Africa and its Other Self: the Diasporan Identity between Mirage, Myth, and Ideology in Ayi Kwei Armah’s Osiris Rising

Klohinlwélé Koné
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Abstract

dream as it is motivated by practical projects sustained by a sound political vision. The unity of all the afro descendants and their brothers of the continent is at the same time a psychological healing from the centuries-long trauma self-hatred, and denigration. It further advoates a political revolution in a continent whose main problem is division. The novel reveals a poetics of a collective psychological unease. If in other books by the same writer characters are fighting to make a living in a problematic world to which they have become strangers, in Osiris Rising , the fate of the Africans of the diaspora is summed up by the title of the article about the ankh, that symbol of Africa’s redemption:‘Who are we and why’. The lament over one’s condition in a world that is not theirs is a constant concern. Chapter one sets the tone of that poetics of an existential malaise. Ast’s grandmother is a silent and sad woman. She is often impenetrable as she keeps to herself as if she were unable to convey her feelings, giving only cryptic and enigmatic answers. The narrator speaks of a ‘soul’s withdrawal’, of a ‘hardened face’ (1). When Ast as a child asks to know more about the symbolic statuette her grandmother keeps in their house, the old woman utters a few words that say much about the existential and psychological state of her mind: ‘Do you know that our people were sold into slavery?’ The descendants of these former slaves like Ast may have forgotten that part of their history. But it is still vivid in the old woman’s mind. The question raises several intractable concerns in the mind of the little girl. The search for the answers to these concerns will shape her future adult life. ‘Who sold us? What did such a betrayal mean? Was it dead history? Or does it still have the energy of news, with power to shape the future?’ (1). The narrator accounts for the young girl’s psychological state of mind and says that these questions were ‘unsettling the balance of her soul’ (1). Instead of crippling her energy, of turning her into a bitter, sad, and humiliated personality, Ast sets to find answers that will take her to where these sad events of the lives of her ancestors started: ‘home’ in Africa. The novel Journey to
非洲与他者自我:阿依·奎·阿玛《奥西里斯的崛起》中幻影、神话与意识形态之间的散居身份
梦想,因为它是由由健全的政治愿景支持的实际项目所推动的。非洲大陆上所有非洲后裔及其兄弟的团结,同时也是对几个世纪以来创伤、自我仇恨和诋毁的心理治疗。它进一步主张在一个主要问题是分裂的大陆上进行政治革命。这部小说揭示了一种集体心理不安的诗学。如果在同一作者的其他作品中,人物在一个问题丛生的世界中努力谋生,而他们对这个世界已经变得陌生,那么在《奥西里斯崛起》中,散居非洲人的命运可以用关于非洲救赎象征——十字章的文章标题来概括:“我们是谁,为什么”。在一个不属于自己的世界里,哀叹自己的处境是一种持续的关注。第一章为存在主义的不安定下了诗学的基调。阿斯特的祖母是一个沉默而悲伤的女人。她总是自言自语,让人难以理解,仿佛她无法表达自己的感情,只给出神秘莫测的答案。叙述者谈到了一个“灵魂的退缩”,一张“冷酷的脸”(1)。当阿斯特还是个孩子的时候,她要求更多地了解她祖母放在家里的象征性雕像时,老妇人说了几句话,很好地说明了她的存在主义和心理状态:“你知道我们的人被卖为奴隶吗?“像阿斯特这样的前奴隶的后代可能已经忘记了他们的这段历史。但它仍然生动地出现在老妇人的脑海里。这个问题引起了小女孩心中几个难以解决的问题。寻找这些问题的答案将影响她未来的成年生活。“谁把我们卖了?”这样的背叛意味着什么?这是死的历史吗?或者它是否仍然拥有新闻的能量,拥有塑造未来的力量?叙述者解释了这个年轻女孩的心理状态,并说这些问题“扰乱了她灵魂的平衡”。阿斯特并没有削弱她的能量,也没有把她变成一个痛苦、悲伤和羞辱的人,而是开始寻找答案,把她带到她祖先生活中这些悲伤事件开始的地方:非洲的“家”。小说《旅行》
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