Abstract
This article aims to explore the centrally essential notion of homeplace as a site of resistance presented in Fannie Flagg’s Fried Green Tomatoes at the Whistle Stop Cafe (1987). Close reading of the novel advances the argument that both the symbolic Whistle Stop and the cafe represent the counteractive force against sexist, classist and racist ideologies that basically undermine self-esteem and empowerment of literary characters in the text. Despite gender, class and race, the discussed characters, however they are marginalized, can safely take refuge, heal and recover themselves in the guarded icons connoting deep meanings. By directing a critical gaze at rootedness, the discussion is grounded in Black feminist criticism that, while largely exclusive to the experiences of women of color, values the significant role of homeplace and informs how the novel responds to this feminist perspective. In the collective effort to offset discrimination, it is stressed that one is to regain a sense of self in the marginal space by embracing Black feminism.
Highlights
The feminist discourse merits conceptualization of private sphere since it usually connotes gendering and femininity of household preservation and maintenance undertaken by women
Close reading of the novel advances the argument that both the symbolic Whistle Stop and the cafe represent the counteractive force against sexist, classist and racist ideologies that basically undermine self-esteem and empowerment of literary characters in the text
By directing a critical gaze at rootedness, the discussion is grounded in Black feminist criticism that, while largely exclusive to the experiences of women of color, values the significant role of homeplace and informs how the novel responds to this feminist perspective
Summary
The feminist discourse merits conceptualization of private sphere since it usually connotes gendering and femininity of household preservation and maintenance undertaken by women. The title of this article, noteworthily, is an exact replication of Emily Dickinson’s poem (1960) “Away from Home are some and I” in which she ponders the profound meanings attached to departure from one’s root and homecoming It resonates well, in my view, with the deep connection with homeplace fictional characters share in the focus text. The intersectional analysis on such non-white characters as Artis and Willie Boy, Big George and Onzell’s sons, too sheds light on the fact that they are setting off homeward after being racially torn beyond Whistle Stop Their journeys home justifiably account for exploitative social constructions that send the marginalized home; this loud call to home, signifies a search for a sheltered domain where one’s sense of boundary has the capacity to resist domination
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