Dennis Walder 204 Pages, 2012, $44.95 USD (Hardcover) New York and London, Routledge
Postcolonial Text, Vol 8, No 3 & 4 (2013)
Postcolonial Nostalgias: Writing, Representation, and Memory
Dennis Walder
204 pages, 2012, $44.95 USD (hardcover)
New York and London, Routledge
Reviewed by Ashok K Mohapatra, Sambalpur University, India
In a broader sense, nostalgia is a rebellion against the modern idea of time, the
time of history and progress. The nostalgic desires to obliterate history and turn it
into a private or collective mythology, to revisit time like space, refusing to
surrender to the irreversibility of time that plagues the human condition.
Svetlana Boym, The Future of Nostalgia
Originating in the late 17th century as a medical condition of
despondency and exaggerated longing for home, nostalgia came to
signify a whole range of cultural and aesthetic attitudes to self, home
and the past throughout the 19th century until it was grounded in the
psychologization of memory initiated by modernists like Proust, Joyce
and Woolf. Until the mid-twentieth century, colonialism continued to
bring about physical and cultural displacements as well as relocations
of not only the natives but also the colonial settlers in many parts of
the world. As such, displacement remained the underlying cause of
nostalgia. However, in the wake of the large-scale dislocations caused
by global postcolonial modernity, this phenomenon became ubiquitous
and more accentuated in the dispersed spatialities, in terms of the
intersection and conflict of the temporalities of memory and history.
Given the above genealogy of postcolonial nostalgia, one can
unpack the concept to reveal a plethora of critical issues that highlight
new ethical perspectives. This is understandable in light of the
prevalence of contemporary intellectual temper to engage
philosophically the issues of justice regarding the otherbe it of
ones self or ones present time and history. This is what Dennis
Walder seeks to do in Postcolonial Nostalgias. The issues his book
engages with concern the politicizing of the aesthetics of postcolonial
memory-chronotopes and a special positioning of the nostalgic self in
the no-mans land or the twilight zone between history and memory
( la Eric Hobsbawm), where individual memory extends through
family traditions into the relatively dispassionate, public sphere of
recorded history. It is this zone that nostalgia represents, where
memory and history refract each other. Hence, postcolonial nostalgia
negotiates the two and assumes great heuristic value as it admits the
past into the present in a fragmentary, nuanced and elusive way. This
allows a potential for self-reflexivity and irony as appropriate factors
in postcolonial narratives that enable former colonial/ diasporic
subjects to explore the network of power relations within which they
have been caught in the modern world, and beyond which it often
seems impossible to move.
Postcoloniality admits of the tension between personal memory
and collective memory more conspicuously than any other epistemic
and ontological condition. For this reason, Walder finds useful the
theoretical insights of Svetlana Boym, regarding the categorization of
personal and collective memory, the modes of their relationship, and
the dynamics of reflective and restorative nostalgias in history,
together with their temporal and spatial orientations. Although
formulated within history, nostalgia isas Boym suggests in her book
The Future of Nostalgia (2001)a project to counter positivist, linear
history and restitute a more critically nuanced historical sense that
ranges freely across the temporalities of the past and present, and even
at times extending to the future. Boym says famously in the
Introduction to her book that nostalgia speaks in riddles and puzzles,
so one must face them in order not to become its next victimor its
next victimizer (xvii). The implication is the possibility of a critical
comprehension of the ways in which interpretations and selfprojections of the nostalgic self are inflected by national memories and
fantasies, how received knowledge of history is undermined by
memories of lived truths, and also how, as Walder finds in Doris
Lessings Mara and Dann: An Adventure, a creatively reflective
nostalgia shows us not what the past was but what it could have been.
One can very well see how Walders reading of Lessing endorses
Andreas Huyssens view in Twilight Memories: Marking Time in a
Culture of Amnesia (1995) that a temporal split between memory and
representation, the mutually complementary components of
postcolonial aesthetics, offers the creativity and vitality of memory
rather than authenticity, which is more illusory than real.
Walders emphasis on the ethicality of nostalgia is also evident
from the inspiration he draws from Avishai Margalits The Ethics of
Memory (2002) or from Jon J. Sus Ethics and Nostalgia in the
Contemporary Novels (2005) in order to formulate alternative
communal archives of memories from postcolonial fiction that respond
to the moral claims of the past, militating against arid and often
dubious postmodernist otherness on the one hand and the positivist
arrogance of histories on the other. The narratives deployed in fiction
generally labelled as postcolonial are still useful, claims Walder, in
that their non-linear and multi-perspectival nature and proclivities for
fragmentariness can prove immensely pertinent in pointing out the
uncertainties and aporias erased from the triumphalist postcolonial
histories and nostalgic mythologies of the ex-colonials about the
colonies of the past or the homes they had left behind there.
