Tsitsi Dangarembga's Nervous Conditions
At the end of her article “Can the Subaltern Speak?” Gayatri Spivak concludes that the subaltern has no voice. But what defines the subaltern? Traditionally, race, gender, and economics have delineated class distinctions within a particular society. The postcolonial society, however, complicates this stratification. Tsitsi Dangarembga explores the indistinct notion of class and privilege in her novel Nervous Conditions. Tambu, the narrator, faces the racial distinctions of colonialism as well as the patriarchy ingrained in her society as obstacles to her quest for an education and a better life. Yet, once she receives the opportunity for an education, she seemingly transcends both these obstacles and her subaltern status—or does she? Dangarembga argues the contrary by comparing Tambu to her cousin, Nyasha, who despite her financial privilege still is oppressed by patriarchy and disparate social standards. By highlighting the effect of gender distinctions on her perceived social status, Tambu’s narrative demonstrates the complexity of subaltern status, which cannot be effaced solely through economic gain.
At the beginning of the novel, Tambu’s gender encompasses the crux of her subaltern status. Tambu’s relationship to her brother, Nhamo, demonstrates this aspect of her gender. When Tambu complains about not being able to go to school, her mother, Mainini, advises her to accept her lack of opportunity and to bear “the poverty of blackness on one side and the weight of womanhood on the other” (Dangarembga 16). Tambu does not accept her condition and cites her aunt, Maiguru, as an example of overcoming both the “burdens” of race and gender. She bases this observation, however, upo...
... middle of paper ...
... same complications that plague her educated female relatives. Although by the end of the novel, she does not tacitly accept subaltern status, her selective ignorance of the factors contributing to her subordination preserves such status. Ultimately, true to Spivak’s original claim, Tambu fails to gain her full voice but awaits the completion of her path to hegemony.
Works Cited
Dangarembga, Tsitsi. Nervous Conditions. New edition. Emeryville, CA: Seal, 2004.
Gairola, Rahul. “Burning with Shame: Desire and South Asian Patriarchy, from Gayatri Spivak’s ‘Can the Subaltern Speak?’ to Deepa Mehta’s Fire.” Comparative Literature 54:4 (Fall 2002). 307-324. EBSCOhost.
Spivak, Gayatri Chakravorty. “Can the Subaltern Speak?” Colonial Discourse and Post-Colonial Theory: A Reader. Ed. Patrick Williams and Laura Chrisman. London: Harvester Wheatsheaf, 1994. 66-111.
Post-colonialism is a discourse draped in history. In one point in time or another, European colonialism dominated most non-European lands since the end of the Renaissance. Naturally, colonialists depicted the cultures of non-Europeans incorrectly and inferior. Traditionally, the canon has misappropriated and misrepresented these cultures, but also the Western academia has yet to teach us the valuable and basic lessons that allow true representations to develop. Partly in response, Post-colonialism arose. Though this term is a broad one, Post-colonialists generally agree on certain key principles. They understand that colonialism exploits the dominated people or country in one way or another, evoking inequalities. Examples of past inequalities include “genocide, economic exploitation, cultural decimation and political exclusion…” (Loomba 9-10). They abhor traditional colonialism but also believe that every people, through the context of their own cultures, have something to contribute to our understanding of human nature (Loomba 1-20). This is the theme that Lewis prescribes in his, self described, “satirical fantasy”, Out of the Silent Planet (Of Other 77).
The novel begins by “Abena, my mother, was raped by an English Sailor on the deck of Christ the King one day in the year 16** while the ship was sailing for Barbados. I was born from this act of aggression. From this act of hatred and contempt,” (Condé 1). Her mother Abena was a slave and Tituba was born into slavery. Tituba was concemption is due to a white sailor raping her mother, an example of a white man dominating a black woman. The hierarchy is clearly established between the black people like Abena and Tituba, and the white slave owners. The policing of this hierarchy causes Tituba to see the very dramatic deaths of her mother Abena and a father like figure in Yao. Tituba’s early life experiences is only the beginning of despicable acts done to her and the people she cares
The author faces both gender and religious oppression in her home. At first, the author seems like she was a young and immature child, getting an occasional whipping every so often, that she is “used to.” This was partly due to the fact that the author did not act like what a girl should. The author states that she was
Douglas Baynton’s “Disability and the Justification of Inequality in American History” details the myriad ways disability has been applied to marginalized groups, especially racial and/or ethnic minorities and women, to justify unequal treatment and “as a marker of hierarchical relations” (Baynton 34). In Tsitsi Dangarembga’s Nervous Conditions, one of the primary hierarchies portrayed is between the white, English-speaking colonists and missionaries who live almost exclusively on the mission and in large cities, and the indigenous Rhodesian (now Zimbabwean), Shona-speaking people. Given that disability is often used as a metaphor or marker in any social hierarchy, the relationship between the white colonists and the indigenous Rhodesians is
"Three Women's Texts and a Critique of Imperialism", Gayatri Chakravorty Spivak in The Feminist Reader ed. Catherine Belsey and Jane Moore (1997).
Due to the presence of structural inequality, Sonia went through emotional and mental distress throughout her high school career. The structural inequality in Sonia’s life was the plethora of discriminatory remarks or setbacks she encountered because she was a lower socioeconomic minority. One key example is when she explains how she felt and was treated during her high school life. She attended a Catholic High School that served underprivileged children of Irish and Italian immigrants. Sonia has been raised with little to no expectations for higher education. At her school, the notion of higher education for the students was already exceeding their parents’ expectations and would make them extremel...
