FINAL PORTFOLIO

Marissa Armstrong

Sheri Deeter

19 September 2016

GS362

Post Colonialism and its Relation to the World

As a literary theory, Postcolonialism is a lens that readers can use to look at articles or

novels and see how it has affected those around the world. When a character loses their identity,

power, or is put under pressure because of their race, readers become hooked and want to learn

more. This is apparent in literature when looked at with that Post-Colonial lens. An author

exploring themselves as well as a world that does not accept their people or lifestyle is a story

that will catch the eyes of those wanting to learn more about the world. When a language and

people are conquered, writers who can break out and tell the story of their people, of their

oppression; this is writing through the eyes of Postcolonialism.

In the work of Chimamanda Adichie, positions of power and its representation are

thoroughly shown in her Ted Talk, The Danger of a Single Story. Adichie tells many of her

own stories, in her own realization of what a single story is. In her work, she tells one particular

story of how she used to draw as a child, and how all of her characters were white and blue-eyed.

Not only this, they played in the snow and talked about the weather. (Adichie, C., 2009, July).

Within the first minute, Adichie describes something she did naturally as a child: draw

characters. However, if she is from Nigeria, then it would be thought that her characters would

not be white or have blue eyes.

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This ties directly into the idea that there are positions of power, or at least were in the

past. After colonialism, white men had a supposed image of sophistication, leading many

children to unknowingly look up to those figures. Adichie was one of those children, who knew

she was from Nigeria, but for some reason her characters reflected something different than that

of herself. Adichie goes on further to discuss how she once had a roommate who was so

surprised that Adichie could speak English so well, not knowing that the main language of

Nigeria is English. Additionally, Adichie was herself surprised when she discovered that the

parents of her live-in help were basket weavers, and had a large sum of talent, opposed to her

single story that they were poor, and therefore did not have any talent. (Adichie, C., 2009, July).

This is a definite example of the danger of a single story, and this is what has the position

of power for many people, whether consciously or subconsciously. The white colonizer holding

the power of imagery is in direct relation to the loss of identity. Adichies roommate, having this

pre-packed image of Nigeria and Africa, had unknowingly contributed to people of Nigerias loss

of identity. And she is not the only one. In her Ted Talk, Adichie talks about Nigeria and how it,

like many other cities, has a middle class society to it. Yet, Americans are fed by everywhere in

the media with the single story that Africa is a continent with starving people and those that need

help to survive. This is a modern-day example of how media has a position of power and makes

Nigeria lose its identity.

Not only does the theory of Post Colonialism delve into loss of identity, it also affects

whose identities are represented in literature. Joseph Conrad, the author of Heart of Darkness,

gives identities to African in his literature. However, the identities that he gives are far from

flattering. Represented in Conrads work are the lives of Africans who are described with such
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words as bundles of acute angles, nothing but black shadows of disease and starvation, and

strong, lusty, red-eyed devils. Yet, when Conrad discussed white men, he used phrases such as

I shook hands with this miracle, and His starched collars and got-up shirt-fronts were

achievements of character (Conrad, J. 1902). Through a Post-Colonial lens, it is reflected that

Conrad only respected collared and cuffed white men, while feeling fear and unfamiliarity with

men of color.

With language such as Conrad uses, it is hard to say whether or not the Africans in his

book were even given identities. It is challenging to think that bundles of acute angles can

even be referring to a human being. Conrad uses such vivid imagery for Africans in his works

that it has become a topic of discussion for high schools all around the nation. Some support his

ideas while others refute it. A discussion of how Conrad can claim that he gives identities to

those in his works, when he doesnt use pronouns such as he or she but instead uses the word

it to describe actions of those characters, is a hot topic.

On the contrary, Conrad uses lush and heartfelt language when describing the Caucasian

characters in his writing. With such flowery writing as He had just the faintest blush this man

had verily accomplished something. And he was devoted to his books, which were in apple-pie

order (Conrad, J. 1902). It appears that the Post-Colonial lens represents the identity of wealth

and whiteness well. His white characters do not lose their identity, and this is why this book is

talked about nationwide in regards to it being required curriculum in high school English

courses. Conrads characters exchange with the cultures opposite of his own show that he is not

ready to see African-Americans in the same light as White folk.

