History Lessons: From the Sepoy Mutiny (1857) to Iraq (Today)

I'm sorry I've been a slack blogger of late -- I was finishing up another article for a journal, this time on blogging, anonymity, and the changing concept of "authorship." It would be a shame to neglect this blog just as I'm starting to write professionally about blogging!

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At any rate, here's one recommendation: last week's Radio Open Source conversation with William Dalrymple. Many of the points Dalrymple makes will be familiar to people who have been following the reviews of his new book, The Last Mughal. (I blogged about it here)

What is new in this conversation is the attempt to make a direct parallel between the changing behavior of the British in the months and years leading up to the Mutiny, and the attitude of today's neo-conservative Hawks on the policy of "regime change" and "spreading democracy" around the Middle East.

The show was inspired by Ram Manikkalingam's excellent review of the book (along with Imperial Life in the Emerald City) up at 3 Quarks Daily.

Manan Ahmed, ("Sepoy" of Chapati Mystery -- highly appropriate to this topic) also makes an appearance in the last 20 minutes, talking about the work postcolonial historians have been trying to do to bring forward the kinds of stories Dalrymple's book focuses on.

The entire show is available for downloading as an MP3; if you are into downloading podcasts, this might be a good one. Otherwise, if you have 40 minutes, you might just want to listen to it right on the web.

Wizard of the Crow @ LBC

Ngugi's new novel, Wizard of the Crow, is the winter selection at the Lit Blog Co-op, and they have an interview with Ngugi up.

But even better is the post with a chronological list of quotes from Ngugi regarding the status of art in postcolonial Africa. The best one is probably the quote from 2003, where Ngugi talks about the evolution of his own name:

I wrote Weep Not, Child; A River Between; and A Grain of Wheat and published the three novels under the name James Ngugi. James is the name which I acquired when I was baptized into Christianity in primary school, but later I came to reject the name because I Saw it as part of the colonial naming system when Africans were taken as slaves to America and were given the names of the plantation owners. Say, when a slave was bought by Smith, that slave was renamed Smith. This meant that they were the property of Smith or Brown and the same thing was later transferred to the colony. It meant that if an African was baptized, as evidence of his new self or the new identity he was given an English name. Not just a biblical, but a biblical and English name. It was a symbolical replacing of one identity with another. So the person who was once Ngugi is now James Ngugi, the one who was once owned by his people is now owned by the English, the one who was owned by an African naming system is now owned by an English naming system. So when I realized that, I began to reject the name James and to reconnect myself to my African name which was given at birth, and that's Ngugi wa Thiong'o, meaning Ngugi, son of Thiong'o.

I knew that he had been baptized early in his life, but for some reason I was unaware that his first three novels were published under the name, "James Ngugi."

Postcolonial Journals

(This post is mainly for the academics in the audience)

Following is a short list of "Postcolonial" oriented journals. Now that my book is out, I'm planning to focus on writing some articles, which means, to begin with, getting a better sense of what's actually out there.

There is a useful feature in the MLA Bibliography search, where you can search by "Periodical Subject." If you search for "postcolonial," 34 journals show up, and I've been exploring them. (I don't know why I never tried this before; one of my colleagues showed me how). On the individual entries for the journals, MLA actually gives very specific information as to how long articles should be, what the turn-around rate is, and what the submission/acceptance ratio is.

Journal of Postcolonial Writing

Hybridity: Journal of Cultures, Texts, and Identities does not seem to have a website. It is published in Singapore.

Journal of Commonwealth and Postcolonial Studies. I published a review with them some time ago.

New Literatures Review is published in Australia.

Textual Practice is not a specifically postcolonial journal, though it does list "postcolonial" as one of its keywords.

Journal of Commonwealth Literature

Ariel: A Review of International Literature; it is published in Calgary. This is one of the preeminent postcolonial journals; they are highly selective.

Wasafiri. I've published an essay with them; they are good (also preeminent, if I can say so myself).

Kunapipi. Another Australian poco journal.

Postcolonial Text. It's online-only, but it is peer-reviewed.

Postcolonial Studies.

Jouvert is defunct -- I'm curious to know what happened there.

South Asian Review. I'm editing a special issue for them this year; I'm also on the Advisory Board.

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Paul Brians has a list that includes a few other journals on his site at Washington State University.

And there's another list here.

Can anyone think of other journals they would recommend?