The first part of the book gives an account of Immaculée’s family background. The love she experienced from her parents and her three brothers is illustrated. Her parents cared for everybody, particularly the poor. Because of the love with which she grew up, she never realised that she was living in a country where hatred against the Tutsi, her tribe, was rampant. It was not until she was asked to stand up in class by her teacher during an ethnic roll call that she realised that her neighbours were not what she thought them to be – good and friendly. After struggling to get into high school and university, not because she was not qualified but because of discrimination against her ethnic background, she worked hard to prove that if women are given opportunities to...
Mohanty is drawing upon theoretical perspectives of postmodernism to understand difference and by that uncover essentialist and Universalist interpretations (Uduyagiri 1995:159). In particular she is drawing upon approaches familiar to Edward Said’s Orientalism and Focault’s approach to discourse, power and knowledge. Foucault’s theories are especially useful in a postmodernist argument since he acknowledge that there are several structures of power, and that the there is a diversity of localized resistances ( Udayagiri 1995: 161). Mohanty uses Foucault’s conception of power to uncover Universalist categories and how feminist writers define power as a binary structure – to be in possession of power versus being powerless (Mohanty 1991:71). This limited way of theorizing power fails to recognize counteroffensives and the varied forms of power. Mohanty uses Said’s Orientalism to show how the way Western cultural perceptions of the Orient “became a means of controlling the regio...
Postcolonial criticism, as suggested in the textbook, “has developed because of the dramatic shrinking of the world and the increasing multicultural cast of our own country” (1603). As described by Andrea Smith in his book “From Heteropatriarchy and the Three pillars of White Supremacy”, “The
In this chapter Mahasweta Devi’s anthology of short stories entitled Breast Stories to analyze representations of violence and oppression against women in name of gender. In her Breast Stories, Devi twice evokes female characters from ancient Hindu mythology, envisions them as subalterns in the imagined historical context and, creates a link with the female protagonists of her short stories. As the title suggests, Breast Stories is a trilogy of short stories; it has been translated and analyzed by Gayatri Chakraborty Spivak and, in Spivak’s view, the ‘breast’ of a woman in these stories becomes the instrument of a brutal condemnation of patriarchy. Indeed, breast can be construed as the motif for violence in the three short stories “Draupadi,” “Breast-Giver,” and “Behind the Bodice,”
Sharpe, Jenny. “A Passage to India by E.M. Forster.” Contemporary Literary Criticism. Ed. James P Draper, Jennifer Brostrom, and Jennifer Gariepy. Vol. 77. Detroit: Gale, 1993. 253-57. Rpt. of “The Unspeakable Limits of Rape: Colonial Violence and Counter-Insurgency.” Genders 10 (1991): 25-46. Literature Criticism Online. Web. 4 Mar. 2011. .
Gayatri Spivak, (born Feb. 24, 1942, Calcutta, India), Spivak is a literary critic and theorist. She sometimes regarded as the “Third-World Woman”. She is best known for the article, (Can the Subaltern Speak?). It is considered a founding text of postcolonialism. She is also known for her translation of Jacques Derrida‘s Of Grammatology‟. This translation brought her to prominence. After this she carried out a series of historical studies and literary critiques of imperialism and feminism.
In the book Second Class Citizen, Emecheta Buchi uses gender and sexuality to express the many ways in which society treated women and the obstacles that they had to overcome. Buchi uses this book and the many issues discussed throughout the book as a tool in the argument of gender and sexuality as a social construct; however, the ways of the world and the views of society do not see how the way women were treated back then as anything but normal. Adah, the main character of the book is a child who wants a Western education but is denied the opportunity to get one because the mere fact that she is a girl and the privilege of school goes to the boys of the family even though she is the one that wants the education. The theme that is openly used throughout the book is one of vehement animosity of gender discrimination that is often found in the culture of Adah’s people. Buchi portrays the way that African women are discriminated and victimized by the men and older women in their lives.
Tsitsi Dangarembga’s novel Nervous Conditions tells the story of Tambu’s life. In the story of her life you meet her cousin Nyasha and her aunt Lucia. All three of these characters being perfect examples of what it was like to be feminists in the 1960’s and the 1970’s. Nyasha and Lucia are aware of the patriarchy world they live in, but face many challenges due to this throughout the novel.
Every human being, in addition to having their own personal identity, has a sense of who they are in relation to the larger community--the nation. Postcolonial studies is the attempt to strip away conventional perspective and examine what that national identity might be for a postcolonial subject. To read literature from the perspective of postcolonial studies is to seek out--to listen for, that indigenous, representative voice which can inform the world of the essence of existence as a colonial subject, or as a postcolonial citizen. Postcolonial authors use their literature and poetry to solidify, through criticism and celebration, an emerging national identity, which they have taken on the responsibility of representing. Surely, the reevaluation of national identity is an eventual and essential result of a country gaining independence from a colonial power, or a country emerging from a fledgling settler colony. However, to claim to be representative of that entire identity is a huge undertaking for an author trying to convey a postcolonial message. Each nation, province, island, state, neighborhood and individual is its own unique amalgamation of history, culture, language and tradition. Only by understanding and embracing the idea of cultural hybridity when attempting to explore the concept of national identity can any one individual, or nation, truly hope to understand or communicate the lasting effects of the colonial process.