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Chinua Achebe wrote a piece called Things Fall Apart, which delves into a discussion

about Joseph Conrads Heart of Darkness. Achebe discusses how Conrad uses such foul

language for African-Americans, but also near the end describes an African woman who

captures the eyes of his character. Achebe wrote his novel Things Fall Apart to discuss the

apparent old nature of Conrads book. Achebes novel is now being added onto reading

curriculum in high schools, wanting to have Heart of Darkness and Things Fall Apart read

side by side. This is a brilliant idea, yet leads to the question: when can we stop thinking about

Post Colonialism? If high schools eventually incorporated Things Fall Apart as an additional

curriculum, perhaps that proves that Post Colonialism is not over at all.

Achebe describes some aspects of Conrad that catch the eye, such as Conrad then zeros

in, half a page later, on a specific example, giving us one of his rare descriptions of an African

who is not just limbs or rolling eyes. He also says that Heart of Darkness projects the image of

Africa as the other world, the antithesis of Europe and mocked by triumphant bestiality

(Achebe, C. 1977). In this sentence, it is apparent that Achebe is appalled by the fact that Conrad

thinks so low of Africa. Thus, the idea that we can stop thinking of Post Colonialism is as far

away as the connection between Africa and Europe at that time.

Using a literary theory to look at works, especially those written over 100 years ago, is an

idea that can open up new worlds. Particularly, Achebes take on Heart of Darkness is a great

example of Post Colonialism. He discussed all about the loss of culture, the loss of identity, and

how Africans are not represented as people in Heart of Darkness. When reading books or

articles that discuss life after colonization, it is apparent that one side got out better than the
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other. This is evident in Heart of Darkness, as it discusses the tortured lives that Africans lived

compared to his description of the White man that did not get his hands dirty.

With the literary theory of Post Colonialism, readers can view novels in the eyes of who

have lost identities. Nawal El Saadawis creative non-fiction called Women at Point Zero follows

the story of a woman named Firdaus who is imprisoned for killing her Pimp. This story is set

place in Egypt and goes through her story as a young poor child into a woman who takes what is

around her and uses it to her advantage. This is eventually how she comes to be a well-sought

and yet hard to reach prostitute, who once prostituted by choice, until she was threatened by the

pimp who then forced her to prostitute. When they fight, she kills him, later admitting her crime

to a prince who calls the police and has her arrested and thus sentenced to death. Looking at this

story with a Post Colonial lens, readers can see how Firdaus is affected by the colonialism ideal

that men are the superior kind of human in a nation. In the time that Firdaus is living in, men are

regarded to be the ones who can own businesses and particularly make the decisions in what

their wives can and cannot do.

The biggest thing that Firdaus wanted to do was find a job for herself where she could

support herself and make a good living. However, with only her secondary-school certificate

there were no places that would accept her to work for them. She was always turned down, and

men that saw her on the streets by herself would give her a strange look- as if to wonder why she

was walking by herself and without a husband (El Saadawi, 1983). Her decision to go against the

society norms is what made her a bold and strong woman, enough to go against any man who

told her what to do. Looking at this through a post colonial lens, Firdauss actions are the
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opposite of what anybody would expect as a result of colonialism. The act of colonialism is

relayed in this book when the men are given all the positions of power, in work and the home.

This novel has informed my understanding of this field by being able to see how

colonialism has affected women in history. Growing up in this generation, it is quite easy to

forget how much women had to struggle to get to where we are now, in voting rights and in job

positions, even though there is still some inequality in the workforce pay. I have not read many

novels in my lifetime so this is my first time to realize how we can read books through a

postcolonial lens.

Junot Diaz has created a lot of works, one of which is called Drown. In his novel Drown,

the main character Yunior reflects on his life growing up poor in New Jersey, living mainly with

his Mom and siblings. In the descriptions of his life, there was one particular section where

Yunior describes how he worked for a pool table delivery company. For this job, he catered

mainly to rich Caucasian families, and if they treated him nicely then he would not do anything

to mess up their house. But, if they treated him badly then he would use their bathroom and not

flush (Diaz, 1996). There were also times in Yuniors childhood when he was so poor that if he

lost the one pencil he had, he would have to miss school for the day until he could find another

(Diaz, 1996). The biggest point to note is that this book was written in English instead of

Spanish. Diaz, who comes from a huge Dominican Republic background, decided instead to

write his novel for those who would not be able to understand his native tongue. But the very

fact that he wrote it all in English is representative of post colonial theory. If looked at through

the lens of post colonialism, readers can directly see how Diaz has already shifted his novel from
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what he wanted it to be to what it needed to be in order to have an English-speaking audience.