In the six chapters that follow the introductory one, Walder looks
at a wide variety of postcolonial texts from Caribbean, South African,
Nigerian or Chinese sites, and focuses on the fiction of authors as
varied as V.S. Naipaul, Doris Lessing, Chimamanda Ngozi Adichie,
Antjie Krog, W.G. Sebald and J.G. Ballard. The differences of
narrative modes and experiences in their novels notwithstanding, they
all entail the interweaving of personal memory and history as well as
the refracting of one through the other. This kind of novelistic craft
achieves a complex aesthetic of unpacking the archives of memory and
mapping the past not just onto the present but also onto the future.
Postcolonial Text Vol 8 No 3 & 4 (2013)
A critically informed understanding of nostalgia, a key
postcolonial theme, is obtained in this way. What also comes to the
fore is a problematic aspect of the search for home and homecoming
that constitutes an important trope of postcolonial narrative. Nostalgia
is no longer naively understood as a sentimental longing for and
recreation of an irretrievable past by the individual subject, but one
overlaid with an imperial nostalgia and fantasy, implicated in a politics
of amnesia on the part of the ex-colonial subject. It elides many
segments of history that cannot be easily reconstructed by a
postcolonial migrant, as Sebald shows in his novel Austerlitz, in which
the eponymous protagonist in his search for self-identity, origins and
home confronts the abyss of nothingness. Since the pastness of
colonization is immanent in the postcolonial present, and the search on
the part of the postcolonial migrant for home entails infinite
regressions, locating the site of an uncontaminated pre-colonial past
becomes an impossible proposition. This is the experience of the
narrator in Sebalds Vertigo. What postcolonial fiction offers is a mode
of self-reflexive representation of the very process of the construction
of the past and exploration of a new trajectory toward the future, some
sort of futur antrieur. Here the temporal and spatial fixities are
unsettled, histories overlap biography and fantasy, as they do, for
instance, in J.G. Ballards Empire of the Sun. In spite of himself,
Ballard revisited the almost forgotten past of the Japanese invasion of
Shanghai during World War II. Harboring distrust of the kitsch of
collective nostalgia and direct representation in the mode of social
realism, he deploys a non-linear, cyclic narrative, interweaving the
temporalities of the past and the future, in order to represent nonwestern perspectives on the past.
Since an element of amnesia inheres in nostalgia in general and
imperialist nostalgia in particular, it places a kind of intellectual
pressure on scholars to theorize not just nostalgia, but also amnesia.
Thus what emerges is a contentious theoretical terrain of memory and
amnesia with conflicting imperatives. To take three clearly defined
positions, Arif Dirlik ruefully believes that the postcolonial project
itself is predicated upon a historical amnesia on the part of postcolonial
intellectuals who crowd First-World metropolises and enjoy their own
psychic and cultural liberation. Against this forgetting, he underscores
the epistemic acknowledgement of the authenticity of colonial struggle.
For his part, Renato Rosaldo argues for a resistant memory that
critically invokes imperialist nostalgia in order to understand the
patterns of complicity in the very act, so that one can move beyond it.
Anti-imperialist nostalgia is the third position theorized by Huyssen
and many others as regards nostalgia of the empires in order to trace
the possible paths that a certain imperial past could have opened up.
It is in the above context that we can locate Postcolonial
Nostalgias and appreciate how richly resourceful and insightful this
book is. Through its incisive analysis of texts we get to understand not
only the ethical importance of the representations of uncertainties and
aporias that the fixed chronotopes of nostalgia tend to elide, but also
begin to feel that the new dynamics of the past and the future operating
Postcolonial Text Vol 8 No 3 & 4 (2013)
in the present help us to think beyond the hyphenated bind of
postcolonial migrants stuck in the liminal space between intangible
homes.
Works Cited
Boym, Svetlana. Taboo on Nostalgia? Introduction. The Future of
Nostalgia. New York: Basic Books, 2001. xiii-xix. Print.
Dirlik, Arif. The Postcolonial Aura: Third World Criticism in the Era
of Global Capitalism. Critical Inquiry 20 (Winter 1994): 328-56.
Print.
Huyssen, Andreas. Twilight Memories: Marking Time in a Culture of
Amnesia. New York: Routledge, 1995. Print.
Margalit, Avishai. The Ethics of Memory. Cambridge: Harvard UP,
2002. Print.
Rosaldo, Renato. Imperialist Nostalgia. Representations 26 (Spring
1989): 10722. Print.
Su, John J. Ethics and Nostalgia in the Contemporary Novel.
Cambridge: Cambridge UP, 2005. Print.
