Preface speaks of […] general worldwide
pattern of imperial culture, and a historical experience of resistance
against empire [xii]
I have looked especially at cultural forms as the novel, which
I believe were immensely important in the formation of imperial
attitudes, references, and experiences. [xii]
The main battle in imperialism is over land, of course; but when
it came to who owned the land, who had the right to settle and
work on it, who kept it going, who won it back, and who plans
its future - these issues were reflected, contested, and even
for a time decided in narrative. As one critic has suggested,
nations are themselves narrations. The power to narrative, or
to block other narratives from forming and emerging, is very important
to culture and imperialism, and constitutes one of the main connections
between them. Most important, the grand narratives of emancipation
and enlightenment, mobilized people in the colonial world to rise
up and throw off imperial subjection; in the process, many Europeans
and Americans were stirred by these stories and their protagonists,
and they too fought for new narratives of equality and human community.
[xiii].
There is something systematic about imperial culture therefore
that is not as evident in any other empire as it is in Britains
or Frances and, in a different way, the [xxv] united States.
When I use the phrase a structure of attitude and reference
this is what I have in mind. [xxxvi]
the connection between imperial politics and
culture is astonishingly direct [7]
As I shall be using the term, imperialism
means the practice and theory, and the attitudes of a dominating
metropolitan centre ruling a distant territory; colonialism,
which is almost always a consequence of imperialism, is the implanting
of settlements on distant territory. [Neither imperialism nor
colonialism is a simple act of accumulation and acquisition. Both
are supported and perhaps even impelled by impressive ideological
formations that include notions that certain territories and people
require and beseech domination […; 8]
Quotes Jules Harmand (1910): a principle and point of
departure [is] the fact that there is a hierarchy of races and
civilisations, and that we belong to the superior race and civilisation,
still recognising that, while superiority confers rights, it imposes
strict obligations in return. The basic legitimation of conquest
over native peoples is the conviction of our superiority, but
our moral superiority. Our dignity rests on that quality, and
it underlies our right to direct the rest of humanity. Material
power is nothing but a means to that end. (Quoted in Phillip
D. Curran, Imperialism, 1971.)
Quotes Salmon Rushdie on the rise of Raj revisionism at the time
of the Falklands War; whaleness, this world without quiet
corners [in which] there can be no easy escapes from history,
from hullabaloo, from terrible, unquiet fuss. (Rushdie,
Outside the whale, in Imaginary Homelands: Essays
in Criticism, 1981-1991, Viking/Granta 1991, pp.92, 101; here
p.23.)
Further [quoting Rushdie]: We see that
it can be as false to create a politics-free fictional universe
as to create one in which nobody needs to work or eat or hate
or love or sleep. Outside the whale it becomes necessary, and
even exhilarating, to grapple with the special problems created
by the incorporation of political material, because politics is
by turns farce and tragedy, and sometimes (e.g., Zias Pakistan)
both at once. Outside the whale the writer is obliged to accept
that he (or she) is part of the crowd, part of the ocean, part
of the storm, so that objectivity becomes a great dream, like
perfection, an unattainable goal for which one must struggle in
spite of the impossibility of success. Outside the whale is the
world of Samuel Becketts famous formula: I cant
go on, Ill go on. (Ibid., 100-101; here p.30.)
Let us begin by accepting the notion that although there is an
irreducible subjective core to human experience, this experience
is also historical and secular, it is accessible to analysis and
interpretation, and - centrally important - it is not exhausted
by totalising theories, not marked and limited by doctrinal or
national lines, not confined once and for all to analytical constructs.
[…] I do not mean what people mean when they say glibly
that there are two sides to every question. the difficulty with
theories of essentialism and exclusiveness, or with barriers and
sides, is that they give rise to polarisations that absolve and
forgive ignorance and demagogy more than they enable knowledge.
Even the most cursory look at the recent fortunes of theories
of race, the modern state, modern nationalism itself verifies
this sad truth. If you know in advance that the African or Iranian
or Chinese or Jewish or German experience is fundamentally integral,
coherent, separate, and therefore comprehensible only to Africans,
Iranians, Chinese, Jews or Germans, you first of all posit as
essential something which, I believe, is both historically created
and the result of interpretation - namely the existence of Africanness,
Jewishness, or Germanness, or for that matter Orientalism and
[35] Occidentalism. And second, you are likely as a consequence
to defend the essence or experience itself rather than promote
full knowledge of it and its entanglements and dependencies on
other knowledges. As a result, you will demote the different experience
of others to a lesser status. (pp.35-36.)
