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Impossible Desires: Queer Diasporas and South Asian Public Cultures (Perverse Modernities: A Series Edited by Jack Halberstam and Lisa Lowe) Paperback – April 19, 2005
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Gopinath juxtaposes diverse texts to indicate the range of oppositional practices, subjectivities, and visions of collectivity that fall outside not only mainstream narratives of diaspora, colonialism, and nationalism but also most projects of liberal feminism and gay and lesbian politics and theory. She considers British Asian music of the 1990s alongside alternative media and cultural practices. Among the fictional works she discusses are V. S. Naipaul’s classic novel A House for Mr. Biswas, Ismat Chughtai’s short story “The Quilt,” Monica Ali’s Brick Lane, Shyam Selvadurai’s Funny Boy, and Shani Mootoo’s Cereus Blooms at Night. Analyzing films including Deepa Mehta’s controversial Fire and Mira Nair’s Monsoon Wedding, she pays particular attention to how South Asian diasporic feminist filmmakers have reworked Bollywood’s strategies of queer representation and to what is lost or gained in this process of translation. Gopinath’s readings are dazzling, and her theoretical framework transformative and far-reaching.
- Print length264 pages
- LanguageEnglish
- Publication dateApril 19, 2005
- Dimensions6.13 x 0.66 x 8.88 inches
- ISBN-100822335131
- ISBN-13978-0822335139
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“Gayatri Gopinath’s innovative book marks a new stage in queer and diasporic studies. Incisive, expansive, and nuanced, Gopinath’s analysis will surely be invoked by academics in the future. A landmark piece of scholarship!”—Martin F. Manalansan IV, author of Global Divas: Filipino Gay Men in the Diaspora
“[T]his smart and well-written book signals a sea change in the field. . . . Impossible Desires stands as a pathbreaking work, addressing persistent exclusions in both feminist and queer literatures on South Asian public culture and significantly reworking current conceptualizations of diaspora.”―Lawrence Cohen, Journal of Asian Studies
From the Back Cover
About the Author
Gayatri Gopinath is Assistant Professor of Women and Gender Studies at the University of California, Davis.
Excerpt. © Reprinted by permission. All rights reserved.
IMPOSSIBLE DESIRES
Queer Diasporas and South Asian Public CulturesBy Gayatri GopinathDuke University Press
Copyright © 2005 Duke University PressAll right reserved.
ISBN: 978-0-8223-3513-9
Contents
Acknowledgments..........................................................................................................ix1 Impossible Desires: An Introduction....................................................................................12 Communities of Sound: Queering South Asian Popular Music in the Diaspora...............................................293 Surviving Naipaul: Housing Masculinity in A House for Mr. Biswas, Surviving Sabu, and East Is East.....................634 Bollywood/Hollywood: Queer Cinematic Representation and the Perils of Translation......................................935 Local Sites/Global Contexts: The Transnational Trajectories of Fire and "The Quilt"....................................1316 Nostalgia, Desire, Diaspora: Funny Boy and Cereus Blooms at Night......................................................1617 Epilogue: Queer Homes in Diaspora......................................................................................187Notes....................................................................................................................195Bibliography.............................................................................................................221Filmography..............................................................................................................235Index....................................................................................................................237Chapter One
IMPOSSIBLE DESIRESAn Introduction
In a particularly memorable scene in My Beautiful Laundrette (dir. Stephen Frears, 1985), British Pakistani screenwriter Hanif Kureishi's groundbreaking film about queer interracial desire in Thatcherite Britain, the white, working-class gay boy Johnny moves to unbutton the shirt of his lover, the upwardly mobile, Pakistan-born Omar. Omar initially acquiesces to Johnny's caresses, but then abruptly puts a halt to the seduction. He turns his back to his lover and recalls a boyhood scene of standing with his immigrant father and seeing Johnny march in a fascist parade through their South London neighborhood: "It was bricks and bottles, immigrants out, kill us. People we knew ... And it was you. We saw you," Omar says bitterly. Johnny initially recoils in shame as Omar brings into the present this damning image from the past of his younger self as a hate-filled skinhead. But then, as Omar continues speaking, he slowly reaches out to draw Omar to him and embraces Omar from behind. The final shot frames Omar's face as he lets his head fall back onto Johnny's chest and he closes his eyes.
