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Bodies of Knowledge : Madness and Power in Africana Women's Texts

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Bodies of Knowledge : Madness and Power in Africana Women's Texts BODIES OF KNOWLEDGE : MADNESS AND POWER IN AFRICANA WOMEN'S TEXTS By CHANDRA TYLER MOUNTAIN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2001 Copyright 2001 by Chandra Tyler Mountain To my mom, Yvonne Williams Tyler, who daily lives the madness that consvimes black women' s lives and handles it with grace. To the memory of my grandmothers, Theresa Denise Williams and Irma Gray Tyler, and my paternal aunts, Gaynell Tyler Brewer and Joycelyn Tyler Douglas To all those women who chose freedom in a watery grave that stretches from Africa to the New World rather than suffer the indignity and madness of physical, mental, and spiritual bondage All beautiful women whose blood and spirit course through my veins It is for you, strong but silent women, that I put pen to page For Mother Africa . ACKNOWLEDGEMENTS Even the self-declared sojourner will acknowledge that no journey can be completed without loving assistance. There have been many, many who have provided for me stops along the way, who have given me shelter and sustenance to continue the journey, and always at those moments when it seemed easiest to turn back, who reminded me that once the journey is begun, there is no turning back. First, I would like to thank my comirdttee members—Dr s . Carl Bredahl , Debra Walker King, and Anne Wyatt-Brown—for their patience and understanding, their time and their insight. It has been my privilege to bask in their knowledge and experience Thanks go to Dr. Cynthia Neale Spence of Spelman College, Director of UNCF-Andrew Mellon Fellowship Program, for her concern; and to the entire UNCF-Andrew Mellon family for providing the funding that allowed me to take a break from the classroom and to devote my attention to the dissertation. I thank Dr. Bettye Parker Smith, Provost and Vice President of Academic Affairs at Dillard IV . University/ for her support. Thanks go to Drs . Gayle Duskin and Lisa Pertillar Brevard, and Ms. Elizabeth Marsden, my Dillard colleagues, for supporting through empathy, kindness, and sisterhood. Thanks go to Dr. Gloria Wade-Gayles of Spelman College for showing me how to appreciate the journey, for "Burning the A.B.D. Behind My Name," for emails and phone calls of support and sisterly love. Thanks go to Dr. Delores James and Ms. Ruth E. Harris of the University of Florida, my Gainesville sisters, for their constancy and love. Thanks go to Danielle, my baby sister, who listened with love and interest to the dissertation plight. Thanks go to Dr. Lori Amy (Lamy) for practical advice, and to the (far too m.any to name) family and friends who supported just by being where you are and who you are Thanks go to my soul sisters in the struggle, Drs. Yolanda Williams Page and Tarshia Lorraine Stanley, who tirelessly listened to me, commiserated with me, and bathed my wounds Thanks go to my parents, Warner Leander Tyler and Yvonne Williams Tyler, who instilled in me a thirst for V knowledge and a drive to complete what I start, no matter how long it takes. I cannot adequately express my appreciation for Dr. R. Brandon Kershner. He has been with me from the beginning, from those momen'cs when I was an insecure first-year graduate student unsure of the journey; he was with me and spurred me on even through his own personal trials. I cannot thank him enough for always, always believing in me, for being my mentor, my "cheering section," and my friend. It has been an honor to sit at his feet and learn from him; I can only aspire to be as great as he is. And finally, to Vaughan, my love, my soul mate—how can I say thanks to the one person who kept in step with me for this entire journey, who, though naturally protective of me and sympathetic to my suffering, understood that on this particular road he could not carry the load? I am eternally grateful to him for sacrificing so much and for giving me this, for giving me to this project. VT TABLE OF CONTENTS page ACKNOWLEDGEMENTS iv ABSTRACT ix INTRODUCTION 1 CHAPTERS 1 BODIES OF KNOWLEDGE: MADNESS AND POWER IN AFRICANA WOMEN'S TEXTS 11 2 DEAD END STREET: READING THE SIGNS, HITTING THE WALDS AND SPEAKING MADNESS 52 Literary Mediations 52 Hitting the Walls 69 (Un) Common Ears: Breaking Silences and Speaking Madness 77 3 "GO EENA KUMBLA" : MADNESS AS ALTERNATIVE SURVIVAD STRATEGY 85 4 MAD ACTS AND BODY PARTS: SAVING THE B/bODY THAT IS HER OWN 126 Childless Mother: Discoursing the Body 132 Breaking the Silence and Making the Body 157 Eva's Man: Murdering a Myth 180 5 TUG-O-WAR: MADNESS, TRADITION, AND ASSIMILATION IN TSITSI DANGAREMBGA' S