The notion of discrepant experiences is not intended
to circumvent the problem of ideology. On the contrary, no experience
that is interpreted or reflected on can be characterised as immediate,
just as no critic or interpreter can be entirely believed if he
or she claims to have achieved an Archimedean perspective that
is subject neither to history nor to a social setting. In juxtaposing
experiences with each other, in letting them play off each other,
it is my interpretative political aim (in the broadest sense)
to make concurrent those views and experiences that are ideologically
and culturally closed to each other, and that attempt to distance
or suppress other views and experiences. (p.37.)
Contrasts the Description de lEgypte by
Jean-Baptiste-Joseph Fourier with Abd al-Rahman al-Jabartis
Ajaib al Athar, both from the 1820s. (p.37.ff.)
Remarks on Auerbach (pp.50f.)
Lukacs belongs to the Hegelian tradition of Marxism, Gramsci
to a Vichian, Crocean departure from it. (p.57.) Cites Gramsci,
The Southern Question. [57]
As we look back at the cultural archive, we begin to reread it
not univocally but contrapuntally, with a simultaneous awareness
both of the metropolitan history that is narrated and of those
other histories against which (and together with which) the dominating
discourse acts. […; 60] At this pint alternative or new
narratives emerge, and they become institutionalised or discursively
stable entities. (p.61-60.)
Cf., p.78: In practical terms, contrapuntal reading
as I have called it means reading a text with an understanding
of what is involved when an author shows, for instance, that a
colonial sugar-plantation is seen as important to the process
of maintaining a particular style of life in England. (p.78);
and further, each cultural work is a vision of a moment,
and we must juxtapose that vision with the various revisions it
later provoked […] (p.79.)
Reading and interpreting the major metropolitan cultural texts
in this newly activated, reinformed way could not have been possible
without the movements of resistance that occurred everywhere in
the peripheries against the empire. (p.62.)
Remarks on the ethnographer Colonel Creighton, who is also head
of British intelligence services in India, in Kiplings
Kim. [65]
We live of course in a world not only of commodities but also
of representation, and representations - their production, circulation,
history, and interpretation - are the very element of culture.
In much recent theory the problem of representation is deemed
to be central, yet rarely is it put in its full political context,
a context that is primarily imperial. Instead we have, on the
one hand, an isolated cultural sphere, believed to be freely and
unconditionally available to weightless theoretical speculation
and investigation, and, on the other, a debased political sphere,
where the real struggle between interests is supposed not to occur.
(p.66.)
A radical falsification has become established
in this separation. Culture is exonerated of any entanglements
with power, representations are considered only as apolitical
images to be parsed and construed as so many grammars of exchange,
and the divorce of the present from the past is assumed to be
complete. And yet, far from this separation of spheres being a
neutral or accidental choice, its real meaning is as an act of
complicity, the humanists choice of a disguised, denuded,
systematically purged textual model over a more embattled model,
whose principal features would inevitably coalesce around the
continuing struggle over the question of empire itself. (p.67.)
Jane Austen and Empire [chapter title 95]
On Verdi Aida (1870): What
Napoleon and his teams found was an Egypt whose antique dimensions
were screened by the Muslim, Arab, and even Ottoman presence standing
everywhere between the invading French army and ancient Egypt.
How was one to get to that other, older, more prestigious part?
(p.142.)
I think that Mariette had in his own minds eye transmuted
the pharaonic originals into a rough modern equivalent, into what
pre-historic Egyptians would look like accoutred in style prevalent
in 1870: Europeanised faces, moustaches, and beards are the giveaway.
/ The result was an Orientalised Egypt, which Verdi had arrived
at in the music quite on his won. (p.145.)
[…] Aida is a self-sufficient work of art, he [i.e., Verdi
in his letter to Filippi] seems to be saying, lets leave
it at that. But isnt there something else going on here
too, some sense on Verdis part of an opera written for
a place he cannot relate to, with a plot that tends in hopeless
deadlock and literal entombment? / Verdis awareness of
Aidas incongruities appears elsewhere. At one point he
speaks ironically of adding Palestrina to the harmony of Egyptian
music, and he seems also to have been conscious of the extent
to which ancient Egypt was not only a dead civilisation but also
a culture of death, whose apparent ideology of conquest (as he
adapted it from Herodotus and Mariette) was related to an ideology
of the afterlife. The rather sombre, disenchanged, [148] and vestigial
attachment that Verdi had to the
British Governor of Jamaica, E. J. Eyre, ordered
a retaliatory massacre of Blacks for the filling of a few whites;
this revealed to many English people the injustices and horrors
of colonial life; the subsequent debate engaged famous public
personalities both for Eyres declaration of martial law
and massacre of Jamaican Blacks (Ruskin, Carlyle, Arnold) and
against him (Mill, Huxley, Lord Chief Justice Cockburn). In time,
however, the case was forgotten, and other administrative
massacres in the empire occurred. Yet, in the words of
one historian, Great Britain managed to maintain the distinction
between domestic liberty and imperial authority [which he describes
as repression and terror] abroad. (See Bernard
Semel, Jamaican Blood and Victorian Conscience: The Governor Eyre
Controversy, Boston; Riverside Press 1963 p.179; here p.157.)
