The Disorder of Things

John Masterson

Description

Nuruddin Farah is widely regarded as one of the most sophisticated voices in contemporary world literature. Michel Foucault is revered as one of the most important thinkers of the twentieth century, with his discursive legacy providing inspiration for scholars working in a range of interdisciplinary fields. The Disorder of Things offers a reading of the Somali novelist through the prism of the French philosopher. The book argues that the preoccupations that have remained central throughout Farah’s forty year career, including political autocracy, female infibulation, border conflicts, international aid and development, civil war, transnational migration and the Horn of Africa’s place in a so-called ‘axis of evil’, can be mapped onto some key concerns in Foucault’s writing most notably Foucault’s theoretical turn from ‘disciplinary’ to ‘biopolitical’ power. In both the colonial past and the postcolonial present, Somalia is typically represented as an incubator of disorder: whether in relation to internecine conflict, international terrorism or contemporary piracy. Through his work, both fictional and non-fictional, Farah strives to present alternative stories to an expanding global readership. The Disorder of Things analyses the politics and poetics that underpin this literary project, beginning with Farah’s first fictional cycle, Variations on the Theme of an African Dictatorship (1979-1983), and ending with his Past Imperfect trilogy (2004-2011). Farah’s writing calls for a more refined, substantial reading of our current geo-political situation. As such, it both warrants and compels the kind of critical engagement foregrounded throughout The Disorder of Things. This book will appeal to students, academics and general readers with an interest in the interdisciplinary study of literature. Its engagement with theorists, drawn from postcolonial, feminist and development studies, set against the backdrop of a host of philosophical and sociological discourses, shows how such intellectual cross-fertilisation can enliven a single-author study.

Sujets

• Littérature Africaine
• Littérature Africaine
• General
• General officer
• Biography
• Literary Criticism
• Comparative Literature

Informations

• Publié par: WITS University Press
• Date de parution: 01 avril 2013
• Nombre de lectures: 0
• EAN13: 9781868148431
• Langue: English