Secondly, do readers have experiences with these journals they would like to share? (feel free to comment anonymously, if you prefer)

In the Washington Post: Vikram Chandra, and a little from me

I'm quoted in an article in this past Monday's Washington Post, on Vikram Chandra's Sacred Games:

The seminal event of Chandra's 45 years, by contrast, has been the transformation, beginning in the early 1990s, of India's sleepy socialist economy into a dynamic engine of internationalization and growth.

"We're living through this precarious time when great changes are happening," Chandra says. The India he grew up in felt like "a little bubble at a far distance from the rest of the world." But in the India his 7-year-old nephew has inherited, "the West as a presence is completely available every day -- and his expectations of his place in the world are very changed."

This new India is a place where the middle class is growing in size and confidence. It's also a place, as Chandra points out, where there's still "this huge mass of people who have nothing" but who can now see what they lack.

And it's a place, according to Lehigh University professor Amardeep Singh, where "the stories people want to tell" aren't so much about colonialism anymore.

Singh teaches courses with titles such as "Post-Colonial Literature in English," using texts from regions as diverse as Africa, South Asia and the Caribbean. He notes that Chandra's first novel was replete with colonial themes, but he sees "Sacred Games" as something quite different.

"I would use the phrase 'novel of globalization,' " Singh says. In "Sacred Games," he points out, the English language Chandra's upwardly mobile gangster struggles to learn is associated less with India's former colonizers than with the broader international economy that dictates its use.

Not surprisingly, the notion of a globalized Indian literature has sparked a backlash. Indian authors writing in English, especially those living overseas, have been charged by some critics with distorting Indian reality to cater to Western audiences. Chandra took some hits on this front himself, even before "Sacred Games," and was irritated enough to lash back in a Boston Review essay titled "The Cult of Authenticity."

His advice to any writer similarly attacked: "Do what it takes to get the job done. Use whatever you need. Swagger confidently through all the world, because it all belongs to you."

An Introduction to Edward Said, Orientalism, and Postcolonial Literary Studies

REQUEST: If you were assigned this post on Edward Said's "Orientalism" as part of a course, or if you're a teacher who is assigning the below, I would greatly appreciate it if you would leave a comment stating which class and which school below. Or, email me at amardeep [AT] gmail [DOT] com.

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It's been about a year since Edward Said passed away.

Recently, there was a panel at Lehigh to talk about his legacy, specifically in the spheres of his contribution to literary studies, the representation of Islam, as well as his political advocacy. I was on the panel to talk about literary studies, especially his books Orientalism (1978) and Culture and Imperialism (1993).

Preparing a presentation gave me an opportunity to look at some Said essays on literature I hadn't ever read (see for instance this at LRB; or this at Al-Ahram). I was also particularly impressed by the Said resources at www.edwardsaid.org. There are dozens and dozens of essays by Said linked there, as well as a great many "tribute" essays written by critics all around the world, immediately after his passing. I highly recommend it.

An Introduction to Edward Said, Orientalism, and Postcolonial Literary Studies
(For a very general audience; notes for a presentation given at Lehigh University on 9/23/04)

Basic Bio: "Edward Said was born in Jerusalem in 1935 and was for many years America’s foremost spokesman for the Palestinian cause. His writings have been translated into 26 languages, including his most influential book, Orientalism (1978), an examination of the way the West perceives the Islamic world. Much of his writing beyond literary and cultural criticism is inspired by his passionate advocacy of the Palestinian cause, including The Question of Palestine, (1979), Covering Islam (1981), After the Last Sky (1986) and Blaming the Victims (1988). . . . He went to a New England boarding school, undergraduate years at Princeton and graduate study at Harvard." (from the Columbia University website)

Orientalism
Edward Said's signature contribution to academic life is the book Orientalism. It has been influential in about half a dozen established disciplines, especially literary studies (English, comparative literature), history, anthropology, sociology, area studies (especially middle east studies), and comparative religion. However, as big as Orientalism was to academia, Said’s thoughts on literature and art continued to evolve over time, and were encapsulated in Culture and Imperialism (1993), a book which appeared nearly 15 years after Orientalism (1978). Put highly reductively, the development of his thought can be understood as follows: Said’s early work began with a gesture of refusal and rejection, and ended with a kind of ambivalent acceptance. If Orientalism questioned a pattern of misrepresentation of the non-western world, Culture and Imperialism explored with a less confrontational tone the complex and ongoing relationships between east and west, colonizer and colonized, white and black, and metropolitan and colonial societies.

