Exploring Cultural Identity and Nostalgia in South Asian Diasporic
Literature
N Veera Basavaraju1*, Dr. Navjeet Kaur2
1 Research Scholar, Sunrise University, Alwar,
Rajasthan, India
veerabasava48@gmail.com
2 Assistant Professor, Department of English, Sunrise University, Alwar,
Rajasthan, India
Abstract : The intricate
relationship between cultural identity, nostalgia, and diasporic awareness in
South Asian diasporic literature is examined in this essay. It looks at how authors express the cultural,
psychological, and emotional compromises people make while juggling their lives
in their native country and their new one.
The study emphasizes issues like memory, displacement, hybridity,
belonging, and generational identity transitions via in-depth readings of
chosen literary works. The research
highlights how nostalgia may be used to both reimagine cultural continuity in
diasporic areas and act as a connection to the past. The study also explores how intergenerational
tales, language, food, and rituals become symbolic markers of identity
development. The research highlights how
South Asian diasporic authors describe identity as flexible, adaptable, and
always changing, challenging fixed cultural borders by emphasizing the dynamic
nature of cultural identity development.
In the end, this study advances our knowledge of how diasporic
literature serves as a forum for resolving fractured histories and reaffirming
cultural rootedness in cross-border settings.
Keywords: South Asian
diaspora, cultural identity, nostalgia, hybridity, memory, displacement,
transnationalism, belonging, diasporic consciousness.
INTRODUCTION
We are one with the earth now, Mama. If we
are no longer bound to any particular plot of land, then we really are one with
the earth, isn't that obvious to you? That space, wherever we may be, is ours
just as much as any other, she writes in her choral, polyphonic book, TJie
Woman Warrior: Memoirs of a Girlhood Among Ghosts. By rejecting the notion of a
physical ancestral home and a feeling of simple, unconditional belonging,
Maxine Hong Kingston asserts both mental and physical space in the United
States. Through her biography of her upbringing as a Chinese-American girl, she
tells us a narrative of returning home while writing herself in the United
States. The concept of homecoming in her narrative is not the same as the
typical return of the first diaspora; rather, it is a charting of her journey
and an understanding of how her ethnicity and culture profoundly shape her
identity and position in multicultural America. She criticizes conventional
diasporic relationships and advocates for a cosmopolitan sensibility that goes
beyond national borders and geographical limitations, while also questioning
the concept of pure nostalgia and a full homecoming. She anticipates the
diasporic fixation with transnationalism and deterritorialization that began
after 1980 by identifying with the earth and asserting her connection to it via
the use of the words "home" and "belonging." In her 1993
article "On the Edge of Empire: Flexible Citizenship among Chinese in
Diaspora," Aihwa Ong discusses the Chinese diasporic subject who is
"deterrilorialized in relation to a particular country but is highly
localized in relation to family" (Ong 771-72). Kingston, in her diasporic
position, can assert the ability to adapt, the strength to survive,
"discrepant cosmopolitanism," and "stubborn visions of
renewal" in the midst of oppression, marginalization, loss, and suffering
(Clifford, "'Diaspora", 312).
Some have dubbed the era of dispersion that
began in the latter part of the 21st century. Transnational, national, and even
regional migration is at an all-time high. The terrain of our imagined
communities has been transformed by new social and cultural activities, the
creation of new subjectivities, and the unparalleled global movement of ideas,
media, technology, and money. The remark by Maxine Hong Kingston, which was
given at the beginning of this introduction, offers a broad framework for considering
issues of location, belonging, and identity in the context of a world where
many displacements are ongoing processes. This dissertation examines nations
through the lens of diasporic bodies. This research endeavors to examine the
ways in which South Asian Americans residing in Western urban areas are shaped
by the politics of diaspora in their migration narratives. Examines how South
Asian American individuals are classified and placed inside the hyphen that
denotes their identity and the connection between their ancestral home and
their current home(s).
Belonging in diaspora is the key premise of
this dissertation. Geographical nationalism, which holds that individuals must
appropriately belong to a specific, clearly visible location on the global
globe, is vehemently opposed in the writings of several diaspora authors, I
contend. The works we looked at strongly reject the concept that there is a
fixed place to which someone can ever really belong and instead promote the
idea of a life marked by constant migration, shifting perspectives, and
linguistic and geographical hopping. An exile and a nostalgic homecoming make
up the two ends of a linear diaspora narrative, which these authors argue is
flawed. Both the tumultuous departure and the equally complicated metropole
dwelling are something that they are aware of. The authors exemplify the
concept of a homing urge, which is different from wanting to return to one's
home country in an absolute or final sense. The idea that the diaspora is built
through displacement and supported by the "incommensurable
simultaneity" (Radhakrishnan, Diasporic Mediations 175) of now and there
helps me understand how it can be used to critique gender-based essentialist
ideas of national citizens and diasporic subjects, as well as discourses about
fixed origins.