The novel does use some Dominican Republic slang, but having been published in English is

already taking away some of the authenticity of what Diaz wants to portray.

As I mentioned before, I am not a very big book-reader. Thus, I have not had many interactions
with books where I could look at them with a post colonial theory. Reading this novel finally let
me understand the true perception of this theory and its effect on the reading nation. If we read
something that is translated or not it its original tongue, we lose part of the story as a whole.
There is no way for us, the readers, to know the true essence of what the writer wants to portray.
In reading Diazs Drown and having our discussions and video viewings in class, I was able to
see how Diaz wished his work to be viewed and how it was actually viewed in the world of
literature. This is why the post colonial lens is a new way to look at novels for me.
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References

Achebe, C. An Image of Africa: Racism in Conrads Heart of Darkness Massachusetts

Review. 18. 1977. Rpt. In Heart of Darkness, An Authoritative Text, background and

Sources Criticism. 1961. 3rd ed. Ed. Robert Kimbrough, London: W. W Norton and Co.,

1988, pp.251-261

Adichie, C. (2009, July). The Danger of a Single Story. Retrieved from

http://www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story

Conrad, J. (1902). Part 1. Heart of Darkness (Lit2Go Edition). Retrieved September 20, 2016,

from http://etc.usf.edu/lit2go/99/heart-of-darkness/1688/part-1/

Diaz, Junot. Drown. Riverhead Books, 1996. Print.

El Saadawi, Nawal. Woman at Point Zero. Zed Books Ltd, 1983. Print.
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Marissa Armstrong

Sheri Deeter

10 Oct 2016

GS362

The Presence of the Moon

Ishmael Beah uses the presence of the moon as a connection to his childhood in his

memoir, A Long Way Gone. There are three points in his experience where he uses the moon as a

protector of his childhood. The first point is when he is first introduced to the importance of the

moon at six years old, thus developing a love for it himself, specifically when he sees shapes

inside of it. The second point is halfway through his experience, when Beah feels he is losing his

roots, the moon begins to hide itself. He no longer has the moon to look over him, and finds

protection in the army. The ending point is when Beah is in the healing process, he finally begins

to see shapes in the moon again. That shows Beah that though his adolescence was struck by

war, that little piece of childhood he had when he was six was protected all along.

After repeatedly hearing an elder in Kabati say the townspeople must yearn to exist like

the moon, Beahs first exploration of the meaning of the moon began. When his grandmother

explained to Beah that the elders words meant the moon was a precious thing, Beahs

appreciation of the moon developed into seeing shapes inside of the moon and sometimes a

woman cradling a baby at her breast (Beah, pg.17). The imagery of the woman cradling a baby

at her breast is a parallel to the moon being a protector. Throughout the experience described in
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his memoir, he was often faced with the moon. Particularly in his childhood, the moon had this

image of safety and protection when its light shone down on his village.

However, there were occasions on which the moon did not shine, and dark clouds came

into sight. Beah was first affected by war when he was twelve years old. When Beah and his

friends ventured to the town of Mattru Jong, they did not expect to hear word of the war so

quickly. But word came that their town of Mogbwemo was attacked, and Beah and his friends

were told that the rebels were coming. This information provides foreshadowing that bad things

are going to come. Beah describes The moon wasnt in the sky; the air was stiff, as if nature

itself was afraid of what was happening (Beah, pg.22). What was about to happen was not

something good. The indication that the moon was not in the sky was a hint the shining light of

protection was not there. Not only was the moon not shining, the nature around him did not make

a sound. That foreshadowing sets up the next stage in Beahs experience; the rebels were coming.

