trust (da-terra.org repost)

Read the latest on da-terra.org: trust a translation of Costa Andrade.


Image credit
: Uanhenga Xito* by Cristiano Mangovo.

*It was only much later after translating and publishing this that I realised who the figure in the artwork was. Uanhenga Xito, an Angolan writer and member of the MPLA (Movimento Popular de Libertação de Angola). You can find the artist, and the original painting, on Cristiano Mangovo’s Instagram page.

Survivance and Storytelling: Erdrich’s Tracks and Welch’s Winter in the Blood

When the victims talk back, they stop being victims.

Gerald Vizenor
Gerald Vizenor

For centuries, in cartoons, stories, songs and paintings, Native Americans have been culturally invented and represented from the outside. These invented narratives of decimation and victimisation are described by Gerald Vizenor as ‘simulations of dominance’.[1] By moving away from the sentimentality that had characterised earlier periods of Native American fiction, contemporary indigenous American writers have transcended their role as victims in their quest for cultural survivance.[2] Vizenor describes these writers as ‘postindian warriors’, a term coined by Vizenor and used to describe Native American people who pursue creative acts of resistance and are concerned with authentic counter-narratives of survival.[3] 

Continue reading “Survivance and Storytelling: Erdrich’s Tracks and Welch’s Winter in the Blood”

Thoughts on Joy Harjo’s ‘Dangerous Woman’: Resistance, Power and Survival

‘I Am a Dangerous Woman’[1] was published in 1979 in Harjo’s second collection of poetry What Moon Drove Me To This? and like much of Harjo’s poetry, in this collection and beyond, it explores cultural and feminist concerns.

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Gender Trouble in Katherine Mansfield’s ‘Bliss’

“. . . but I tell you, my lord fool, out of this nettle danger, we pluck this flower, safety.” [1]

‘Bliss’ opens with the heroine – Bertha – being moved by an overwhelming, and misunderstood, feeling of anticipation, which is particularly characterised by her inability to give expression to it. Throughout much of the story she is unable to give full expression to her inner passions, whether out of fear or inability, ‘her discourse is tempered by social conditioning.’[2] When she is overcome by this intense feeling of bliss she asks whether there is ‘no way to express it without being ‘drunk and disorderly’’ and perceives civilisation as ‘idiotic’ because of its control over her own individual expression. When she desires to ‘get in touch’ with her husband, she becomes paralysed on the phone, ‘What had she to say? She’d nothing to say… She couldn’t absurdly cry: ‘Hasn’t it been a divine day!’ Again, in the nursery, the contrast between her internalised feelings and her verbalised response is striking, ‘You’re nice – you’re very nice! … I’m fond of you. I like you,’ she says to her baby daughter.

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Representation, Expression and Censorship: Same-sex Desire in ‘Orlando’ and ‘The Well of Loneliness’

By 1928 – the year The Well of Loneliness[1] and Orlando[2] were published – there was an increasing social awareness of female same-sex desire in Britain.[3] Whilst The Well engages in religious and contemporaneous sexological discourse in order to legitimise and justify ‘sexual inversion’; Orlando adopts metaphorical language and narrative strategies to deconstruct and expose conventional heterosexuality, exploiting the possibility for same-sex desire.[4]

The masculinised protagonist of The Well – Stephen Gordon – can be identified, with the help of Newton, as ‘The Mythic Mannish Lesbian’.[5] This view of female homosexuality echoes throughout the novel, and is primarily drawn from the work of contemporary sexologist’s such as; Havelock Ellis[6], Edward Carpenter[7], Richard von Krafft-Ebing, and Karl Ulrich, whose theories of ‘congenital sexual inversion’ Hall embraced.[8] To these theorists ‘sexual inversion’ is seen as misaligned gender identity[9]; in other words, female homosexuality is characterised by a masculine soul trapped in a female body.[10] Stephen is directly associated with masculinity: her masculine tastes and accomplishments, her cropped hair and her men’s ties, combined with an aversion to female domesticity and passivity, identifies her as the quintessential ‘invert’.[11] For Stephen – and Hall – ‘lesbianism is a congenital form of lust caused by and manifested in gender reversal’[12] but this use of sexological distinctions between ‘true inverts’[13] and the women who love them, sets up a hierarchy of inversion weighed down by contradictions about same-sex desire.