The scene eloquently speaks to how the queer racialized body becomes a historical archive for both individuals and communities, one that is excavated through the very act of desiring the racial Other. For Omar, desiring Johnny is irrevocably intertwined with the legacies of British colonialism in South Asia and the more immediate history of Powellian racism in 1960s Britain. In his memory of having seen Johnny march ("we saw you"), Omar in a sense reverses the historical availability of brown bodies to a white imperial gaze by turning the gaze back onto Johnny's own racist past. The scene's ambiguous ending-where Omar closes his eyes and succumbs to Johnny's caresses-may suggest that Omar gives in to the historical amnesia that wipes out the legacies of Britain's racist past. Yet the meaning and function of queer desire in the scene are far more complicated than such a reading would allow. If for Johnny sex with Omar is a way of both tacitly acknowledging and erasing that racist past, for Omar, queer desire is precisely what allows him to remember. Indeed, the barely submerged histories of colonialism and racism erupt into the present at the very moment when queer sexuality is being articulated. Queer desire does not transcend or remain peripheral to these histories but instead it becomes central to their telling and remembering: there is no queer desire without these histories, nor can these histories be told or remembered without simultaneously revealing an erotics of power.
Upon its release in 1985, My Beautiful Laundrette engendered heated controversy within South Asian communities in the UK, some of whose members took exception to Kureishi's matter-of-fact depiction of queer interracial desire between white and brown men, and more generally to his refusal to produce "positive images" of British Asian lives. The controversy surrounding its release prefigured the at times violent debates around queer sexuality and dominant notions of communal identity that took place both in South Asia and in the diaspora over the following decade. In New York City, for instance, the South Asian Lesbian and Gay Association waged an ongoing battle throughout the 1990s over the right to march in the annual India Day Parade, a controversy I will return to later in this chapter. And in several Indian cities in December 1998, as I discuss in detail in chapter 5, Indian-Canadian director Deepa Mehta's film Fire was vociferously attacked by right-wing Hindu nationalists outraged by its depiction of "lesbian" sexuality. These various battles in disparate national locations speak to the ways in which queer desires, bodies, and subjectivities become dense sites of meaning in the production and reproduction of notions of "culture," "tradition," and communal belonging both in South Asia and in the diaspora. They also signal the conflation of "perverse" sexualities and diasporic affiliations within a nationalist imaginary, and it is this mapping of queerness onto diaspora that is the subject of this book.
Twenty years later, Kureishi's film remains a remarkably powerful rendering of queer racialized desire and its relation to memory and history, and acts as a touchstone and precursor to much of the queer South Asian diasporic cultural production that I discuss in Impossible Desires. The texts I consider in this book, following Kureishi's lead, allow us to dissect the ways in which discourses of sexuality are inextricable from prior and continuing histories of colonialism, nationalism, racism, and migration. In Kureishi's film, as in the other queer diasporic texts I examine in this book, queer desire reorients the traditionally backward-looking glance of diaspora. Stuart Hall has elegantly articulated the peculiar relation to the past that characterizes a conservative diasporic imaginary. This relation is one where the experience of displacement "gives rise to a certain imaginary plenitude, recreating the endless desire to return to 'lost origins,' to be one again with the mother, to go back to the beginning." If conventional diasporic discourse is marked by this backward glance, this "overwhelming nostalgia for lost origins, for 'times past,'" a queer diaspora mobilizes questions of the past, memory, and nostalgia for radically different purposes. Rather than evoking an imaginary homeland frozen in an idyllic moment outside history, what is remembered through queer diasporic desire and the queer diasporic body is a past time and place riven with contradictions and the violences of multiple uprootings, displacements, and exiles. Joseph Roach, in his study of Atlantic-rim performance cultures, uses the suggestive phrase "forgotten but not gone" to name that which produces the conditions for the present but is actively forgotten within dominant historiography. Queer diasporic cultural forms and practices point to submerged histories of racist and colonialist violence that continue to resonate in the present and that make themselves felt through bodily desire. It is through the queer diasporic body that these histories are brought into the present; it is also through the queer diasporic body that their legacies are imaginatively contested and transformed. Queer diasporic cultural forms thus enact what Roach terms "clandestine countermemories" that bring into the present those pasts that are deliberately forgotten within conventional nationalist or diasporic scripts. If, as Roach notes, "the relentless search for the purity of origins is a voyage not of discovery but of erasure," queer diasporic cultural forms work against the violent effacements that produce the fictions of purity that lie at the heart of dominant nationalist and diasporic ideologies.