Months passed between the rebels destroying the village, and by then Beah had seen

blood, body parts, and dead bodies regularly. The trauma of it set in and Beah lost in the moon

what he had seen in it before. No more shapes appeared. As Beah went through more and more

interaction with the dead, he lost his connection to his childhood. There were some nights where

Beah and his friends would walk at night with the moon above them, while the moon quietly

waited for them to reach their destination. Sometimes, through his journey, the moon hid behind

clouds to avoid seeing what was happening (Beah, pg. 80). The moon, previously seen as a

mother cradling a baby, is now acting like a mother figure again. She is hiding her child,

covering their eyes to prevent them from witnessing something bad. This again provides

foreshadowing; it is evident that something bad is going to happen soon.

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In his memoir, Beah uses the moon as a structural tool to set up the progression of time

throughout his journey. In the first half of his memoir, he introduces the moon to the readers as

something he had discovered as a child, but did not understand. Relying on his grandmothers

knowledge is what gave him that connection to the moon in the first place. He talks about the

moon a lot in the first half of the memoir, when he is on his journey with his two different groups

of friends. However, in the next part of the memoir, Beah and his comrades get rounded up into

fighting for the army as a boy soldier. In the two years that ensued, Beah did not discuss seeing

the moon (Beah, 2007). His new form of a protector came in the form of his new family in the

army.

Taking drugs, watching war movies at night, and fighting to avenge his parents death was

his new form of protection that he wrapped himself in. His new lieutenant looked upon him and

others, saying, We are here to protect you and will do all we can to make sure nothing happens

to you (Beah, pg. 123). The lieutenant is the one that instilled in Beah that that is where he

belonged, so that he could rightfully take revenge for his family. In this part of the journey where

he no longer has the moon with him, he relies on the speech and orders from his lieutenant. This

structure was something that lasted for two years, as Beahs childhood had passed by without his

knowledge. The moon and its relation to his childhood seemed as if it no longer existed.

To Beahs surprise, people came from UNICEF to take away boys like him, who had

been forced into the war to fight against the rebels as boy soldiers. All of a sudden the people he

had considered his new protectors were gone, and he was on his own once more. He was given a

nurse by the name of Esther, and in Beahs eyes, there was no protector left. He had been taught

from his lieutenant to not trust anyone. Thus, being lead to the rehabilitation center meant little.
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Beah and his comrades suffered through withdrawal, distrust of adults at the facility, and did not

want to become close to his nurse (Beah, 2007). It is at this point of time, in rehabilitation, when

Beah begins to try to remember his childhood. He tried thinking of things like his childhood

days, but it was impossible, as [he] began getting flashbacks of the first time [he] slit a mans

throat (Beah, pg. 160). Now that the effects of his withdrawal were fading and he was

acclimating to his new environment, he had a desire to get a piece of his old self back. But with

the powerful migraines he was having and nightmares that followed.

It was not until Beah went to eat dinner with Esther and went on a walk with her that he

finally got a piece of his childhood back. They watched the moon that night, and Beah opened up

to Esther about the images he used to see in the moon when he was younger. I saw the woman

cradling the baby in her arms, just as I used to, Beah tells Esther, and it was that night that he

felt the moon watching him once more. Once again seeing the mother cradling the baby

represents Beahs protector. Though it had been hidden for the past two years, something inside

of Beah was revealed and let him see those images once more. The moon was no longer

something to bring light at night, but it was a piece of his childhood that he could finally reach

again.

Beahs journey is full of turning points. The way that the moon represented childhood for

him is important because it was one thing that kept him grounded at the end of his experience.

The imagery of the woman cradling her baby was a parallel to Beah having someone look over

him. The images from the moon were not the only thing protecting Beah. He and his comrades in

the army also had the lieutenant, who watched over those in the army like family. His childhood

flew by, and he could no longer see the moon for what it used to be to him. That is why it is so
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important that in the end, he began to see those images in the moon again with Esther. Seeing

that woman cradle the baby in her arms meant that Beah once again saw the protector watching

over him.

