A Critical Evaluation of the Heroines of Nadine Gordimer Dr
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International Journal of English Literature and Social Sciences Vol-6, Issue-2; Mar-Apr, 2021 Journal Home Page Available: https://ijels.com/ Journal DOI: 10.22161/ijels A Critical Evaluation of the heroines of Nadine Gordimer Dr. Gurudutt T N Associate Professor, Department of English, Visveswarapura Evening College of Arts and Commerce, K.R.Road, Bangaloe, India Received: 11 Jan 2021; Received in revised form: 01 Mar 2021; Accepted: 26 Mar 2021; Available online: 21 Apr 2021 ©2021 The Author(s). Published by Infogain Publication. This is an open access article under the CC BY license (https://creativecommons.org/licenses/by/4.0/). Abstract— The conflict of identity and allegiance is exemplified in Nadine Gordimer’s portrayal of the white African woman who is intellectually and emotionally alienated from white colonial society and at the same time physically barred from black Africa. Gordimer’s usual subject is the young woman who ventures from the white enclosure, who walks out of the sick relationship between the white mistress and black servant, and identifies her own quest for an independent identity with the blacks’ cultural, political and finally, military quest for freedom. The fiction of Gordimer presents the ambiguous, self divided figure of the white girl or woman is the site of the hesitant, fraught rapprochement of white and black. The image of the black body buried in the white-ruled land is a powerful pattern in Gordimer’s fiction. She has followed this metaphor of white South Africa as a graveyard, connecting the imagery of dryness and sterility prevalent in white South African fiction with decadence and death. Black South Africa oppressed and repressed, is the buried body that threatens, or promises, to raise up- to inundate and destroy, or to revive and fertilize- the country of the whites. The metaphor of the buried black body is both self and other. The black other can neither be assimilated nor granted full personality by the white subject. The white subject in Gordimer’s fiction cannot ‘self’ the black other. The novel’s metaphor is of white South Africa as ‘a picnic in beautiful graveyard where the people are buried alive under your feet’. Gordimer uses the interior monologue to bring out the experience of Africa as inside the white mind. Keywords— identity, freedom, self divided, decadence, revive, buried-alive. In a colonial context, the world of woman is very Gordimer’s usual subject is the young woman complex and multi-directional. She is pulled in one way who ventures from the white enclosure, who walks out of by her sex and another by race. As a white woman she is the sick relationship between the white mistress and black placed on the pedestal on innocence and purity; she is an servant, and identifies her own quest for an independent embodiment of the virtues of white civilization in the heart identity with the blacks’ cultural, political and finally, of darkness. She is taught to hate and fear the black man. military quest for freedom. For her heroines, the blackness The conflict of identity and allegiance is exemplified in is linked to sex, sensuality and imagination, to water and Nadine Gordimer’s portrayal of the white African woman blood, and the politics of liberation. The Gordimer who is intellectually and emotionally alienated from white heroine’s acceptance of blackness leads her to become a colonial society and at the same time physically barred revolutionary in increasingly concrete terms. But, as the from black Africa. Through her rebellion against the heroine’s participation in the black revolution becomes patriarchal order as she struggles to define herself in a more active, more realistic, she is caught in the crux hostile environment, her heroine uncovers the connections between sex and race. As a woman she identifies with the between patriarchy and racism under colonialism. She black liberation struggle, but as a white she bears a legacy begins to identify with the black Africans in their of privilege, which her good intentions cannot remove. oppression and their struggle for autonomy, but she cannot The women characters of Gordimer draw strength shed her inheritance of privilege and guilt. Finally, she is to act independently from their plane of weakness. Her shut out from the vibrant life of black people, rich with South African women are in a sense outside the brutal pact pain and possibility. between the male colonizer and the male colonized. The ISSN: 2456-7620 https://dx.doi.org/10.22161/ijels.62.42 300 Gurudutt T N International Journal of English Literature and Social Sciences, 6(2)-2021 white woman is not allowed to claim innocence; compound and the white city. By the end of the novel she nevertheless, she is increasingly prevented by the social is shut off, divided from her buried black part of life. and political