41. (Re)claiming the Body of the Somali Woman in Nuruddin Farah’s From a Crooked Rib
- Author:
- Helmi Ben Meriem
- Publication Date:
- 01-2015
- Content Type:
- Journal Article
- Journal:
- Bildhaan: An International Journal of Somali Studies
- Institution:
- Macalester College
- Abstract:
- Nuruddin Farah was born in 1945 in Baidoa, west of Mogadishu. In 1976, he was declared a persona non grata by the Somali president and dictator Siad Barre, who banished Farah into exile because his writings were seen as a rigorous and harsh critique of Barre, especially four of his early eight novels, which attacked the dictatorship in Somalia. However, Farah’s fiction not only attacks the dictatorship in Somalia, but it also criticizes the country’s most cherished traditions, values, and beliefs. For example, in his first novel From a Crooked Rib (1970), he breaks the homosexuality taboo in Somalia by questioning the inabil- ity to think of sex outside of the paradigm of heterosexuality, and in some of his later novels, he brings in the issues of incest, pedophilia, bestiality, and murder. Farah is one prominent figure of Anglophone literature in Africa, along with Achebe, and Soyinka. He is also con- sidered as the next most likely African Anglophone writer to receive the Nobel Prize in Literature after the Nigerian Wole Soyinka in 1986 and the South African Doris Lessing in 2007. Farah is described, among other things, as the “gift from Africa to contemporary world literature” (Bardolph, “On Nuruddin” 121). Farah’s fiction extends over more than eleven novels and other fictive and non-fictive writings. Most criticism of his fiction focuses mainly on four issues: the writing about Somalia in exile, the intertex- tuality between his fiction and other writers, the poetics of Farah’s fic- tion, and the feminist aspects of his fiction and how it presents a new image of Somalia. Indeed, one of the most interesting readings of Far- ah’s fiction is a gender-based one; the authenticity, with which Farah tackles the issues of womanhood and gender has pushed some of his readers to think of him as a woman, even sending him letters address- ing him as “she.” In this respect, the Nigerian scholar J. I. Okonkwo has argued that Farah is one of few others who have “done the greatest justice to female existence in his writing” (217). In a comparison estab- lished by Okonkwo, Soyinka is seen as depicting women as either a disguised or undisguised prostitute, Achebe depicting women as an appendage to men, and Farah depicting women simply as women, with all the variations and at times contradictions (216). Farah’s feminist attitudes have given him the title of “Africa’s first feminist male writer” by Kirsten Hoist Petersen (249). Indeed, Farah is well aware of his feminist attitudes; he states in his essay “A View of Home From the Outside” that he is interested in those denied their rights, be it women or men, and in the struggle behind it (qtd. in Okonkwo 217). Eventually, the women in Farah’s fiction become instruments to reconstruct Somalia and to reshape society by giving a new meaning to womanhood. In his fiction, women’s struggle for freedom and for the right to voice themselves become an allegory for a nation in search of its voice. New womanhood becomes interchange- able with a new Somalia, and eventually, Somalia becomes once more the mother, as opposed to its status as a father-land in a dictatorial system. His first novel, From a Crooked Rib, seen by Richard Dowden as “a dazzling spark” of light in the dark tunnel of silencing women (Intro- duction, vii), could be regarded as a feminist manifesto. If we were to describe this novel, we would resort to a line from “The Rights of Women” a poem by Anna Laetitia Barbauld: “Injured Woman! Rise, assert thy right” (28). From a Crooked Rib is a third person omniscient narrative about the story of Ebla, a Somali woman defying her society and escaping her family, who were forcing her into an arranged mar- riage. This novel, with its genuine depiction and voicing of oppressed women, has been widely read and acclaimed, and studied as an authentic representation of the Somali society. This paper aims at read- ing From a Crooked Rib from a Foucauldian perspective in order to highlight the forces that shape the lives of Somali women. The empha- sis will be on the relationship between the discourses used to contain the Somali woman and her body. We will try to set a link between the different discourses and the body within the dialectics of writing/(un) writing and silencing/voicing. Thus, this paper is divided into two major parts: first, a concise overview of the Foucauldian approach to discourse and power, and second, an examination of the different discourses that govern the body of the Somali woman. The second part will root the Foucauldian approach in a gender-related reading and will be divided into two sub-parts: the writing and the un-writing of the woman body.
- Topic:
- Gender Issues, Women, Literature, and Sexuality
- Political Geography:
- Africa and Somalia