The biggest way Postcolonialism informs my reading of this novel is the way that I

approached it. When I first saw that we would be reading a memoir about a man who lived as a

boy soldier, I felt a lot of pity and imagined I would be reading a lot of sorrowful things. It was

not until I watched Chimamanda Adichies The Danger of a Single Story in class where I

understood that my single story had developed from looking at this novel with a Postcolonial

lens. I have been taught all my life from media that Africa is a continent that needs as much help

as it can get, no matter what country is prospering inside of it. When I finished the novel, I was

able to grasp which ways I felt the novel was changed for the audience to receive it. I felt there

were parts that were left out, and parts that were changed, and I felt that was a result of

colonialisms effect on literature. If a book is changed to cater towards a certain audience, then I

believe it will sell better rather than if it were written the way it was meant to.

Having not read anything like this novel before in my life, I was able to read it with a

fresh idea of what Postcolonialism was. I wondered if the way Beah chose his words was to

satisfy his audiences need for violent language or if things actually happened that way- which I

am sure they did on some occasions. It appears Imperialism is also prevalent in this memoir

when it portrays how UNICEF had suddenly come to take all of the boy soldiers out of the

warzone thinking that it would help save them from their situation (Beah, 2007). But what

backlash ensued from the boys is a reaction to outsiders thinking that they can come in and

suddenly make everything better. Even though this memoir was set a couple of decades ago, we
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can see very clearly how Postcolonialism is still prevalent. When Beah produced this memoir, he

was writing to cater to a certain audience. Also having written this in English is another way that

this is Postcolonialism. Beah is from a town called Sierra Leone, and it has its own language and

dialect, but Beah chose to write in English for an English-speaking audience.

When an author does not write a novel in their native tongue, I think it is because of

Postcolonialism. They are writing to cater to an audience, so there is a possibility that the story

will be lost because of it.

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References

Adichie, C. (2009, July). The Danger of a Single Story. Retrieved from

http://www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story

Beah, Ishmael. A Long Way Gone: Memoirs of a Boy Soldier. New York: Farrar, Straus and

Giroux, 2007. Print.

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Marissa Armstrong

Sheri Deeter

11 December 2016

GS362

Family Roles

Red Sorghum, written by Chinese author Mo Yan and translated by Howard Goldblatt

identifies a lifestyle of Chinese culture in the midst of battle between the Japanese and Chinese.

Yan sets the core of the novel around family, and each flashback that occurs always goes back to

a family member or relative. There is a specific character that most of the chapters go back to,

and that is the character named Dai Fenglian, otherwise known as Dai. Grandmother has a father

and mother referred to as Greatgrandad and Greatgrandma, a son named Douguan, and a

husband named Yu Zhanao. The family roles presented in Red Sorghum exist throughout the

whole novel, but stand out especially when involving the Dai and her husband Zhanao. Through

the portrayal of concepts such as marriage, estranged parents, and a second Dai, Yan presents a

concept of family roles that is so troubled it is hard to see any resolution, except for one that

proves that family is still family.

When Dai is first introduced, she is given a description such as that of a princess. Her

bound feet were praised the most, small and bamboo-like (Yan, 1994). When she is engaged to

be married, she is told that her husband-to-be is a leper, and thus carried a pair of scissors in her

dress on the way to meet her new husband. On the way there she meets Zhanao, who becomes

entranced with her tiny feet (Yan 1994). With these descriptions, Yan sets up Dais character to
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be someone desired and sought after because of her bound feet. Someone with large feet was not

desired when it came to dating or marriage, so her feet was one of the main things people noticed

when they saw her. She was, however, very upset with the fact that she was forced to marry a

leper, and fell into darkness a few days later. Back at her dads house, she refused to eat. This is

when the estranged relations with her Greatgrandad began. You can waste away if you want to,

but youll be the Shan familys ghost, because theres no place in the Dai family graveyard for

you!(Yan, pg. 87). Driven by his daughters distaste for her new husband, he views her as

selfish and childish. This is how the family dynamic first becomes looser and looser. With no

support from her parents on who they just forced her to marry, Dai realizes that she needs to

support herself and be on her own if she wants to make it in the world the way that she wants to.

A while later, Dais lover Zhanao is so disheartened to find that her husband is a leper

that he goes and kills him and his father. When the towns magistrate Cao confronts her about it,

she suddenly shouts Father! My true father!(Yan, pg. 124), while her true father watched in

the background. The act of Dai verbally disowning her father in front of townspeople shows that

she is so displeased with her family that she would do anything to get out of it. She was ready to

create a new family for herself. Dai is a strong young woman who is almost like a firecracker.

