Colonial Trauma, Utopian Carnality, Modernist Form : Toni Morrison’s Beloved and Arundhati Roy’s The God of Small Things
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Understandings of trauma in the colonial context fall largely into two strands. A therapeutic strand endorses the potential for “healing” from colonial trauma in the present, postcolonial era but fails to grasp how much this era reprises the toxins of colonialism itself. This view implicitly encourages the once-colonized to align themselves with the purported “health” of postcolonial modernity. An anti-therapeutic strand grants the need for a critique of the postcolonial but generalizes the historically specific toxins of that era to any and all social orders—hence making it difficult to imagine social change. Toni Morrison’s Beloved and Arundhati Roy’s The God of Small Things provide more historically astute and dialectical accounts than the theoretical models offer. These examples of postcolonial historical fiction are modernist in form; they explore distinct yet homologous types of domination (slavery and the slave trade on one hand, exploitation colonialism in India on the other) through a similar set of representational techniques. These techniques are crucial to the novels’ political astuteness. The books’ temporally disordered forms at once record the fragmentations and devastations visited on the colonial body and provide intimations of an alternative, erotic futurity in which those bodies will have been made whole.
Toni Morrison’s Beloved
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Writing against the limitations of conventional historiography and nineteenth-century slave narratives, Toni Morrison, in her novel Beloved, addresses the unspoken and unspeakable: the sexual exploitation of black women. The author journeys to a “site of memory,” and through memory and imagination, she reconstructs from the “traces” and “remains” left behind “the unwritten interior life” of her characters. Like the author, her character Sethe must learn to speak the unspeakable in order to transform residual memories (“rememories”) of the past into narrative memory. In order to reclaim herself, Sethe must reconfigure the master’s narrative (and its inscriptions of physical, social, and scholarly dismemberment) into a counter-narrative by way of an act of reconstitutive “re-memory.” Through the fundamentally psychoanalytic process of “remembering, repeating, and working through,” Sethe reconfigures a story of infanticide into a story of motherlove. Private memory becomes the basis for a reconstructed public history, as personal past becomes historical present.
Approaches to Teaching the Novels of Toni Morrison
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