Representations of the Nation through Corporeal Narrativity in Contemporary Multicultural British Fiction

Abstract

This dissertation focuses on the function of human bodies in articulations of the nation in contemporary British multicultural fiction, more specifically in novels by Salman Rushdie, V. S. Naipaul, Hanif Kureishi, and Monica Ali. Combining the Andersonean claim that narrative fiction is an especially sensitive medium for imagining the nation with Daniel Punday‘s assertion that the human body is the basic organizing principle of narrative structure, this study examines the ways in which corporeal representations in novels negotiate dominant paradigms of the national imaginary. Each chapter focuses on a key text from which it opens up the discussion to the authors‘ oeuvre. The study establishes the palimpsest as a mode of representation and interpretation of cultural and national identities showcased in Rushdie‘s The Moor‘s Last Sigh. The fragmentation of narrative and human subjectivity via the trope of the palimpsest in this novel is central to conceptualizations of the nation in Rushdie‘s oeuvre as well as in the other texts in this study. Based on the make-up of Rushdie‘s palimpsests, the characters‘ bodies manifest not a mixture of different elements but a conglomerate of often mutually exclusive, yet intrinsically combined alternatives. For V. S. Naipaul, the function of corporeality is the negotiation of the national imaginary via representations of narrative space. In The Enigma of Arrival as in his other novels, Naipaul uses circuitous movement and palimpsestic layering of the kinetic space to complicate agency for his characters, to emphasize the illusory nature of narrative authority, and to call attention to the ambiguous operations of national and postcolonial discourse. Hanif Kureishi‘s The Body among his other novels shows a ground-breaking attitude toward the possibilities of narrativity in the age of transmutable corporeality. His characters‘ diminishing corporeal presence is the source of their agency and their increasingly complex cultural identifications. In Brick Lane, Monica Ali‘s keen attention to kinetic space creates unexpected ripples in the narration and the protagonist‘s cultural identification, which shift the meaning of the novel from an optimistic ethnic/gender emancipation narrative to claiming agency by resisting cultural affiliations.