Small but powerful, and ready to take action for what she desires. In this case, she wanted a new

family.

Dais father goes back home to tell his wife what just happened, only to be told Forget

your anger old man. Strong winds eventually cease, unhappy families return to peace.(Yan, pg.

150). While her father is angry and frustrated with her reaction, her mother seems to understand

that she is becoming a young woman who wants to make her own choices. Being very rooted in
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her beliefs, she believes from her heart that their family will return to peace, and that faith is

what is keeping her grounded to that calmness. Whereas Dais father is ready to disown his

daughter much like his daughter did him.

Tensions were at their highest in the family and Dai could take no more, so her and her

husband went to find him. When they did, their intentions were not good and before granddad

had fired ten shots, Great-Granddad lay in a blubbering heap on the floor (Yan, pg. 164). Dais

desire to be rid of her own father was so strong that she was easily able to go kill him. There was

no remorse to be felt and she also dropped money on the floor, leaving it there to make a point

(Yan, 1994). Dai is portrayed here as strong and will-powered, having no guilt for what she had

done.

Yet soon after her father is killed, her husband falls in love with their helper, Passion. He

even goes as far as to get a second house to live in with her, because Dai becomes too jealous of

their relationship. However, Douguan, their son, ends up calling Passion their second Grandma,

which in a way still makes her part of the family. Though Dai is jealous that Passion is with her

husband, she seems to make an exception for when Douguan calls her second grandma (Yan, pg.

178). Dai has control over who is allowed in her family and though she does not approve of

Passion and her husbands relationship, she does not kill Passion like she did her own father.

When Douguan gets bit by a dog in his genitals, Zhanao fears for his family line. He

does everything he can to get his son to the hospital and even asks the doctor to sew a part of it

back on (Yan, pg. 222). He wants to badly to continue his line down to sons so that his dynasty

can live on further. His family role is to protect the family and continue the line, which is why he

is so concerned when Douguan is wounded in such a bad area.

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In 1926, Dais mother passed away. And as much loathing as she had for the family, Dai

took a trip home to make funeral arrangements. On her trip, a terrible storm came along and

dropped torrential rains, making her trip more difficult than he had imagined it would be (Yan,

1994). Even her husband was surprised to hear that she had taken a trip to arrange for her

mothers funeral (Yan, pg. 277). Dais trip to go arrange the funeral was a turning point in the

novel for her character development. Through the whole novel she is portrayed as a rock that

does not waver, no matter how strong the winds. Just as her mom had said strong winds

eventually cease, unhappy families return to peace(Yan, pg. 150), and this is the moment those

strong winds ceased. She goes back to her home and though her mother and father are no longer

there in person, her returning home to make the funeral arrangements was a huge turning point in

her role in her blood-related family.

Earlier on in the book it is revealed that Dai is shot and killed, and Zhanao and Douguan

are devastated. Having killed many men, Zhanao does not have the reputation of being soft. But

after the funeral of his wife, whom he was estranged with after he fell in love with Passion, he

felt deep remorse and sadness for her passing. When he gazed up at the stars, he knew how

deeply he missed his wife and son (Yan, pg. 286), and we see a different side of Zhanao. The

character we first met as a stern and ruthless fighter now shows readers a side of him that was

hidden well beneath his affair with Passion. But it appears just because he had another lover, he

never truly stopped loving Dai.

Through the novel there is a progression of the characters that develops rapidly and

changes like the direction of the wind. First, Dai was unprepared for the world around her and

she quickly adapted, thus eventually killing her father and having the role of protector in her
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family, just like a lioness protecting her cubs. Zhanao has murdered many people and seems like

he no longer has any feelings left inside of him. But when he is given the time and opportunity to

miss his wife, he does. Douguans role, according to his father, seems lost when he gets bit by

that dog but there is still a salvageable part of him left which would lead to having a son, thus

fulfilling his role of continuing the line. Red Sorghums characters have dynamic roles that fulfil

their piece of life in the town they call home.

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Resources

Yan, Mo. Red Sorghum. Penguin Group, 1994. Print.