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In Limbo: Double Consciousness in Ellison’s Invisible Man and Wright’s ‘The Man Who Lived Underground’

‘You’re nobody, son. You don’t exist – can’t you see that? The white folk tell everybody what to think…’[1]

W E B Du Bois (1918)
W E B Du Bois (1918)

The term double consciousness was first explored by W E B Du Bois in ‘The Souls of Black Folk’[2], published in 1903. Du Bois understands this doubling of consciousness as a direct product of ‘the power of white stereotypes in black life and thought’[3] and the practical racism that excluded every black American from the mainstream of society.[4] For Du Bois, the concept of double consciousness is characterised by two particular and distinct signifiers; the first is ‘second sight’ – the inherent duality of African American identity and vision. The second, and more problematic signifier, is that of existing ‘behind the veil’ and this may be defined as the limitations of seeing and being seen unclearly. Continue reading “In Limbo: Double Consciousness in Ellison’s Invisible Man and Wright’s ‘The Man Who Lived Underground’”

Degrading the Feminine: Reading Misogyny in E. E. Cummings & T. S Eliot

There is a degraded and misogynistic representation of the feminine in E. E. Cummings [1] poetry: a victimised and openly disdained object Cummings invites us to judge.

E. E. Cummings: 1894 - 1962
E. E. Cummings: 1894 – 1962

Criticism of The Waste Land [2], on the other hand, has come to a general conclusion that it is, in short, ‘about a sexual failure which signifies a modern spiritual failure’ [3]. And while, here too, women are victims of a failed Western civilisation, Eliot’s portrayal of the degradation of both sexes depicts a shared failure of human relationships in Western societies. There are many characters – male and female – presented through various voices, but it is the expression of a single protagonist, ‘various facets of whose character are represented by the different men and women in the poem.’ [4] 

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The Language of Slavery and Freedom: Frederick Douglass vs ‘The Emancipation Memorial’

Emancipation Memorial, 1876.  Artist: Thomas Ball
Emancipation Memorial, 1876.
Artist: Thomas Ball

This commentary will discuss the cultural and historical relationship between the literary text Narrative of the Life of Frederick Douglas, An American Slave, Written by Himself[1] and the ‘Emancipation Memorial’[2] erected in 1876 in Washington, D.C; also known as the ‘Freedman’s Memorial’. The first version of the text, published in 1845, was written during the antebellum period in contrast to the monument that was erected towards the end of the Reconstruction, when the position of black Americans was supposed to have altered with the Emancipation Declaration in 1863. However, it can be argued that many of Douglas’s main preoccupations with the racial prejudices during the antebellum era can be seen embodied in the sculpture that was intended to commemorate ‘The Emancipator’, and the emancipation. Continue reading “The Language of Slavery and Freedom: Frederick Douglass vs ‘The Emancipation Memorial’”

A Queer Reading of Katherine Mansfield’s ‘Bliss’

‘But in her bosom there was still that bright glowing place-that shower of little sparks coming from it. It was almost unbearable. She hardly dared to breathe for fear of fanning it higher, and yet she breathed deeply, deeply. She hardly dared to look into the cold mirror-but she did look, and it gave her back a woman, radiant, with smiling, trembling lips, with big, dark eyes and an air of listening, waiting for something … divine to happen … that she knew must happen … infallibly.’

Several critics have identified Bertha’s intense feeling of bliss as a symbol of her awakened desire for Harry, and/or Pearl. Although it is not explicitly evident, at first, exactly what is fuelling this ‘shower of sparks’ in her bosom the extensive use of the ‘fire’ and heat metaphors can be described as being synonymous with sexual passion and desire. It begins with the description of her bliss as ‘though you’d suddenly swallowed a piece of that bright afternoon sun and it burned in your bosom… little shower of sparks’, and continues ‘… passionately, passionately… the fire in her bosom.’

Interestingly, this passionate heat is contrasted against its polar coolness; ‘It was dusky in the dining room, and quite chilly… the cold air fell on her arms’, there is also a ‘cold mirror’ that reflects back a smiling, radiant woman in a frenzy of passion. This moment of the cold mirror image reflecting the radiant, smiling self may be particularly reflective of her duality, or more specifically the duality of her desire. The coldness comes back again whilst Bertha is describing her physical, and presumably sexual, relationship with Harry, ‘It had worried her dreadfully at first to find that she was so cold.’ When Pearl arrives however, the whole feeling returns more powerfully than before, it is the touch of her ‘cool arm that could fan-fan-start blazing-blazing-’ – and then culminate in – ‘the fire of bliss.’ These contrasting images of heat and cold seem to demonstrate the source of Bertha’s real ‘feeling of bliss’; Bertha considers herself ‘cold’ in her heterosexual experiences with Harry, she becomes frigid, but her homosexual desires for Pearl ignite in her the authentic heat of passion.

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Eighteenth Century Masquerade

Georgian Masquerade
Georgian Masquerade

‘I love a masquerade […] because a female can never enjoy the same liberty any where else’; Exploring the Relationship between Gender and Disguise in Eighteenth-century fiction  

Public masquerades were a popular, and controversial, form of urban entertainment in England during most of the eighteenth century. Some of the controversy, and subsequent criticism, that surrounded the culture of the masquerades relate to the belief that they would encourage female sexual freedom, and possibly even female emancipation.[1]

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