Extrait

The Disorder of Things
A Foucauldian Approach to the Work of Nuruddin Farah
John Masterson
Published in South Africa by:
Wits University Press
1 Jan Smuts Avenue
Johannesburg
www.witspress.co.za
Copyright John Masterson 2013
First published 2013
ISBN 978-1-86814-570-6 (print)
ISBN 978-1-86814-843-1 (digital)
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of the publisher, except in accordance with the provisions of the Copyright Act, Act 98 of 1978.
Cover images:
Portrait of Nuruddin Farah (Photograph by George Hallett)
Portrait of French philosopher Michel Foucault in Paris, France in February 1977. (Photo by Francoise VIARD/Gamma-Rapho via Getty Images)
Cover design by Hothouse South Africa Design and typesetting by Orchard Publishing Edited by Louise Banks
Printed and bound by Creda Communications
For my mother, Liz,
and in memory of my father, Eddie
Contents Acknowledgements ix The Principal Works of Nuruddin Farah as Referred to in The Disorder of Things xii 1 Taking On Foucault and Fleshing Out Farah: Opportunities for Dialogue and Reflections on Method 1 Locating Farah 3 Why Farah? Why Foucault? Why Now? 5 Spectres of Foucault: To Savage or Salvage? 10 Edward Said: Speaking the Truth to Foucault 14 Foucault in/and Africa 19 Disturbing Postcolonial Studies: Foucault-style 20 Farah and Foucault: Reflections on Beginnings 23 2 Quivering at the Heart of the Variations Cycle: Labyrinths of Loss in Sweet and Sour Milk 28 Negotiating the Labyrinth: Texts and Contexts 33 The State as Stage: Torture and Performance in Sweet and Sour Milk 37 Shall I Be Released? 46 Architectures of Power and Resistance 53 3 So Vast the Prison: Agonistic Power Relations in Sardines 63 Writing/Righting Rape 65 Tremulous Private and Public Bodies 69 The Building Blocks of Resistance 72 Foucault and FGM 76 Mourning Yet on Creation Day 78 Writers don t give prescriptions, they give headaches! 85 To Guernica with Love 92 4 Through the Maze Darkly: Incarceration and Insurrection in Close Sesame 95 The Writer as Doctor: Revolting Bodies and the Optics of Surveillance 101 The Optics of Malveillance 104 Madness and (Un)Civilisation: Spectres of the Mad Mullah 108 Fleshing Out the Truth about Power 117 5 From the Carceral to the Bio-political: The Dialectical Turn Inwards in Maps 123 The Bloody Pivot of the Ogaden War 129 Misra, Biopower and Ethnocentrism 131 Constructions and Destructions of the (M)Other 134 Psychosomatics and War 137 Hallucinating Foucault/Transforming Farah 144 Foucault and/on Biopolitics and Race 146 Bifurcated Bodies and Split Subjects 152 Gaping Open: Textual Cycles and National Bodies in Maps 156 6 A Call to Alms : Gifts and the Possibilities of a Foucauldian Reading 163 The (In)Visibility of Giving 167 Foucault and the Tapestry of Aid 172 Towards a Foucauldian Genealogy of Humanitarianism 180 The Poetics and Politics of (Un)Conditional Giving 183 O my body, make of me always a man who questions! 192 7 Trajectories of Implosion and Explosion: The Politics of Blood and Betrayal in Secrets 198 The Poetics and Politics of Revulsion 202 Knots, Links and the Processes of Globalisation 204 The Disorder of Things: Normalisation and Taboo 208 Reconfiguring a Symbolics of Blood: Taboo and Transgression in Secrets 213 There Must Be Some Way Out of Here 222 Mixed-up Confusion 226 8 Bringing It All Back Home: Theorising Diaspora and War in Yesterday, Tomorrow and Links 231 Taxonomies of the Human: Globalisation and Displacement 235 Reflections on Blamocracy 237 Bare Life and Transnational Travels/Travails Through a Bio-political Lens 239 Reception, Rejection and the Brotherhood of Man 242 Malawi and/as Disney: Reflections on Links 247 The Vietmalia Syndrome : The Poetics of Postmodern Warfare 252 Revisioning Black Hawk Down 254 Contagion, Chaos and Confusion in Links 261 9 A Woman Apart: Entanglements of Power, Disintegration and Restoration in Knots 267 Tying Knots in Farah s Oeuvre 273 Normal and Abnormal Body Politics 279 From Mourning to Melancholia 283 The Possibilities, Poetics and Politics of (Re)Invention 289 10 Pirates of the Apocalypse: Where Next? 294 Index 299
Acknowledgements
T HE D ISORDER OF T HINGS BUILDS ON WORK CARRIED OUT FOR A P H D AT the University of Essex. I would not have been able to undertake this without the funding support of The States of Jersey s Department of Education, Sport and Culture. I remain grateful to them for allowing me to extend my studies and hope that future generations of students will continue to benefit from such investment. I would like to thank Angela Smith, who was an inspirational mentor to me during an MPhil year at the University of Stirling. Angela introduced me to Farah s work. As such, she played a decisive role at a formative stage of this project. In the years that have followed, Angela has continued to be a source of great support. I must thank my colleagues