/ Most modern readers of Matthew Arnolds anguished poetry,
or of his celebrated theory in praise of culture, do not also
know that Arnold connected the administrative massacre
ordered by Eyre with tough British policies towards colonial Eire
and strongly approved of both; Culture and Anarchy is set plumb
in the middle of the Hyde Park Riots of 1867, and what Arnold
had to say about culture was specifically believed to be a deterrent
to rampant disorder - colonial, Irish, domestic. Irishmen, and
women, and some historians bring up these massacres at inappropriate
moments, but most Anglo-American readers of Arnold remain oblivious,
see them - if they look at all - as irrelevant to the more important
cultural theory that Arnold appears to be promoting for all ages.
(pp.157-158.) Note further reference to Daumier whose famous
… drawing, for instance, explicitly connects Irish whites
and Jamaican Blacks. (p.162.)
On Kiplings novel Kim: Two
factors must be kept in mind as we interpret Kim. One is that,
whether we like it or not, its author is writing not just from
the dominating viewpoint of a white man in a colonial possession
but from the perspective of a massive colonial system whose economy,
functioning, and history had acquired the status of a virtual
fact of nature. Kipling assumes a basically uncontested empire
[162; …] / The second factor is that, no less than India
itself, Kipling was a historical being as well as a major artist.
Kim was written at a specific moment in his career, at a time
when the relationship between the British and Indian people was
changing. Kim is central to the quasi-official age of empire and
in a way represents it. And even though Kipling resisted this
reality, India was already well on its way toward a dynamic of
outright opposition to British rule (the Indian National Congress
was established in 18 8 5), while among the dominant caste of
British colonial officials, military as well as civilian, important
changes in attitude were occurring as a result of the 1857 Rebellion.
The British and Indians were both evolving, and together. They
had a common interdependent history, in which opposition, animosity,
and sympathy either kept them apart or brought them together.
A remarkable, complex novel like Kim is a very illuminating part
of that history, filled with emphases, inflections, deliberate
inclusions and exclusions as any great work of art is, and made
the more interesting because Kipling was not a neutral figure
in the Anglo-Indian situation but a prominent actor in it. / Even
though India gained its independence (and was partitioned) in
1947, the question of how to interpret Indian and British history
in the period after decolonization is still, like all such dense
and highly conflicted encounters, a matter of strenuous, if not
always edifying, debate. There is the view, for example, that
imperialism permanently scarred and distorted Indian life, so
that even after decades of independence, the Indian economy, bled
by British needs and practices, continues to suffer. Conversely,
there are British intellectuals, political figures, and historians
who believe that giving up the empire-whose symbols were Suez,
Aden, and India-was bad for Britain and bad for the natives,
who both have declined in all sorts of ways ever since.
(p.163.)
Babu: Kims native and secular mentor in the Great Game;
Said speaks of the conclusion of Kim as an instance of Britain
(through a very loyal Irish subject) taking hold once again of
India; British India […] would pass into chaos
or insurrection unless roads were walked upon properly, houses
lived in the right way, men and women talked to in the correct
tones. (p.174.)
Bibl [on Kipling]., Mark Kinkead-Weeks, Vision in Kiplings
Novels, in Kiplings Mind and Art, ed. Andrew Rutherford
(London: Oliver & Boyd 1964); Edmund Wilson, The Kipling
that Nobody Read, in The Wound and the Bow (OUP 1947);
Angus Wilson, The Strange Ride of Rudyard Kipling (London: Penguin
1977).
Said disputes Edmund Wilsons view that Kipling sets the
British Raj and native Indian worlds side by side without resolving
the conflict on the grounds that for Kipling there was
no conflict. [176; his italics.]
Quotes Moorhouses speculation that the love-hate relationship
between the British and Indians derived from the complex hierarchical
attitudes present in both people. Each grasped the others
basic social premise and not only understood it but subconsciously
respected it as a curious variant of their own..
