You are not currently logged in.
Access JSTOR through your library or other institution:
If You Use a Screen ReaderThis content is available through Read Online (Free) program, which relies on page scans. Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
White Postcolonial Guilt in Doris Lessing's "The Grass Is Singing"
Research in African Literatures
Vol. 40, No. 3 (Fall, 2009), pp. 37-47
Published by: Indiana University Press
Stable URL: http://www.jstor.org/stable/40468135
Page Count: 11
You can always find the topics here!Topics: African Americans, White people, Singing, Apartheid, Men, Guilt, Domestic workers, African history, Rape, Racism
Were these topics helpful?See something inaccurate? Let us know!
Select the topics that are inaccurate.
Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Preview not available
This paper examines representations of historical guilt, agency, and transformation in Doris Lessing's novel "The Grass is Singing." In particular, this paper argues that the warped interracial relationship between the novel's white female protagonist, Mary Turner, and her black servant Moses, becomes the vehicle for a cathartic and redemptive alleviation of white postcolonial guilt. The allegorical violence that infuses this narrative of atonement is historicized within the context of the Black Peril in South Africa and the heightened surveillance of feelings under apartheid. Mary's experience of guilt is analyzed according to Judith Butler's argument that subject formation relies paradoxically upon the twin experiences of both abjection and agency. Even as Mary's sense of historical guilt becomes a debilitating form of abjection, it encodes and bolsters powerful forms of agency. Mary's dementia is read as a symbol of J. M. Coetzee's more recent characterization of apartheid as an event of "collective insanity," and forms the basis for a broader critique of the limits and exclusions of white postcolonial guilt.
Research in African Literatures © 2009 Indiana University Press