Said directly challenged what Euro-American scholars traditionally referred to as "Orientalism." Orientalism is an entrenched structure of thought, a pattern of making certain generalizations about the part of the world known as the 'East'. As Said puts it:

“Orientalism was ultimately a political vision of reality whose structure promoted the difference between the familiar (Europe, West, "us") and the strange (the Orient, the East, "them").”

Just to be clear, Said didn't invent the term 'Orientalism'; it was a term used especially by middle east specialists, Arabists, as well as many who studied both East Asia and the Indian subcontinent. The vastness alone of the part of the world that European and American scholars thought of as the "East" should, one imagines, have caused some one to think twice. But for the most part, that self-criticism didn’t happen, and Said argues that the failure there –- the blind spot of orientalist thinking –- is a structural one.

The stereotypes assigned to Oriental cultures and "Orientals" as individuals are pretty specific: Orientals are despotic and clannish. They are despotic when placed in positions of power, and sly and obsequious when in subservient positions. Orientals, so the stereotype goes, are impossible to trust. They are capable of sophisticated abstractions, but not of concrete, practical organization or rigorous, detail-oriented analysis. Their men are sexually incontinent, while their women are locked up behind bars. Orientals are, by definition, strange. The best summary of the Orientalist mindset would probably be: “East is east and west is west, and never the twain shall meet” (Rudyard Kipling).

In his book, Said asks: but where is this sly, devious, despotic, mystical Oriental? Has anyone ever met anyone who meets this description in all particulars? In fact, this idea of the Oriental is a particular kind of myth produced by European thought, especially in and after the 18th century. In some sense his book Orientalism aims to dismantle this myth, but more than that Said's goal is to identify Orientalism as a discourse.

From Myth to Discourse. The oriental is a myth or a stereotype, but Said shows that the myth had, over the course of two centuries of European thought, come to be thought of as a kind of systematic knowledge about the East. Because the myth masqueraded as fact, the results of studies into eastern cultures and literature were often self-fulfilling. It was accepted as a common fact that Asians, Arabs, and Indians were mystical religious devotees incapable of rigorous rationality. It is unsurprising, therefore that so many early European studies into, for instance, Persian poetry, discovered nothing more or less than the terms of their inquiry were able to allow: mystical religious devotion and an absence of rationality.

Political Dominance. Said showed that the myth of the Oriental was possible because of European political dominance of the Middle East and Asia. In this aspect of his thought he was strongly influenced by the French philosopher Michel Foucault. The influence from Foucault is wide-ranging and thorough, but it is perhaps most pronounced when Said argues that Orientalism is a full-fledged discourse, not just a simple idea, and when he suggests that all knowledge is produced in situations of unequal relations of power. In short, a person who dominates another is the only one in a position to write a book about it, to establish it, to define it. It’s not a particular moral failing that the stereotypical failing defined as Orientalism emerged in western thinking, and not somewhere else.

Post-colonial Criticism
Orientalism was a book about a particular pattern in western thought. It was not, in and of itself, an evaluation of the importance of that thought. It was written before the peak of the academic ‘culture wars’, when key words like relativism, pluralism, and multiculturalism would be the order of the day. Said has often been lumped in with relativists and pluralists, but in fact he doesn’t belong there.

In his later literary and cultural work, especially in Culture and Imperialism Said generally avoided the language of confrontation. Where others have angrily rejected the literary heritage of the Western Canon, Said, has instead embraced it, albeit ambivalently. Where others denounced Joseph Conrad and Rudyard Kipling as racist dead white men, Said wrote careful reappraisals of their works, focusing on their representations of India and Africa respectively. Said did not apologize for, for instance, Joseph Conrad’s image of the Congo as an essentially corrupting place inhabited by ruthless cannibals. But Said did acknowledge Conrad’s gift for style, and explored its implications: Conrad was sophisticated enough to sense that he did indeed have a blind spot. Conrad recognized that the idea of imperialism was an illusion, built entirely on a very fragile mythic rhetoric. You see some of this in the famous quote from Heart of Darkness:

The conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much. What redeems it is the idea only. An idea at the back of it; not a sentimental pretence but an idea; and an unselfish belief in the idea -- something you can set up, and bow down before, and offer a sacrifice to. . . ."