(Moorhouse, India Britannica, 1984, p.103; here p.187.)
The novels ease of atmosphere [193]
The striking parallel between Camus and Orwell is that both men
have become exemplary figures in their respective cultures, figures
whose significance derives from but nevertheless seems to transcend
the immediate force of their native context. The note is perfectly
struck in a description of Camus that comes near the end of Conor
Cruise OBriens agile demystification of him in a
book that in many ways resembles (and was written for the same
series as) Raymond Williamss Modern Masters study of Orwell.
OBrien says: Probably no European writer of his
time left so deep a mark on the imagination and, at the same time,
on the moral and political consciousness of his own generation
and of the next. He was intensely European because he belonged
to the frontier of Europe and was aware of a threat. The threat
also beckoned to him. He refused, but not without a struggle.
/ No other writer, not even Conrad, is more representative of
the Western consciousness and conscience in relation to the non-Western
world. The inner drama of his work is the development of this
relation, under increasing pressure and in increasing anguish..
(OBrien, Albert Camus, NY: Viking 1970, p.103; here p.209.)
/ Having shrewdly and even mercilessly exposed the connections
between Camuss most famous novels and the colonial situation
in Algeria, OBrien lets him off the hook. There is a subtle
act of transcendence in OBriens notion of Camus
as someone who belonged to the frontier of Europe,
when anyone who knows anything about France, Algeria, and Camus-OBrien
certainly knows a great deal-would not characterise the colonial
tie as one between Europe and its frontier. Similarly Conrad and
Camus are not merely representative of so relatively weightless
a thing as Western consciousness but rather of Western
dominance in the non-European world. […] The Western colonialism
that OBrien and Conrad are at such pains to describe is
first a penetration beyond the European frontier and into the
heart of another geographical entity [; &c.] (pp.209-10).
OBrien further rescues Camus from the embarrassment
he had put him in by stressing the privilege of his individual
experience. […] Here then is a moral man in an immoral situation.
(p.210.)
Quotes Camus on the ungroundedness of Algerian nationalism: en
ce qui concern lAlgérie, lindependence nationale
est une formule purement passionelle. Il ny a jamais eu
encore de nation algérienne […, &c.; Essais;
here p.216].
Camuss obduracy accounts for the blankness
and absence of background in the Arab killed by Mersault; hence
also the sense of devastation in Oran that is implicitly meant
to express not mainly the Arab deaths (which, after all, are the
ones that matter demographically) but French consciousness. /
It is accurate to say, therefore, that Camuss narratives
lay serve and ontologically prior claims to Algerias geography.
(p.217.)
Camuss novels and stories thus very precisely distil the
traditions, idioms, and discursive strategies of Frances
appropriation of Algeria. He gives its most exquisite articulation,
its final evolution to this massive structure of feeling.
But to discern this structure, we must consider Camuss
works as a metropolitan transfiguration of the colonial dilemma:
they represent the colon writing for a French audience whose personal
history is tied irrevocable to this southern department of France;
a history taking place anywhere else is unintelligible. (p.223.)
Said on Modernism: As against this optimism,
affirmation, and serene confidence [of Kiplings Great
Game], Conrads narratives - to which I have so often
referred because more than anyone else he tackled the subtle cultural
reinforcements and manifestations of empire - radiate an extreme,
unsettling anxiety: they react to the triumph of empire the way
Hirschman says that romantics responded to the triumph of an interest-centred
view of the world. Conrads tales and novels in one sense
reproduce the aggressive contours of the high imperialist undertaking,
but in another sense they are infected with the easily recognizable,
ironic awareness of the post-realist modernist sensibility. Conrad,
Forster, Malraux, T. E. Lawrence take narrative from the triumphalist
experience of imperialism into the extremes of self-consciousness,
discontinuity, self-referentiality, and corrosive irony, whose
formal patterns we have come to recognize as the hallmarks of
modernist culture, a culture that also embraces the major work
of Joyce, T. S. Eliot, Proust, Mann, and Yeats. I would like to
suggest that many of the most prominent characteristics of modernist
culture, which we have tended to derive from purely internal dynamics
in Western society and culture, include a response to the external
pressures on culture from the imperium. Certainly this is true
of Conrads entire oeuvre, and it is also true of Forsters,
T. E. Lawrences, Malrauxs; in different ways, the
impingements of empire on an Irish sensibility are registered
in Yeats and Joyce, those on American expatriates in the work
of Eliot and Pound. (p.227.)