Gendered citizenship and the construction
of elhnicized, racialized, national, and diasporic subjectivities are also
explored in this dissertation's analysis of South Asian American diasporic
literary tales. A multi-perspective investigation of diasporic discourses on
nationhood, ethnicity, culture, and modernity is developed via in-depth
literary readings of five works by South Asian Americans. Writers of Pakistani
American descent have been chosen. Authors Sorayya Khan and Sara Suleri are of
Indian American descent. Alexander Meena. The Desai brothers, Anita and Kiran.
The notion of modernity and its extreme disjuncture may indicate the mobility
of people across states and countries and symbolize the chaos of cultural
reproduction. I propose to examine this by analyzing the intricate link of
global modermity on the construction of diasporic identities. Understanding the
formation, positioning, and representation of South Asian American diaspora
identities in social and literary spaces is crucial for making sense of the
cultural displacement and broken character of modernity. A major organizational
principle that mediates the notion of diasporic identity is the idea of
"belonging." Since "belonging in diaspora" may imply both
"a longing to belong" and "longing to be," the title
(Be)Joiiging uses parentheses to denote this complexity. Aspirations of
national, communal, cultural, and familial belonging are complex, contentious,
conflicting, speculative, and situational identities. Asserting one's
subjectivity or claim to autonomous subjectivity and selfhood are inherently
ambiguous and severely broken processes; the concept of desiring to be is
another method of doing either.
It is from the idea of difference and how
ideas of difference in terms of race, ethnicity, class, gender, and sexuality
both create and sustain certain forms of unbelievability that the concept of
belonging draws its power. Belonging is examined via the lens of gender in this
analysis. This difference is significant because diasporic men and women face
patriarchal control patterns and inclusion/exclusion mechanisms differently, as
well as various ways of experiencing belonging. Does diasporic experience
strengthen or weaken patriarchal control? This is one of the problems raised by
a gendered study of diaspora. Is the diaspora a place where gender norms from
back home are reinforced? Is it via diasporic transactions and agreements that
women create new subject positions and roles? Do women reject down the chance
to return if males set the conditions? Women in diaspora, as pointed out by
Clifford, often hold on to their "home culture" while also being
skeptical, as Maxine Hong Kingston does, of the diasporic demand for genuine
ethnicity. If women in diaspora achieve financial, social, and personal
autonomy, the space will be liberating; if they continue to face old
patriarchal systems of control, it will be oppressive.
LITERATURE REVIEW
Sarwal, Amit.
(2017). Using the South Asian
diaspora in Australia as a case study, this book examines the poetic and
metaphysical ideas of "rooting into a culture" and "routing out
of a culture'. Characteristic of many diasporic tales is the presence of
fractured and dislocated identities that occupy a liminal area, straddling
several cultures and histories. Still, "home" is a useful point of
reference because of the imaginative, nostalgic, and creative processes that
sustain it. In order to differentiate between the many forms of
"dislocation" that immigrants experience, the author contends that a
more precise understanding of politics of location is necessary. This book
examines and draws from a diverse array of works on this subject from literary
studies, anthropology, sociology, culture, and history to fill a gap in South
Asian diaspora studies, which has mostly ignored the diaspora in Australia.
John, Mariam.
(2020). In his essay
"Experience," Emerson proposes the concept of a cosmic relationship
between humans and the cosmos. Because it is spatial and not an absolute thing,
what we take to be true is different from reality. The cosmos and its
surroundings are, nevertheless, created by life, which includes everything from
subatomic particles to plants, animals, and people. A person's whole
spatio-temporal logic is contained in their universe. So, we want to comprehend
and make sense of our surroundings, from the mist to man-made objects.
Wahab (2022)
This essay examines displacement through the
lens of three South Asian communities: the Rohingya of Bangladesh, the Tamils
of Sri Lanka in India, and the Afghans in Pakistan. The intricacies of
humanitarianism and geopolitics give rise to refugee management in each of
these instances, which in turn becomes fundamental to urban concerns about the
right to relocate and stay in the city. Our argument is based on research in
refugee studies, South Asia studies, and the geopolitics of migrant
(im)mobilities. We contend that displacement poses a danger to the definitions
of belonging and citizenship in South Asian nations. Because of this, the
displaced people's homes have become hotspots for national alienation and
governmental brutality due to the complex web of securitization and
urbanization. Specifically, we discuss how displaced people are geographically
and socioeconomically segregated, making them vulnerable to everyday
bureaucratic violence, and how social class influences how displaced people
deal with the exclusions that result from relocation. The state uses spatial
control tactics to nationalize urban territory and keep refugees as permanently
displaceable, while the displaced influence the urban economy in the places
where they reside.
