“A Poetics of Disruption”: Farida Karodia’s A Shattering of Silence and the Exiled Writer’s Dihiliz Position

Isabel Alonso-Breto
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Abstract

Abstract Bearing in mind Edwidge Danticat’s ideas about writing being a dangerous affair, this paper reflects on authorial matters regarding Farida Karodia’s A Shattering of Silence (1993). Like other novels set in times of conflict, A Shattering of Silence can be seen to deploy what the researcher chooses to call a “poetics of disruption”. This is a poetics heavily at the service of politics, intended to disrupt and destabilise the blunt binaries lying at the heart of any armed conflict. In this sense, the main character in the story, Faith, embodies a poetics of disruption in so much as she problematises the binary dimension of the political situation in the Mozambique of the period, being a white woman who sympathises with the anti-colonial struggle. This article claims that, reproducing the dynamics of the poetics of disruption in a process which can be said to replicate that of her character, Farida Karodia herself makes the most of her strategic location in a liminal terrain across nations. Her position as an exilic author can be defined as dihiliz, that is, as a threshold vantage point which enables her to be both inside and outside the situation she reflects about. Karodia’s liminality is here more pointed than is usually the case with the exilic writer, since she chooses to write about Mozambique, in many senses close to her country of origin yet not her birth-place.
“一种破坏的诗学”:法里达·卡罗迪亚的《沉默的破碎》与流亡作家的Dihiliz立场
本文以丹蒂卡关于“写作是一件危险的事情”的观点为背景,对法丽达·卡罗迪亚的《沉默的破碎》(1993)的创作问题进行了反思。和其他以冲突为背景的小说一样,《沉默的破碎》展现了研究者所谓的“破坏诗学”。这是一种严重为政治服务的诗学,旨在破坏和动摇任何武装冲突核心的生硬二元对立。从这个意义上说,故事的主角Faith作为一名同情反殖民斗争的白人女性,她对当时莫桑比克政治局势的二元维度提出了质疑,体现了一种颠覆性的诗学。本文声称,法里达·卡罗迪亚本人在跨越国界的有限地形中充分利用了她的战略位置,在一个可以说是复制她的性格的过程中再现了破坏诗学的动态。她作为一个流亡作家的地位可以被定义为dihiliz,也就是说,作为一个门槛有利位置,她既能置身于她所反思的情境之中,也能置身于情境之外。卡罗迪亚在这里的阈限性比通常流亡作家的情况更尖锐,因为她选择写莫桑比克,在许多意义上接近她的原籍国,但不是她的出生地。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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