Similarly [to the Asiatic plague
in Manns in Death in Venice] Joyce, for whom the Irish
nationalist and intellectual Stephen Dedalus is ironically fortified
not by Irish Catholic comrades but by the wandering Jew Leopold
Bloom, whose exoticism and cosmopolitan skills undercut the morbid
solemnity of Stephen's rebellion. Like the fascinating inverts
of Proust's novel, Bloom testifies to a new presence within Europe,
a presence rather strikingly described in terms unmistakably taken
from the exotic annals of overseas discovery, conquest, vision.
Only now instead of being out there, they are here, as troubling
as the primitive rhythms of the Sacre du printemps or the African
icons in Picasso's art. (p.228.)
The River Between by James Ngugi (later
Ngugi wa Thiongo) redoes Heart of Darkness by inducing life into
Conrads river on the very first page. […] In Ngugi
the white man recedes in importance - he is compressed into a
single missionary figure emblematically called Livingstone - although
his influence is felt in the divisions that separate the villages,
the riverbanks, and the people from one another. [&c.] (p.254.)
Cites Tayb Salih, Season of Migration to
the North [255]
The core of Aimé Césaires
Caribbean Une Tempête is not ressentiment, but
an affectionate contention with Shakespeare for the right to represent
the Caribbean. (p.256.)
Three great topics emerge in decolonising cultural resistance
[…] One, of course, is the insistence on the right to see
the communitys history whole, coherently, integrally. Restore
the imprisoned nation to itself. [259; …] Second is the
idea that resistance, far from being merely a reaction to imperialism,
is an alternative way of conceiving human history. […] Salman
Rushdies novel Midnights Children is a brilliant
work based on the liberating imagination of independence itself,
with all its anomalies and contradictions working themselves out.
The conscious effort to enter into the discourse of Europe and
the West, to mix with it, transform it, to make it acknowledge
a marginalised or suppressed or forgotten histories is [260] of
particular interest in Rushdies work, and in an earlier
generation of resistance writing. This kind of work was carried
out by dozens of scholars, critics, and intellectuals in the peripheral
world; I call this the voyage in. / Third is a noticeable pull
away from separatist nationalism towards a more integrative view
of human community and human liberation. I want to be very clear
about this. No one needs to be reminded that throughout the imperial
world during the decolonizing period, protest, resistance, and
independence movements were fuelled by one or another nationalism.
Debates today about Third World nationalism have been increasing
in volume and interest, not least because to many scholars and
observers in the West, this reappearance of nationalism revived
several anachronistic attitudes; Elie Kedourie, for example, considers
non-Western nationalism essentially condemnable, a negative reaction
to a demonstrated cultural and social inferiority, an imitation
of Western political behaviour that brought little
that was good; others, like Eric Hobsbawm and Ernest Gellner,
consider nationalism as a form of political behaviour that has
been gradually superseded by new transnational realities of modern
economies, electronic communications, and superpower military
projection . In all these views, I believe, there is a marked
(and, in my opinion, ahistorical) discomfort with non-Western
societies acquiring national independence, which is believed to
be foreign to their ethos. Hence the repeated insistence
on the Western provenance of nationalist philosophies that are
therefore ill-suited to, and likely to be abused by Arabs, Zulus,
Indonesians, Irish, or Jamaicans. / This, I think, is a criticism
of newly independent peoples that carries with it a broadly cultural
opposition (from the Left as well as from the Right) to the proposition
that the formerly subject peoples are entitled to the same kind
of nationalism as, say, the more developed, hence more deserving,
Germans or Italians. A confused and limiting notion of priority
allows that only the original proponents of an idea can understand
and use it. But the history of all cultures is the history of
cultural borrowings. […, &c.] (pp.260-61.)
The womens movement is central here. For as primary resistance
gets under way, to be followed by fully fledged nationalist parties,
unfair male practices like concubinage, polygamy, foot-binding,
sati, and virtual enslavement become the focal points of womens
resistance. (p.263.)
In sum, decolonisation is a very complex battle over the course
of different political destinies, different histories and geographies,
and its is replete with works of the imagination, scholarship
and counter-scholarship. (p.264.)
[Yeats and Decolonisation, pp.265-88;
formerly a Field Day Pamphlet (Derry).]
[NOTES CONTINUING]
You must have the independence and detachment of someone
whose homeland is sweet, but whose actual condition
makes it impossible to recapture that sweetness, and even less
possible to derive satisfaction from substitutes furnished by
illusion or dogma, whether deriving from pride in ones
heritage or from certainty about who we are.
(Culture and Imperialism, 1993, p.407; quoted in Gerry Smyth,
The Novel and the Nation: Studies in New Irish Fiction, 1997,
p.148.)
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