumerate here; Tamara Cullers, for all technical help and kind words during my busiest days; Jennifer McJunkin, for help with so many everyday details. Fellowships through Women’s Studies and the Institute for Research on Women and Gender helped complete this project. In English, I thank Jan Burgess and Senia Vasquez, and Bonnie Campbell and Lori Scott of the First- and Second-Year Studies Program (now called the Writing Program), for help and support over the years. For their critical insights about the dissertation and about life as a scholar, thank you to Micah Auerback, Jessi Gan, Roxana Galusca, Anant Gopal, Priyamvada Gopal, Ramaswami Mahalingam, Christi Merrill, Navaneetha Mokkil Maruthur, Pavitra Sundar, Chris Talbot, and Ying Zhang. Peggy McCracken, Elizabeth Cole, and Maria Cotera, members of the Women’s Studies Hiring Committee with whom I worked for hiring faculty in transnational feminism, feminist theories of race and gender, race, ethnicity, and gender in the U.S. context, 2009-10, taught me much about situating my project critically. The Modern and Early Modern Studies Dissertation Colloquium led by Professor George Hoffmann, Winter 2009 offered careful, thought-provoking, and supportive readings of two chapters when I needed it the most. My families, including the Nairs, Kasargods, Venkatesans, Buchbergers, and Haldars, hold me up wherever I am. To Meghna, in particular, this would not have been possible without our long years of friendship. iii TABLE OF CONTENTS Dedication……………………………………………………………….. ii Acknowledgements………………………………………………………. iii Chapter I: Introduction The Lesbian in India: A Genealogy……………………………………… 1 Chapter II “A Record of Our Lives”: ‘India’ and Anonymity in the Lesbian Anthology……………………………………………………………… 30 Chapter III “India’s Radclyffe Hall”: Suniti Namjoshi’s Postmodern Lesbian Autobiography…………………….………..………………………….. 81 Chapter IV Disruptive Desires: New Delhi in the Lesbian Historical Novel …………………………………………………………………. 130 Chapter V: Conclusion Writing Deferral………………………………………………………. 170 Works Cited…………………………………………………………… 176 iv Chapter I: Introduction The Lesbian in India: A Genealogy The Project This dissertation focuses on lesbian literary representations in India in light of the emergence of the lesbian as a cultural and political subject. The emergence of a political position based on the idea of the lesbian as a distinctive cultural presence occurs in India in the context of the controversy over Indian Canadian filmmaker Deepa Mehta’s Fire (1996),1 the first publicly released lesbian-themed film in India. Right-wing Hindu nationalists, irked at the seeming ‘alternative’ to heterosexuality that women were presented, damned the film as evidence of the ‘corruption’ of ‘Indian’ culture by the west, an argument based on Mehta’s diasporic status and the film’s funding by western sources. They declared lesbianism ‘western’ and merely an ‘upper-class’ phenomenon in India, claiming that lesbians “do not exist in India” and that the lesbian can only represent an ‘inauthentic’ Indian.2 These rhetorical moves were also accompanied by actual physical violence in which theaters screening the films were destroyed and death threats made against the director and the actresses. The nationalists also filed a charge of obscenity against Mehta. A group of feminist activists responded to these attacks by coining the 1 Deepa Mehta, dir., Fire (Delhi: Kaleidoscope Entertainment, 1996). 2 Almost every critic who has written about the controversy discusses these comments by the nationalists. See Geeta Patel, “On Fire: Sexuality and Its Incitements,” Queering India: Same-Sex Love and Eroticism in Indian Culture and Society, ed. Ruth Vanita (New York, London: Routledge) 221-33; Ratna Kapur, “Too Hot to Handle: The Cultural Politics of ‘Fire.’” Feminist Review 64 (Spring 2000): 53-64; Madhu Kishwar, “Naïve Outpourings of a Self-Hating Indian,” Manushi 109 (Nov.-Dec. 1998): 3-14; Gayathri Gopinath, “On Fire,” GLQ: A Journal of Lesbian and Gay Studies 4:4 (Fall 1998): 631-636; Sujata Moorti, “Inflamed Passions: Fire, the Woman Question, and the Policing of Cultural Borders,” Genders (2000) < http://www.genders.org/g32/g32_moorti.htmls>. 