and friends in the Department of Literature, Film and Theatre Studies at the University of Essex. The late Joe Allard, Sanja Bahun, Emily Barker, James Canton, Clare Finburgh, Maria Cristina Fumagalli, Esther Kober, Wendy McMahon, the late David Musselwhite, Ildiko Olah, Owen Robinson, Phil Terry, Jane Thorp, Jonathan White and Penny Woollard, in particular, offered me great personal and professional guidance. I reserve special thanks for my supervisor, Peter Hulme. My decision to return to Essex was, in large part, motivated by the desire to work with Peter. Throughout my studies, he always provided considered advice whilst allowing me to pursue my own research interests. The working relationship between any student and their supervisor is critical and I am fortunate to have enjoyed such a productive one with Peter.
As I discuss throughout the book, The Disorder of Things was galvanised by my relocation to South Africa in 2010. I owe a particular debt of gratitude to colleagues in the Department of English at the University of the Witwatersrand, Johannesburg. Michelle Adler, Gerald Gaylard, Victor Houliston, Sofia Kostelac, Kirby Mania, Robert Muponde, Denise Newfield, the late Arlene Oseman, Chris Thurman, Tim Trengove-Jones and Merle Williams have all been incredibly supportive. I feel the benefits of their collegiality, professionalism and friendship on a daily basis. Michael Titlestad has been much more than a line manager and I owe him a particular debt of gratitude. He allowed me to buy-out some of my teaching in 2012 so that I could complete this book project. On a personal and professional level, I thank him warmly. Antonette Gouws, Libby Meintjes, Moipone Ndala and Delia Rossouw of the School of Literature, Language and Media have also been very supportive.
At Wits University Press, Roshan Cader, Veronica Klipp, Tsitsi Makina and Tshepo Neito have been thoroughly patient and professional. Louise Banks has offered wonderful editorial advice and I remain extremely grateful to her. Special thanks also go to Julie Miller. Julie believed in this project when few others did. I applaud and appreciate her persistence. I am also grateful for the insights offered by anonymous peer-reviewers. The Disorder of Things is much richer for their comments. I must offer particular thanks to my friend and colleague Ashlee Neser. Ashlee read sections of the manuscript in the lead-up to publication, offering always considered and constructive feedback. I have no doubt the book is stronger because of this. I am grateful to Cambridge Scholars Publishing and Rodopi for granting me permission to feature versions of chapters that originally appeared in their publications. The previous incarnations of what is now Chapter 7, Bringing It All Back Home: Theorising Diaspora and War in Yesterday, Tomorrow and Links , were published as Borders Immaterial? Recent Developments in the Work of Nuruddin Farah, in Baker, C. Norridge, Z. (Eds.). 2007. Crossing Places: New Research in African Studies (Newcastle: Cambridge Scholars Press, 2007), pp. 88-100 and A Post-mortem on the Postmodern? Conflict and Corporeality in Nuruddin Farah s Links in Makokha, JKS. Wawrzinek, J. (Eds). Negotiating Afropolitanism: Essays on Borders and Spaces in Contemporary African Literature and Folklore (Amsterdam: Rodopi, 2011), pp. 141-162.
My friends and family have and continue to put up with the good, the bad and the ugly from me. Whilst words fall short, this book would simply not have been possible were they not the people they are. It is my privilege to count Lee and Natalie Tatum amongst my best friends. I do not think I could ever repay the kindness and care they have shown me. As this book came into being, so too did Esme and Zac Tatum. They bring great joy into my life and, whilst thousands of miles separate us, they have and will always have a special place in my heart. For their support and compassion through it all, I must also thank Alan and Jill Clarke as well as Brian and Mandy Masheter. For reminding me what friendship is all about, my appreciation goes out to Robert Ball, Andrew Cook, Neil Corbel, Declan Cullinan, Anmol Kalsi, Joel Martins, Paul Martins, David McLoughlin, Ian Simpson, Simon Suleman and David Wooton, amongst many others. To the Sanchez and Italian crews in South Africa, thank you for making me feel at home away from home.
Anna Masheter was a source of great support and strength throughout the initial stages of this project. Whilst the thank you comes late, I remain truly grateful to her. Similarly, Kate Powis was incredibly positive about this study from the moment we first discussed it. I thank her for her care and compassion. I must also take this opportunity to express my gratitude to Alan Jones and Michael Wood. Whilst it took me years to call him by his first name, Alan is largely responsible for putting me on this li