Significantly, however, Kureishi's excavation of the legacies of colonialism and racism as they are mapped onto queer (male) bodies crucially depends on a particular fixing of female diasporic subjectivity. The film's female diasporic character Tania, in fact, functions in a classic homosocial triangle as the conduit and foil to the desire between Johnny and Omar, and she quite literally disappears at the film's end. We last see her standing on a train platform, suitcase in hand, having left behind the space of the immigrant home in order to seek a presumably freer elsewhere. Our gaze is aligned with that of her father as he glimpses her through an open window; the train rushes by, she vanishes. It is unclear where she has gone, whether she has disappeared under the train tracks or is safely within the train compartment en route to a different life. She thus marks the horizon of Kureishi's filmic universe and gestures to another narrative of female diasporic subjectivity that functions quite literally as the film's vanishing point. Kureishi's framing of the female diasporic figure makes clear the ways in which even ostensibly progressive, gay male articulations of diaspora run the risk of stabilizing sexual and gender hierarchies.
My Beautiful Laundrette presents a useful point of departure in addressing many of the questions that concern me throughout this book. As the film makes apparent, all too often diasporas are narrativized through the bonds of relationality between men. Indeed, the oedipal relation between fathers and sons serves as a central and recurring feature within diasporic narratives and becomes a metaphor for the contradictions of sameness and difference that, as Stuart Hall has shown, characterize competing definitions of diasporic subjectivity. For Freud, the oedipal drama explains the consolidation of proper gender identification and heterosexual object choice in little boys, as masculine identification with the father is made while feminine identification with the mother is refused. In his 1952 work Black Skin, White Masks, Frantz Fanon resituates the oedipal scenario in the colonial context and shows how, for racialized male subjects, the process whereby the little boy learns to identify with the father and desire the mother is disrupted and disturbed by the (black) father's lack of access to social power. Fanon's analysis, which I engage with more fully in chapter 3, makes evident the inadequacy of the Oedipus complex in explaining the construction of gendered subjectivity within colonial and postcolonial regimes of power. While I am interested in identifying how queer diasporic texts follow Fanon in reworking the notion of oedipality in relation to racialized masculinities, I also ask what alternative narratives emerge when this story of oedipality is jettisoned altogether. For even when the male-male or father-son narrative is mined for its queer valences (as in Laundrette or in other gay male diasporic texts I consider here), the centrality of this narrative as the primary trope in imagining diaspora invariably displaces and elides female diasporic subjects. The patriarchal and heteronormative underpinnings of the term "diaspora" are evident in Stefan Helmreich's exploration of its etymological roots:
The original meaning of diaspora summons up the image of scattered seeds and ... in Judeo-Christian ... cosmology, seeds are metaphorical for the male "substance" that is traced in genealogical histories. The word "sperm" is metaphorically linked to diaspora. It comes from the same stem [in Greek meaning to sow or scatter] and is defined by the OED as "the generative substance or seed of male animals." Diaspora, in its traditional sense, thus refers us to a system of kinship reckoned through men and suggests the questions of legitimacy in paternity that patriarchy generates.
These etymological traces of the term are apparent in Kureishi's vision of queer diasporic subjectivity that centralizes male-male relations and sidelines female subjectivity. This book, then, begins where Kureishi's text leaves off. Impossible Desires examines a range of South Asian diasporic literature, film, and music in order to ask if we can imagine diaspora differently, apart from the biological, reproductive, oedipal logic that invariably forms the core of conventional formulations of diaspora. It does so by paying special attention to queer female subjectivity in the diaspora, as it is this particular positionality that forms a constitutive absence in both dominant nationalist and diasporic discourses. More surprisingly perhaps, and therefore worth interrogating closely, is the elision of queer female subjectivity within seemingly radical cultural and political diasporic projects that center a gay male or heterosexual feminist diasporic subject. Impossible Desires refuses to accede to the splitting of queerness from feminism that marks such projects. By making female subjectivity central to a queer diasporic project, it begins instead to conceptualize diaspora in ways that do not invariably replicate heteronormative and patriarchal structures of kinship and community. In what follows I lay out more precisely the various terms I use to frame the texts I consider-queer diasporas, impossibility, and South Asian public cultures-as they are hardly self-evident and require greater elaboration and contextualization.