conditions of apartheid from acting upon her At the end of Occasion for Loving, Jessie Stilwell responsibility. starts to become one by removing herself from the The fiction of Gordimer presents the ambiguous, protection of white society. A similar change takes place self divided figure of the white girl or woman is the site of the The Late Bourgeois World. In The Conversationist, the hesitant, fraught rapprochement of white and black. the buried body rises amid imagery of resurrection and She is the site of connection while she is made to realize revolution (“But violence has flowered after seven years’ the impossibility of connection. Her female characters are drought, violence as fecundity, weathering as humus, both internal arena in which the conflicts of South African rising as sap”). Gordimer uses the interior monologue to society are played out, and meeting places where illicit bring out the experience of Africa as inside the white relationships between the races develop. (I am the place mind. It is continued in Burger’s Daughter, in which Rosa where something has occurred –Rosa Burger, a character) speaks essentially to herself. Judie Newman describes The image of the black body buried in the white- Rosa as the buried body whom she and we unbury through ruled land is a powerful pattern in Gordimer’s fiction. She the text. In the novel, towards the end, Rosa is withdrawn has followed this metaphor of white South Africa as a from us as Gordimer focuses on the Soweto children take graveyard, connecting the imagery of dryness and sterility the future into their own hands not foreseen by the white prevalent in white South African fiction with decadence communists. In July’s People, Nadine Gordimer puts to and death. Black South Africa oppressed and repressed, is test the white heroine in the aftermath of the revolution. the buried body that threatens, or promises, to raise up- to The novel’s ambiguous ending, “she runs” is more inundate and destroy, or to revive and fertilize- the country artistically truthful than the ending of The Lying Days, of the whites. The metaphor of the buried black body is which it echoes –“I’m not running away,” Helen claims both self and other. According to Gayatri Spivak, the insincerely en route to Europe. At the end of July’s white subject cannot self the other; she can neither see the People, Maureen is described as a cornered animal colonizd other as a free subject nor successfully identify panicked by her new found freedom from the white with him or her. The black other can neither be defined role as mistress of a comfortable suburban assimilated nor granted full personality by the white household. Maureen and Helen the good middle-class subject. This is true for the relatively developed realistic South African daughters and wives, who observe the character of Marisa Kgosana in Burger’s Daughter as well liberal decencies in their relationships with their black as for the dad man who is more symbol than character in inferiors, clearly are dead-end heroines for the author. The Conversationist, in which novel Gordimer compares In A Sport of Nature, Hillela can survive and colonial and male domination through the figure of a flourish in revolutionary conditions. Her otherness in white sexually and economically powerful white male, Mehring. South Africa enables her to manipulate the transition to the The white subject in Gordimer’s fiction cannot ‘self’ the future. The blackness is not alien to her. But her character black other. Similarly the female other cannot be selfed by does not mould in concrete terms. Through her character the male member. In The Conservationist, Mehring, like we see her vision statement. She is committed to be in the Kurtz is shattered by finding his enemy; the black and country (South Africa) as an activist. She rejects the good implicitly female other within. In contrast, the white liberal daughter in herself. Nadine Gordimer’s colonial female character can ‘other’ herself less development of Hillela as a character stems from her own destructively, more creatively and empathetically, because apparent need to free her central character from the white of her identification with blackness. colonial dilemmas that snared her previous heroines In The Lying Days, Helen Shaw tries to self her between two worlds- a kind alienation from both the white black other Mary Seswayo but is blocked by a wall of and black societies. Helen, Jessie, Rosa and Maureen difference and indifference. The novel’s metaphor is of leave the ambiguous shelter of the white society for an white South Africa as ‘a picnic in beautiful graveyard ambiguous association with black movement. Rosa where the people are buried alive under your feet’. The chooses to come home to prison because only within that white world of South Africa is a false paradise built on the enchanted circle can she overcome her whiteness, her suffering and destruction of the others.