Diaspora 3:1 1994 The Geography of Female Subjectivity: Ethnicity, Gender, and Diaspora Susan Koshy University of Louisville And I very deliberately set the story in V. S. Naipaul's birthplace because it was my "in"joke, challenging, ifyou like, Naipaul's thesis of tragedy being geographical. Naipaul's fiction seems to suggest that if you are born far from the center of the universe, you are doomed to an incomplete and worthless little life. You are bound to be, ifyou're born like a Jasmine, an Indian in the Caribbean, a comic character, you come to nothing. So I wanted to say, "Hey, look at Jasmine. She's smart, and desirous, and ambitious enough to make something of her life." Bharati Mukherjee Female subjectivity forms the primary site of dislocation in Bharati Mukherjee's stories of the making and imagining of immigrant identities in America.1 The experience of diaspora displaces the cultural narratives that write identity and womanhood in the home country; her stories reveal the vexed and ambivalent renarrations of "woman" produced by the dissemination of identities. This essay will examine the negotiations involved in the insertion of female subjectivity into the cultural space of "America" by focusing on the way Mukherjee's fictions appropriate and interrogate the narratives of assimilation and feminism that provide paradigmatic texts of gender, as well as of ethnic and racial identity, in the United States and Canada. First, I will argue that Mukherjee's celebration of assimilation is an insufficient confrontation of the historical circumstances of ethnicity and race in the United States and of the complexities of diasporic subject-formation.2 Second, while it is important to indicate the feminist concerns in Mukherjee's writing, I will try to show that such an analysis is incomplete ifit does not also address the narrativization of these concerns in her work. Since gender does not exist as a unitary text but is variously intersected by race, class, religion, and nationality, an interpretation that focuses only on the liberatory feminist motifs misses theorizing their production within other traversing relations. My interest in Mukherjee's writing is in the ways in which "woman" disrupts the homogeneities of national and 69 Diaspora 3:1 1994 ethnie identity and in the ways in which "woman" is used as a signifier to cover class discriminations. A comparison between Wife (1975), an early novel, and Jasmine (1989) will form the basis ofmy analysis, which will highlight the shifts in Mukherjee's articulation of emergent female subjectivity and the assimilationist narrative . Mukherjee's representations of female subjectivity have consistently engaged western liberal feminism's paradigmatic texts of emergent selfhood. Mukherjee has staked out a position that she claims is distanced from mainstream American and European feminism , and she has frequently indicated her disapproval of "the imperialism of the feminists" whose "tools and rhetoric" cannot be applied "wholesale and intact" to the situations of "some non-white, Asian women" (Connell 22). Despite this declaration, Mukherjee's is both a more mediated position than her statements would allow and it is one that has changed significantly in the course ofher career . She has moved since her novel Wife toward a celebration of what Norma Alarcon has described as "the most popular subject of Anglo-American feminism ... an autonomous, self-making, selfdetermining subject" (357). Thus, her work, despite its stated opposition to mainstream feminism, is also deeply complicit with some of its underlying assumptions. The difficulty can be located in Mukherjee's tendency to frame issues in terms that always claim maximum marginalization for her main characters. Insofar as they are victims, they are shown as being marked by racial, religious, or class conflicts; but Mukherjee obscures similar social relations in situations where they are part of the structures of dominance. Since her main characters are usually middle-class Indian women, class becomes the ground of greatest obfuscation and ambivalence in her fiction. Quite often, Mukherjee stages confrontations so that the gender conflicts overwrite and obscure class conflicts. One of the key moments in "The Management ofGrief" presents a confrontation between Shaila Bhave and a petty Indian customs official; he refuses to clear the coffins and Shaila abuses him in public.3...
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