Queer Diasporas
In an overview of recent trends in diaspora studies, Jana Evans Braziel and Anita Mannur suggest that the value of diaspora-a term which at its most literal describes the dispersal and movement of populations from one particular national or geographic location to other disparate sites-lies in its critique of the nation form on the one hand, and its contestation of the hegemonic forces of globalization on the other. Nationalism and globalization do indeed constitute the two broad rubrics within which we must view diasporas and diasporic cultural production. However, the concept of diaspora may not be as resistant or contestatory to the forces of nationalism or globalization as it may first appear. Clearly, as Braziel and Mannur indicate, diaspora has proved a remarkably fruitful analytic for scholars of nationalism, cultural identity, race, and migration over the past decade. Theories of diaspora that emerged out of Black British cultural studies in the 1980s and 1990s, particularly those of Paul Gilroy and Stuart Hall, powerfully move the concept of diaspora away from its traditional orientation toward homeland, exile, and return and instead use the term to reference what Hall calls "a conception of 'identity' which lives with and through, not despite, difference; by hybridity." This tradition of cultural studies, to which my project is deeply indebted, embraces diaspora as a concept for its potential to foreground notions of impurity and inauthenticity that resoundingly reject the ethnic and religious absolutism at the center of nationalist projects. Viewing the (home) nation through the analytical frame of diaspora allows for a reconsideration of the traditionally hierarchical relation between nation and diaspora, where the former is seen as merely an impoverished imitation of an originary national culture. Yet the antiessentialist notion of cultural identity that is at the core of this revised framing of diaspora functions simultaneously alongside what Hall terms a "backward-looking conception of diaspora," one that adheres to precisely those same myths of purity and origin that seamlessly lend themselves to nationalist projects. Indeed while the diaspora within nationalist discourse is often positioned as the abjected and disavowed Other to the nation, the nation also simultaneously recruits the diaspora into its absolutist logic. The policies of the Hindu nationalist government in India in the mid- to late 1990s to court overseas "NRI" (non-resident Indian) capital is but one example of how diaspora and nation can function together in the interests of corporate capital and globalization. Hindu nationalist organizations in India are able to effectively mobilize and harness diasporic longing for authenticity and "tradition" and convert this longing into material linkages between the diaspora and (home) nation. Thus diasporas can undercut and reify various forms of ethnic, religious, and state nationalisms simultaneously. Various scholars have pointed out the complicity not only between diasporic formations and different nationalisms but also between diaspora and processes of transnational capitalism and globalization. The intimate connection between diaspora, nationalism, and globalization is particularly clear in the South Asian context, as the example of NRI capital underwriting Hindu nationalist projects in India makes all too apparent.
(Continues...)
Excerpted from IMPOSSIBLE DESIRESby Gayatri Gopinath Copyright © 2005 by Duke University Press. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
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- Publisher : Duke University Press Books (April 19, 2005)
- Language : English
- Paperback : 264 pages
- ISBN-10 : 0822335131
- ISBN-13 : 978-0822335139
- Item Weight : 13.6 ounces
- Dimensions : 6.13 x 0.66 x 8.88 inches
- Best Sellers Rank: #616,306 in Books (See Top 100 in Books)
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The first chapter is an introduction in which Gopinath immediately brings the reader into a specific moment during the film entitled, "My Beautiful Launderette" (1985) a controversial and "groundbreaking" movie about two gay men in an interracial relationship; one male is white, Johnny and the other, Omar, is Pakistani. The movie's representation of Omar's body reverses the spectators gaze by re-situating Omar into a position of the subject and Johnny becomes the object of the spectators gaze. She describes the "queer diasporic body," as a text-- where the histories of rampant discrimination and colonialism are clearly "written" on the body. According to Gopinath, "Queer and diasporic cultural forms and practices point to submerged histories of racist and colonialist violence that continue to resonate in the present that make themselves felt though bodily desire"(4). This is an interesting statement because she describes the unstable relationship between the external and the internal parts of the "material" body, which she addresses again in the next two chapters. For Gopinath, the body they experience and conceptualize is continuously mediated by heterosexual and nationalistic constructions and popular images of culture.