Tiwari, Sandhya.
(2011). Nowadays, the word
"diaspora" is used to describe almost any group of people who are
viewed as "deterritorialized" or "transnational." This
means that their social, economic, and political networks go beyond national
borders or even the entire world. The Greek root diaspeir means "to
distribute" or "to sow to scatter" like seeds, and the prefix
dia- means "from one end to the other." This is whence the English
term "diaspora" comes from. Naturally, the phrase developed to mean a
scattered group with a shared religious and cultural history, and this was
especially true in relation to the Jewish historical experience. The "shrinking"
borders are leading to an increase in the frequency, size, and self-awareness
of these communities. Quite a few are stepping up to the plate, or have done so
for quite some time, to shape national narratives, regional alliances, and
global political economies.
Ranasinha, Ruvani.
(2016). Feminists Kiran Desai,
Tahmima Anam, Monica Ali, Kamila Shamsie, and Jhumpa Lahiri are part of a new
wave of South Asian women writers writing in English as a second language, and
this book is the first to compare and contrast their work. It traces the
evolution of postcolonial and modern women's literature from the late 90s and
the major shifts that these authors have wrought. Focusing on the writers'
varied subcontinental origins (including India, Pakistan, Bangladesh, and Sri
Lanka), this research challenges the primacy of literature set in India. It
takes a different approach than most by looking at the ways in which
transnational feminist writers create a postcolonial feminist discourse that is
distinct from Anglo-American feminism and how these texts, written by women
from different parts of the world, challenge national assumptions.
Chowdhory (2022)
From what I can tell, the "indivisible
remainder" of a refugee's daily existence is dispossession. Forced migration
is a direct result of the material denial of their rights as citizens of the
state, which in turn leads people to experience deprivation. Through its
provision of protection, the prejudiced global protection system for refugees
unwittingly prolongs their plight while robbing them of their dignity. This
paper delves deeply into the tangible loss of rights experienced by refugees
and discusses the loss of dignity from a normative and philosophical
perspective.
Objectives of the
Study
RESEARCH
METHODOLOGY
Based on Freud's criticism of PTSD, this
dissertation is usually qualitative.
Freud made a clear distinction between anxiety, fear, and fright. He
also proved that trauma is a form of fright that occurs in reaction to a threat,
that knowing something causes an embryonic anxiety state and automatic anxiety,
and that experiences that are endured without the necessary distress are
unmanageable and can resurface in traumatic dreams and impositions. Based on the 1971 Bangladesh Liberation War,
this is a critique or assessment of Sorayya Khan's book Noor. She explores in this book how traumatic
character disorder impacts the characters' mental health. The terrible impacts were shown via Noor's
paintings portraying war scenes; she is Sajida's atypical daughter. In Noor's crayon drawings, Sajida's father's
fishing boat crashes into the sand dunes, and fishing lines swim and bend
before Noor's watchful gaze. Khan uses
flashbacks in his storytelling. Ali
built a house for his family that mirrors Nanijan's critique of human
mysteries; the lavatory faces away from Margalla Hill, and the iron bars that
enclose the window that looks out over the mountain obscure its view. Hills are attractive on Nanijan Mountain, but
Ali thinks of them as symbols of conflict.
Textual Analysis
The negative aspects of war cannot be
debated. As far as humankind is concerned, it is the worst possible outcome. It
leaves a path of destruction and death, as well as butchery and disease,
poverty and ruins. An examination of world history, even at its most
fundamental level, reveals that war has been a constant feature of national
narratives. Global combat has always left its mark, leaving no era unmarred by
its devastation. Although several battlefield engagements occurred, this essay
will concentrate on the Pakistani civil war and its effects on the nation. The
civil war that divided Pakistan into East Pakistan and West Pakistan began on
March 25, 1971. On December 3, 1971, India invaded East Pakistan, starting a
period of warfare. As a result of a military coup, West Pakistan ceded power to
East Pakistan on December 16, 1971. A newly formed nation on the global map is
known as Bangladesh. Approximately 3 million people died, 10 million were
displaced, and 200,000 women were sexually abused throughout this battle. “War
does not determine who is right; it only determines who is left.” (Russell,
paraphrased) Wars are wars, and they destroy civilization. The environmental,
social, and economic domains are not immune to the catastrophic impacts of
conflict. War also has other major components, such as the psychological damage
it causes and the loss of human lives. In the wake of tensions stemming from
linguistic and cultural heterogeneity, Bangladesh became the first postcolonial
country to declare independence. The official Pakistani narrative was that
Muslims in Bengal were too closely associated with Hindus to be considered
adequately clean. What this means is that we need to get rid of Hinduism and
immoral Muslims. Pakistani aggression against Bengal is rationalized by this
view of the region as a non-Muslim or non-Hindu other. The East Pakistanis were
painted as something other than Muslims and Pakistanis.
