Contesting Homogeneity: Stereotypes and Heteronormativity in Aruni Kashyap’s His Father’s Disease

This article analyses Aruni Kashyap’s short story collection His Father’s Disease. Kashyap challenges hegemonic structures through an emerging writing area tentatively classified as ‘Anglophone fiction from Northeast India’. By engaging with Foucault’s reading of Power/Knowledge this article examines the disciplining of literary regionalism (Anglophone literature from Northeast India), territory and sexuality encapsulated in Kashyap’s exposition of heteronormative societies across cultures. Through the stories Kashyap weaves a dialogic space within the narrative world that challenges various forms of stereotypes relating to regional representation in literary works as well as regional identity and sexuality prevailing in the contemporary world’s existing social and literaryscape. Therefore, it becomes pertinent to observe how Kashyap’s text becomes a site of contention where on one hand the stereotype is accommodated within the power structure, hence controlled and regulated by various agencies, and on the other hand the same knowledge is appropriated by the author as a counter-narrative/reverse-discourse.

Life Is Elsewhere

This book shows how nineteenth-century Russian literature created an imaginary place called “the provinces”—a place at once homogeneous, static, anonymous, and symbolically opposed to Petersburg and Moscow. The book looks at a wide range of texts, both canonical and lesser-known, in order to explain why the trope has exercised such enduring power, and what role it plays in the larger symbolic geography that structures Russian literature's representation of the nation's space. The book brings to light fundamental questions that have long gone unasked: how to understand, for instance, the weakness of literary regionalism in a country as large as Russia? Why the insistence, from Herzen through Chekhov and beyond, that all Russian towns look the same? In a literary tradition that constantly compared itself to a western European standard, the book argues, the problem of provinciality always implied difficult questions about the symbolic geography of the nation as a whole. This constant awareness of a far-off European model helps explain why the provinces, in all their supposed drabness and predictability, are a topic of such fascination for Russian writers—why these anonymous places are in effect so important and meaningful, notwithstanding the culture's nearly unremitting emphasis on their nullity and meaninglessness.

Regionalism

In American literature, regionalism refers to works that describe a distinctive local geography and culture, and to movements that value smaller-scaled representations of place over representations of broad territorial range. Regionalism emerges from the perception of modern geographic plurality; writers and readers understand a larger unit of space (commonly the national territory) to be diversified at its periphery according to topographical features, economy, history, dialect, and manners. A region is always one among many within a common container, characterized by uneven development between center and periphery. Regionalism indicates that a writer has chosen to focus on one of the areas outside the centers of power, and to organize the work around that region. In American literature, regionalism has been associated with the sketch or short story, although the category can accommodate poetry and the novel. Regionalism’s detractors have treated it as a minor form portraying outdated folkways, more parochial than literature that features a larger spatial scale and cosmopolitan characters. Its defenders reject that evaluation, often arguing that regionalism provided access to female, nonwhite, and rural writers, who used the form in innovative and empowering ways. As a literary category, regionalism originates in the post-Civil war era, but many critics locate its origins in the antebellum period, when women writers like Harriet Beecher Stowe offered sketches of rural New England, while Southwestern humorists promoted the storytelling style and wilderness settings of the nation’s frontier territories. In the late 19th century, the term gets used interchangeably with “local color” to designate stories set in relatively undeveloped areas, such as coastal New England, the South, the Midwest, and California. Regionalist writers like Sarah Orne Jewett, Hamlin Garland, and Charles Chesnutt were perceived to be contributing to American realism, doing so by describing, piecemeal-style, the varied conditions of American life. In the 20th century, regionalist movements such as the “Revolt from the Village” school (Sherwood Anderson, Edgar Lee Masters) and the “New Regionalism” (Mary Austin and John Crowe Ransom, for example) rejected both modern American standardization and the “local color” writers, accusing those earlier artists of capitulating to East Coast taste. Writers who have been studied as instrumental in the development of 20th-century southern regionalism include William Faulkner, Zora Neale Hurston, Flannery O’Connor, and Eudora Welty, while Willa Cather, Wallace Stegner, Leslie Marmon Silko, and Gloria Anzaldúa have been especially important in literary regionalism of the West.

From the Ground Up

The first chapter of The Center of the World: Regional Writing and the Puzzles of Place-Time is titled “From the Ground Up: Thinking about Location and Literature.” It discusses concepts of region in everyday discourse and in scholarship. It reviews past studies of literary regionalism, and tests received opinion against available empirical evidence about the circulation of regional writing. Polarized critical views can be incorporated into an account that attends to both the substantive and the relational aspects of place and regional writing. The notion of the chronotope, originated by Mikhail Bahktin, enables an understanding of the centrality of time in narratives about particular places. The opposition between the country and the city (as analyzed by Raymond Williams), and the powerful racialized notion of civilization, provide necessary groundwork for understanding the form. The chapter ends with an explanation of why the book has been framed as a genre study.

The Center of the World

The Center of the World: Regional Writing and the Puzzles of Place-Time is a study of literary regionalism. It focuses on but is not limited to fiction in the United States, also considering the place of the genre in world literature. It argues that regional writing shapes ways of imagining not only the neighborhood, the province, and nation, but also the world. It argues that thinking about place always entails imagining time. It demonstrates the importance of the figure of the schoolteacher and the one-room schoolhouse in local color writing and subsequent place-focused writing. These representations embody the contested relation between localities and the knowledge they produce, and books that carry metropolitan and cosmopolitan learning, in modernity. The book undertakes analysis of how concepts work across disciplines and in everyday discourse, coordinating that work with proposals for revising American literary history and close readings of particular authors’ work. Works from the nineteenth, twentieth, and twenty-first centuries are discussed, and the book’s analysis of the form is extended into multiple media.

World-Making Words, by Edith Eaton and Sui Sin Far

The fourth chapter of The Center of the World: Regional Writing and the Puzzles of Place-Time is titled “World-Making Words, by Edith Eaton and Sui Sin Far.” It considers the work of this doubly named author, a comparatively recent addition to the canon of literary regionalism. It offers a sketch of Eaton’s life and works, attending closely to recent research and discussing her place in North American literary history. It argues that the author’s success as “Sui Sin Far” depended on her connection to the global locality “Chinatown,” but also that she claims multiple national literatures and writes herself into a world literature beyond their horizons.