Chapter 2 entitled Queer Communities of Sound examines the ways in which popular Bhangra Music and Post Bhangra Asian music allow her to situate "gender and sexuality at the very center of our understandings of diaspora, nation and globalization"(31). During the 1970s through the 1990s, Bhangra music, resonated across the world's national borders. Their songs revealed a sense growing resentment against the growing cultural conservatism in the United States and Britain and they also revealed a desire to find a homeland. Despite their radical message, Gopinath argued that their "nostalgic evocation of the homeland was mobilized through the fixed, static figure of the female, the emblem of tradition and (sexual and moral) purity." Their problematic message of an idealized woman reinforces "patrilinity and organic heterosexuality." She works in opposition to this tendency by applying Queer theory to the dialogue in order to draw attention to the "feminist diasporic cultural practices" that offer an alternative perspective.
In Chapter 3 Surviving Naipaul, Gopinath dissects three different texts:
Surviving Sabu (1996), a film by Ian Rashid, a gay Indonesian/Canadian from the UK; A novel entitled Mr. Biswas (1961), by V.S. Naipaul and East is East (2000) a film created by Damian O'Donnell. She explains how such films rely on the invisibility of a female subject in order to distinguish the gay male diasporic identity (64-65). Gopinath transfers the attention to the women by employing both feminist and queer theory in her analysis. Much of this chapter focuses on the different "modes" of producing an identity of subjectivity. Perhaps the most important concept in this chapter is that of "disidentification" which is defined as the "third mode of dealing with dominant ideology, one that neither opts to assimilate within such a structure nor strictly opposes it; [...] a strategy that works on and against dominant ideology" (68). According to
Gopinath, this strategy is not repression, but rather an awareness of self-- that people can define who they are, by who they are not and their social and individual identities overlap resulting in multiple identity formations.
Gayatri Gopinath addresses the various ways in which a queer diasporic female subjectivity can surface within a heteronormative, nationalistic environment, through her critique of South Asian popular cultural representations of the female body. South Asian films, novels and music, as revolutionary as they are, depend on the "erasure" or "invisibility" of the female subject. In Impossible Desires, Gayatri Gopinath offers a systematic critique that aims to deconstruct the knowledge and values of a dominant heterosexual nation.
I also myself love this book!
For my own experience and pleasure I downloaded and watched as much of the music and as many of the films as I could get a hold of. I did play and show elements of these to my classes, and urged them with some success to connect with these materials themselves.
I was excited when both classes used these contacts to then enlarge their own interests along new lines having once seen or played songs, music, films, literatures. References to more of this stuff were especially common in the undergraduate course for the rest of the semester. Interestingly enough it was students from former republics of the former soviet union who were especially interested in some of this South Asian diasporic cultural work.
I was quite envious of the straightforward and yet elaborated structure of argument of this book: it centers around, although extends beyond the film Fire and all the ramifications and contextualizations one needs to grasp in order to engage queer diasporic female subjectivities. I was able to outline this structure carefully in the undergraduate course, and the students were able to follow it pretty well; I was pleased with the sophistication it helped them develop.
But when I took for granted the graduate students would themselves see and analyze this structure - it seemed obvious in the nicest way - I found I had misunderstood what they would focus upon. They loved all the details and were less willing or maybe less interested in managing the threads of interconnection. I am still not sure if they were onto something I was not, or whether I just didn't prepare them properly to see how it was put together.
You could say this is a great "text" for a class (not textbook of course), but it is also a lot of fun to read if you are interested in knowing more about or analyzing yourself South Asian diasporic art and literature, film, and music, and want to ponder the travels of these materials.
It is also quite profound in its analysis of many layers of the what the term "queer" could mean, does mean, has meant, should have meant, might mean in the future, means to many disparate folks in a range of places, disciplines, politics, art worlds, analytic frameworks, cultural studies and so on. It's not that it analyzes such positions exhaustively - although there are some pretty thorough examinations of the play of such meanings across a set of works - but rather that it models a kind of analysis that is, as I say, profound, and also, dare I say, fun.