1 phrase “Indian and lesbian” and starting an activist campaign that was premised on the idea that as Indians, women who were in same-sex relationships or desired them ought to have legal rights, including the right to protection against violence should they decide to go public with their relationships. The activists’ strategies countered the nationalists’ charge of cultural inauthenticity by claiming Indian identity, a claim that writings by women complicated. The entrance of the lesbian into Indian culture also intervenes in a changing public culture in which ‘sex’ is marked differently from the previous decades. The rising consumer class of the 1980s and 1990s and the economic liberalization of the 1990s saw a shift in attitudes to sexuality. Scholars theorize that the ‘new woman’ who emerged during the period, signified by and celebrated for her sexual overtness, marks a departure from the previous decades in which she is known and praised for sexual conservativeness. Ironically, however, she continues to be policed and disciplined by the dictates of heterosexual marriage and motherhood during this period, something that various aspects of cultural production encourage. The lesbian’s sexuality re-defines the very idea of the ‘new woman’. Her sexuality, even when not overt, suggests a disengagement from heterosexuality, even when marriage and motherhood still occur. The stakes in confining women’s sexuality to heterosexuality is clear when we examine the language of the nationalist attacks. The Mahila Aghadi, the women’s wing of the right-wing nationalist group Shiv Sena that first attacked the film, saw a particularly interesting threat in lesbianism. They argued in a petition seeking to ban the film filed in the state of Maharashtra (the Sena’s home base) that if “women’s physical needs get fulfilled through lesbian acts, the institution of marriage will collapse” and the “reproduction of human 2 beings will stop.”3 Although nowhere is it clear that lesbian desire prevents reproduction, it is the ideological anxieties behind this statement that are worth addressing. For, the real anxiety and fear is that lesbian desire and lesbian relationships would remove patriarchal control and seek greater gender parity in the nation, both in terms of women’s access to the paid public sphere and the threat to the primacy of male desire. In the decades prior to 1998, when the lesbian was not visible in Indian culture, works representing her came from women writers canonized within postcolonial Indian literary studies under the category ‘feminist writers’ or ‘women writers’. The most important examples of these are Urdu writer Ismat Chughtai (1911-1991), whose short story “The Quilt” (1941)4 is a test-case for the stakes in regulating female same-sex desire, something that the attacks against Fire, too, illustrated. “The Quilt” became the subject of obscenity charges brought against Chughtai by the colonial British government in power at the time, for its representation of lesbian desire. The story is the account of a young girl who witnesses the lesbian encounter between a rich Begum5 and the Begum’s servant woman. The story’s ending, different in different translated versions, has been read by feminist scholars as Chughtai’s quintessential feminist move because it refuses to specularize lesbian desire, as one scholar argues.6 The story manifests this refusal through the girl narrator’s refusal to tell us what exactly she sees under the lifted quilt of the Begum although she has already told us about the sounds she hears of food being eaten. We are in no doubt about what goes on under the quilt, but we are never actually told about it 3 Praveen Sami, “Furore over a Film,” Frontline 15.26, 19 Dec. 1998 – 01 Jan. 1999. 10 Jan., 2008 <http://www.hinduonnet.com/fline/fl1526/15260430.htm>. 4 Ismat Chughtai, “The Quilt,” 1941, Ismat Chughtai: The Quilt and Other Stories, ed. and transl. Tahira Naqvi and Syeda S. Hameed (New Delhi: Kali for Women, 1996) 5-12. 5 Begum is a formal title used to address women of upper-class Muslim families. 6 Gayatri Gopinath, Impossible Desires: Queer Diasporas and South Asian Public Cultures (Durham, NC: Duke UP, 2005) 131-60.