This representation was based on the
assumption that Muslim Bengalis would not have any right to want independence
from Pakistan if they were really Pakistanis.
Examining Sorayya Khan's novel Noor allowed the scholar to delve into
the influence of the Bangladeshi independence fight on Pakistan. Noor follows an Islamabadi family as they go
about their daily lives. The family is
made up of Ali, Nanijan, Sajida (the adoptive daughter), Hussein (the husband),
and three children, Noor being the youngest.
Ali participated in the Pakistani military during the 1971 fight for
Bangladesh's independence. He adopted
Sajida, a little girl who had been abandoned when she was five years old, after
discovering her while serving in Bangladesh.
Noor has been to the doctor for evaluations on a regular basis, but the
nature of her disability remains unknown.
After talking it over, Noor's family decided that drawing is when he
feels most at ease. When she first
begins to sketch her dreams, images of Ali's military service in East Pakistan
and Sajida's childhood come to her. Sajida
does not have a complete recollection of her history as she was taken to
Pakistan when she was only five or six years old. Meanwhile, Ali has done his best to create
space between himself and his past by never speaking publicly about his
experiences in the conflict and by actively trying to forget about it. The use of force to transform East Pakistan
into a "Pakistani" state did not foster unity but rather fueled East
Pakistanis' aspirations for independence.
Ali and his grandson Adel have an open conversation about this irony,
and the reader doesn't miss a beat:
“What did you do there?”
“Oh, lots of things. We tried to keep the
enemy behind our lines.”
“The area we occupied, I mean.”
“How can you occupy your own country?” Adel
asked.
“What were you doing there, anyway?”
“Serving our country.”
“But they didn’t want your help.”
“Right,” Ali said quietly.” (200).
Adel has no idea that Ali's voice, which is
wracked with agony, has a tone of despair.
The terrible burden of the unspoken is something that everyone must
bear, not just people like Ali who have gone to war and seen or done terrible
things themselves. Sajida was an orphan
before the civil war broke out since the storm of 1970 ripped her little brother
from her arms. The anguish of that incident has never fully healed. The effects of war are felt by every
character in the book. Pain and
suffering are the exclusive outcomes of war.
It made an impression on everyone's mind. Many men and women were cruelly killed and
raped, while children lost both their parents and their homes. Furthermore, they endure the anguish and
suffering of battle for the whole of their lives. She opens up about the histories of her grandparents
and mother. Biological memory and
instincts allow Noor to disclose the war's secrets, even though she did not
take part in it. When Noor started to
sketch a battle scenario in various hues, Ali thought his long-forgotten
memories had finally come from his mental filing cabinet. She brought up terrible memories of the horrors
he had experienced in the war. There are
several perspectives on Ali's recollections throughout the book. In addition to denying any recollection of
the events leading up to his return from the war, Ali locked himself in the
shower and subjected himself to very hot water on many occasions. In doing so, he hoped to cut ties with the
past and erase any lingering recollections of the battle. His memories are erased and stored in a new
area of his brain when he submerges himself in water.
"In his thoughts,
he deliberated on the command he had issued. His tale, a compilation of
horrific events, was in his imagination. Because it was so well preserved, he
had no need to get it out. Ever. Ali intended to reenter the world in that
manner. (77)
In order to go back to living, Ali needs to
separate who he is now from what he has done and seen. It would seem that he is avoiding situations
in which he may have a more detrimental role by putting some space between
himself and what he has seen and experienced.
The images by Noor make Ali realize how pointless it has been for him to
try to escape his history. Many family
secrets will be exposed when Ali understands that Noor's paintings might
disclose the past. Compared to what he
remembers from the beginning of the book, the storylines are more graphic and
terrifying.
After we cleaned
her wounds, I used tweezers and my fingers to remove maggots. Her wounds continued to bleed even after she
passed away (154), and the tools used to cut her (scissors, writing equipment,
a metal ruler splattered with blood) were at her side. I hopped on top of her. She felt hot and damp" (183).
