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Living in Diaspora'

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Living in Diaspora' This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Conference or Workshop Item Title: White settler societies: 'Living in diaspora' Creators: Wilson, J. M. Example citation: Wilson, J. M. (2011) White settler societies: 'LivRing in diaspora'. Invited Presentation presented to: Diaspora/Cultures of Displacement?, Universite Paul Valery, Montpellier, France, 20-22 JuneA 2011. Version: Presented version T http://nectarC.northampton.ac.uk/5233/ NE N ew Zealand Women Traveller Writers: from Exile to D iaspora The focus of this article is a group of New Z eal and w omen tr av el l er w r i ter s of t he first half of the twentieth centur y w ho l ef t their country of origin, and in the encounter with new worlds ov er seas, r econstr ucted themsel v es as deterritorialised, di aspor i c subjects with new understandings of home and belonging. Their work can be r ead as both transitional and transnational, r ef l ecting the ambivalence of multiple cultural affiliations and r ei nfl ecting l i ter ar y conv enti ons. Su ch encounters and new poi nts of r ef er ence from transiting through foreign lands inevitably catalyse new and unusual forms of diasporic writing, notable for a heightened consciousness of d i f f er ence (K al r a et al 2008: 30). This article ai ms to id ent i f y patterns of similarity and contrast in their work, and to d eter mi ne how they i ncor por ate thei r v ar i ed experiences of loss and liberation into artistic reconciliations with the homeland. A s M i chel d e Cer teau say s, ‘tr av el i ntr od uces an in-between zone, a condition of moving through space with feelings of transience, rather than in identifying with place and a f i xed or d er of positioning’ (1984). Katheri ne M ansf i el d , pi oneer of thi s group, sum s up the disorientation and disembodiment of journeying, the destabilizing of fixed r ef er ence poi nts of ti me and space, through the image of the pendulum: I n the shor test sea v oy age ther e i s no sense of ti me. You hav e been d ow n i n the cabin for hours or days or years. N obody knows or cares. You know al l the peopl e to the poi nt of i nd i f f er ence. You d o not bel i ev e i n d r y l and any m or e -- you are caught in the pendulum itself and left there, idly swinging. (1984: 528) Yet, in this article, I suggest, each writer in her own way moves through t he psychopathology caused by physical and mental dislocation and a crisis of rupture and uprooting, to d i scov er w ay s of articulating the interior changes caused by tr av el ling beyond the nation. In this they show that the conditions of exile (her e d ef i ned as d epar tur e without return) or diaspora (involving a return to the homeland) provide new poi nts of d epar tur e i n ar t, ev en while the circumstances of l i f e ar e v astl y ov er tur ned. The four writers departed for England at different times, but can be linked by thei r migratory tr ajector i es: Katherine M ansfield left in 1908 (aged 19) published her f i r st v ol ume of shor t stor i es In A German Pension (1911) to critical acclaim, and w as soon recognized internationally as a foremost exponent of the short story; Robin Hyde, who consci ousl y modell ed her sel f upon M ansf i el d, l ef t thirty years later for 1 about 18 months in 1938 (aged 32), having already established her reputation as a poet, novelist, and journalist, having had two children out of wedlock, suffered mental breakdown and a d egr ee of soci al alienation.1 Tr av el l ed to new f or ms of social distance. N ei ther r etur ned , both died in exile: Mansfield from tuberculosis in 1923 and Hyde by her own hand in 1939. Thei r new percepti ons of homel and and (un)belonging, were captured in their art partly as a form of memorialization. In t he post-World War II per i od w er e Janet Frame, w ho l ef t f or sev en y ears in 1956 (aged 32) af ter spend i ng ei ght y ear s i n mental hospitals, publishing a prize winning volume of short stories and a novel. She travelled on a state l i ter ar y f und grant. The poet Fl eur A d cock l ef t per manentl y i n 1963 (aged 29), having separ ated f r om her husband, the poet Alistair Te Ariki Campbell, by w hom she had tw o chi l d r en, and compl eted her f i r st v ol ume (publ i shed i n N ew Z eal and in 1964). Both Frame and A dcock w er e to d ev el op a body of work which delineates positions of marginality in relation to more than one centre, challenging and testing out any prior sense of a N ew Zealand belonging through new r ef er ence p oi nt s and multilocati onal attachments ov er seas. All four sought w i d er cultural and vocational horizons than provincial society could offer, and new links to metropolitan culture. In this they ar e comparable to Australian women writer s such as Henry Handel Richardson (who travelled to Leipzig in 1888), M iles Franklin (w ho l ef t for the USA in 1906), and Christina Stead (w ho l ef t for England in 1928). As canoni cal authors, writing ei ther as travellers or about the ef f ects of tr av el , thei r responses to geographical dislocation and their construction of themsel v es as ‘other’ to their place of origin constitute a significant but divergent strand of t he national literary tradition.2 Although they nev er became par t of a diasporic community in the way that contemporary Asian British w r i ter s such as M oni ca A l i , M eera Syal and Zadie Smith are, their writing, particularly that of Adcock and `f r ame, bear s aestheti c, psychological and thematic compar i son with mor e r ecent 1 On the hostility to Hyde f r om N ew Z eal and mal e w r i ter s of the 1930s, partly associated with her experimentalism and rejection of realism, see Stuart M URRA Y, Never a Soul at Home: New Zealand Literary Nationalism and the 1930s (Wellington: Victoria University Press, 1998): 165-169. 2 Frame, M ansfield and H yde are often seen as belonging to an alternative tradition to the mai nstr eam r eal i st one of mal e w r i ter s; see L aw r ence JON ES, Bar bed W i r e & M i r r or s: Essays on N ew Z eal and Pr ose (Dunedin: Otago University Press: 1987): 6; their w ork also differs from male expatriate w riters w ho left in the 1930s, such as Dan Davin, James Courage, and John Mulgan. 2 diasporic narratives of identity.3 That is, writing in transit of the twentieth century f eatur es cul tur al encounter and exchange, r ev i sed r el ati ons to the homel and catalysed by new identity formations in the hostland; it employs striking images of selfhood and is often generically innovative, bordering on forms of life writing. In summary, although the work of these writers does not constitute a literary tradition, collectively it inflects the national imaginary with multiple outsider perspectives and per cepti ons of d i ff er ence, implying a challenge to the monocultural and largely male or i ented nationalism that prevailed in provincial New Zealand until the l ate 1960s; for as Kalra et al claim, when a single sense of belonging comes under scrutiny in diaspora writing, the nation becomes a foil (pag). With its dialectic betw een the known and familiar and the foreign and strange, such writing creates new spaces, opening up national perspectives through reshaping connections to the wider world. The claims that can be made about the generic complexity of such writing and i ts alternative forms of consciousness r equi r e si tuati ng in relation to t he constructions of home and belonging that are characteristic of w hi te settl er i nv ader colonies. A s outposts of the Br i ti sh empi r e -- N ew Zealand, A ustralia, Canada, and So u t h A f r i ca – they or i gi nated as mi gr ati ons f rom the Br i ti sh I sl es, mostl y as f r ee settlements, and so the notion of a British diaspora r emai ns r el ev ant. H ence ‘ i d eas of white racial identity, British subjecthood, and an emphasis on Englishness’, despite Irish or Celtic identifications, dominate (Wills 2010: 230).
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