The lines are spoken by the sailor Marlowe, who was in effect an observer-participant to the scene of Kurtz’s fatal breakdown in the upper Congo. He is a veteran, of the colonial system, and this is the first place where his views become apparent. Like many others in his trade, Marlowe was in fact ambivalent about what was, in effect, his job. He knows the violence of it and the potential evil of it, but he still tries to justify it through recourse to the "idea at the back of it." But even more puzzling: that "idea at the back of it" is not an idea of reason, or human rights, or technology (or the pursuit of weapons of mass destruction). The idea is something to "bow down before, offer a sacrifice to..." The desire to conquer the earth, in short, is as irrational a desire as any.

Said refers to this passage a few times in his essays. One such response is as follows, where Said sketches an account of the political conditions that made imperialism possible in England and France, as well as general readings of several works of literature. I quote at length because this is a perfect example of Said’s ability to blend political/historical analysis with literary criticism:

But there's more than that to imperialism. There was a commitment to imperialism over and above profit, a commitment in constant circulation and recirculation which on the one hand allowed decent men and women from England or France, from London or Paris, to accept the notion that distant territories and their native peoples should be subjugated and, on the other hand, replenished metropolitan energies so that these decent people could think of the empire as a protracted, almost metaphysical obligation to rule subordinate, inferior or less advanced peoples. We mustn't forget, and this is a very important aspect of my topic, that there was very little domestic resistance inside Britain and France. There was a kind of tremendous unanimity on the question of having an empire. There was very little domestic resistance to imperial expansion during the nineteenth century, although these empires were very frequently established and maintained under adverse and even disadvantageous conditions. Not only were immense hardships in the African wilds or wastes, the "dark continent," as it was called in the latter part of the nineteenth century, endured by the white colonizers, but there was always the tremendously risky physical disparity between a small number of Europeans at a very great distance from home and a much larger number of natives on their home territory. In India, for instance, by the 1930s, a mere 4,000 British civil servants, assisted by 60,000 soldiers and 90,000 civilians, had billeted themselves upon a country of 300,000,000 people. The will, self-confidence, even arrogance necessary to maintain such a state of affairs could only be guessed at. But as one can see in the texts of novels like Forster's Passage to India or Kipling's Kim, these attitudes are at least as significant as the number of people in the army or civil service or the millions of pounds that England derived from India.

For the enterprise of empire depends upon the idea of having an empire, as Joseph Conrad so powerfully seems to have realized in Heart of Darkness. He says that the difference between us in the modern period, the modern imperialists, and the Romans is that the Romans were there just for the loot. They were just stealing. But we go there with an idea. He was thinking, obviously, of the idea, for instance in Africa, of the French and the Belgians that when you go to these continents you're not just robbing the people of their ivory and slaves and so on. You are improving them in some way. I'm really quite serious. The idea, for example, of the French empire was that France had a "mission civilisatrice," that it was there to civilize the natives. It was a very powerful idea. Obviously, not so many of the natives believed it, but the French believed that that was what they were doing.

The idea of having an empire is very important, and that is the central feature that I am interested in. All kinds of preparations are made for this idea within a culture and then, in turn and in time, imperialism acquires a kind of coherence, a set of experiences and a presence of ruler and ruled alike within the culture. (see http://www.zmag.org/zmag/articles/barsaid.htm)

A final point, about postcolonial studies. The development of Said’s ideas about literature and art paralleled those of the field of post-colonial criticism as a whole. It began in anger – Frantz Fanon, Aime Cesaire, Malcolm X. And it has ended up in a rather different place, embraced in the very academic settings that once might have laughed at the very notion of a canonical body of, say, African Literature.

Post-colonial criticism, which began under the combative spiritual aegis of [Frantz] Fanon and [Aime] Césaire, went further than either of them in showing the existence of what in Culture and Imperialism I called 'overlapping territories' and 'intertwined histories'. Many of us who grew up in the colonial era were struck by the fact that even though a hard and fast line separated colonizer from colonized in matters of rule and authority (a native could never aspire to the condition of the white man), the experiences of ruler and ruled were not so easily disentangled. (from the London Review of Books: http://www.lrb.co.uk/v25/n06/said01_.html)

That means that nativism cannot be an effective answer to western hegemony (later he gets more specific: "Afrocentrism is as flawed as Eurocentrism"). There’s no simple way to achieve decolonization, just as (in the more limited context of the United States), there’s no simple way for anyone to disentangle him or herself from the effects of racism.

But it also means that, in many respects, colonialism is still with us. It was through the colonial system that most of the national borders in Africa and Asia were drawn up, in many cases arbitrarily. But more than that are the effects of colonial language, the colonial state bureaucracy, and especially colonial attitudes to things like economic development.