The atrocities of war are shown by these
memories of Ali. Victimized women's
powerlessness and the horrors of war are shown in the graphic scenario of
sexual assault. War atrocities and Ali
and Sajida's hidden histories are both shown in Noor's artwork. In her and Sajida's speculations about Ali's
war experiences, Nanijan echoed Ali's sentiments, "War is War," as if
stating that war is war could offer a shield from what happened or how Ali was
involved in the violence of 1971. In an
effort to convince Nanijan of the merit of his involvement in the fight, he
uses
Then, "[W]e
were fighting for our lives," and "I don't do anything to them that
they didn't do to us first" (176).
Not your style. Or even this
nation. In our own interests"
(177).
Ali cites two of the official Pakistani
government's war justifications—survival and retaliation—in his arguments. Noor's artwork presents events that Ali has
left out of his account, therefore challenging his efforts to postpone,
justify, or downplay the severity of the war's bloodshed. Sajida began to reminisce in an effort to
comprehend her arrival in Islamabad.
Although her memories are hazy, she can recall that a cyclone in 1970
destroyed her family, that aid workers took her to a refugee camp, and that Ali
found her in East Pakistan. Eventually,
Ali and Sajida get down to discussing Ali's military service, and he brings up
a moment in his career about which none of them knew anything before. This alternative account states that after a
mudslide, Ali and his soldiers opened fire on a group of Bengali villagers who
had gathered near a mass grave. The
gunshots went at Sajida and others.
After listening to Ali's story, she comes to the realization that the
"the tale of
her origins [...] differed from the one she had held onto since she was a girl
of five and six years old" (254).
Within this realization is another: that
they would have remained forever connected by a pit of mud even if Ali hadn't
discovered her by the roadside. Ali, her father, may have once aimed his rifle
blindly in a torrent of rain and rising waves of heated fog—and shot her dead
(254-5). Consequently, the story introduces a narrative where victim and
perpetrator narratives finally meet when Sajida sees herself in Ali's story of
firing on innocent bystanders. This happens just before Ali, the main character
of the book, starts shooting at innocent bystanders. We see the difference in
how Ali and Sajida approached the issue because Ali wanted to forget the past,
which left Sajida with a knowledge gap that may reveal the hurtful nature of
that occurrence. In support of trauma discourses, Gabriele Schwab has said
that:
"Observe the
interplay between those who have done wrong and those who have done right, and
you will notice that both groups are burdened by the psychological scars left
by violent pasts, although to varying degrees and with different duties."
The enlightening conversation between Ali
and Sajida, which also shows how the two characters responded differently to
the horrible circumstances in their past, introduces his connection. The conflict is the only thing that can fill
the emptiness in Sajida. Meanwhile, Ali
has tried to put the dispute in the past and move on with his life. Ali gets a quiver in his chin whenever he
brings up war. Meanwhile, Ali faces the
seriousness of his actions and the impact he had on the events around them, and
Sajida learns that her tale is different from what she had been made to
believe. Many millions of people lost
their lives in a storm that struck East Pakistan in November 1970. Millions of people, including Sajida's
family, perished in the devastating water deluge that hit East Pakistan. In addition to Sajida's loved ones, millions
of others perished in this tragedy. A
literal wall known as the "Water Wall" separated Sajida from her
loved ones. Ali served in the army of
west Pakistan. Even though he has no
notion of the exact number of casualties, he brutally slaughtered men and raped
countless women. In the midst of the
horrific combat circumstances, Sajida and Ali's passion blossomed. Ali served in the army of west Pakistan.
"However,
showing it to Sajida clarified one thing: the effects of his actions, the
sights he had witnessed, and the reality of the war would remain with him
throughout his life." (251)
Because of his own experiences and feelings
of shame, Ali has come to the realization that violent offenders carry their
violent pasts with them. In times of
strife, violent acts may occur anywhere in the world. The bond between the offender Ali and the
victim Sajida shows how the effects of war are felt on an individual level and
how families cope with them. Within the
family, one may see reflections of the Pakistan-Bangladesh conflict and
experience its effects firsthand. In
some way, these two concepts are related.
Conclusion
In a nutshell, war is never pretty. It did nothing except increase bloodshed and
diminish people's joy. Although the
conflict drove a wedge between countries, it also drove a wedge in people's
emotions. Women were subjected to sexual
assault, torture, and cruelty, while men and children were cruelly killed. The solution to any issue is never to go to
war. We may not be able to change what
has already happened, but the roots of most close relationships go deep into
histories of violence. The book urges
readers to confront the nation's savage roots rather than dwell on the past and
see its losses through a heroic lens. It
is evident that the logic of division contributed to the bloodshed in
Bangladesh. Once again, bloodshed was
the driving force for the establishment of Pakistan.
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