NERVOUS CONDITIONS, JAMAICA KINCAID'S LUCY AND TONI MORRISON'S THE BLUEST EYE 197 VI! Her Stories: A Fully Crowed 'Oman 203 Powerhouse Lodged Within 213 Tug 225 A Man Only in Form: War 24 0 CONCLUSION 258 REFERENCES 262 BIOGRAPHICAL SKETCH 269 viii Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy BODIES OF KNOWLEDGE : MADNESS AND POWER IN A*FRICANA WOMEN'S TEXTS By Chandra Tyler Mountain December 2001 Chair: R. Brandon Kershner Major Department: English This dissertation focuses on the representation of madness in the writings of women of Africa and the African Diaspora, more specifically the United States, the Caribbean Islands, and sub-Saharan Africa. It seeks to engage madness as a social text in African women's texts and cultures. While many critics have devoted attention to a Western construction of madness and madness in the literary texts of European and Euro-American women, there has been minimal attention to the same theme in Africana women's texts. It is the argument of this project that, in the texts contemplated, madness is often represented as an act of resistance and empowerment. This has tended to ix be a troubling concept for many Western thinkers since insanity is perceived as weakness and a result of loss of control; yet out of the novels of Africana women arises a theory of madness as empowering that speaks across cultures and waters. The project is divided into five chapters, which illuminate representations, manifestations, and activities of madness and "mad" characters, in the literature of Africana women. The texts this project explores include Erna Brodber's Jane and Louisa Will Soon Come Home; Bessie Head' s A Question of Power; Adrienne Kennedy' s Funnyhouse of a Negro; Myriam Warner-Vieyra' s Juletane; Alice Walker's Possessing the Secret of Joy; Gayl Jones' Eva's Man; Tsitsi Dangarembga ' s Nervous Conditions; Jamaica Kincaid's Lucy; and Toni Morrison's The Bluest Eye. Some attention is given to Gloria Naylor's The Women of Brewster Place; Tess Onwueme' s Tell It to Women; Ama Ata Aidoo' s Our Sister Killjoy; Audre Lorde' s poem "Power"; and Grace Nichols' poem "Days That Fell." X INTRODUCTION A few years ago, I attended a conference at which a young woman from Miami University-Oxford did what many thought an excellent Freudian reading of Terry McMillan's novel and the subsequent movie, Waiting to Exhale. In response to her reading, the moderator who continually stepped over the lines basically told her that she was giving McMillan too much credit, that she "ain't that deep." The "moderator from hell," as a few of us began to call her, was struggling with a couple of issues: one, which seems deeply imbedded in her statement, is that we cannot use Freud for Africana experiences, that folk culture or "real Black culture" has no use for Freud; and two, everyday problems for Black women should not be taken seriously nor should the "everyday" literature we read, especially novels that make us laugh, nod our heads in agreement, and say, "hTomph." What the moderator missed was that the young woman was actually doing a Freudian reading of the public's response to the novel and movie. And while McMillan might not be "that deep" to some (because she simply talks about the facts of life for many women?) , the s 2 responses to her movie told something of the psychological makeup of Africana women here in America—no matter what the response, even in the refusal to see the movie, or the denial that the movie is a male-bashing movie. Each of the women touched on something within us, something that we would rather keep out of psychological reach. However, the "moderator from hell" did touch upon crucial issues in Black women's experience. She, first of contributed to the huge number of women. Black women in particular, who have accepted that the things Black women go through and the responses we have to whatever life deals us—whether a result of racism, sexism, political crisis, motherhood, wifehood, familial relations—are "just life" and should not affect us on any level beyond that. But when we witness the crude breakup of Bernadine' marriage, and learn that her 11 -year husband plans a breakup for years by "hiding" money and property before finally admitting his adultery with a white woman, and when we watch the woman who has "made the man" burn some of the man s belongings in his BMW, hold a "Love Hangover" rummage sale with the rest of his belongings and sell his golf clubs and other effects for no more than a dollar, we are not watching a woman just deal with "life." Divorce might become typical for half of the nation's married women (and s 3 men), but Bernadine's response is not typical—for white women or for Black women.
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