By Alberto Fernández Carbajal
Compromise and Resistance in Postcolonial Writing deals a brand new severe method of E. M. Forster's legacy. It examines key subject matters in Forster's paintings (homosexuality, humanism, modernism, liberalism) and their relevance to post-imperial and postcolonial novels by way of vital modern writers.
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Extra resources for Compromise and Resistance in Postcolonial Writing: E. M. Forster’s Legacy
This part of Forster’s work negotiates a middling line that allows him to compromise with heterosexual normativity whilst finding more indirect ways of resisting sexual and political orthodoxies. Like his articulations of liberal, humanist and modernist perspectives in his representation of the Empire, as elsewhere in his fiction, Forster’s veiled expression of his homosexual preferences has been regarded, as Suleri has already shown, as being the direct or indirect sexual codification of British imperialism.
80). ‘There’s nothing I can do, nothing, nothing’ appears to be the troubled refrain of a liberal ethic, which is powerless when confronted with the stronger material realities of political conflict. Scott sublimates the violent clash between the colonizers and the colonized in the obsessive revisitation of female colonial trauma, a colonial trauma that does not really outgrow the iconicity of intercultural rape and its imprint on previous literary envisionings of India such as Forster’s, a fact corroborating Scott’s soured suspicions that the British psyche has not cogently redressed the Marabar and its historical inception in the trauma of Amritsar.
177). Forster presents us with an Anglo-Indian report of Adela running away from the site of intercultural violence through the inhospitable Indian landscape. Her flight constitutes the narrative’s interiorization of colonial history through Adela’s emulation of Marcella Sherwood, who ran away in despair after being attacked by a gang of Indians in 1919, which in turn triggered General Dyer’s infamous shooting of a crowd of defenceless Indians at the Jallianwala Bagh in Amritsar. In contrast with Marcella Sherwood,6 however, Adela, who fancies herself accosted sexually by Aziz due to the interpersonal suspicion rekindled in the British since the rape of the missionary Sherwood, runs to the British authorities for protection and only realizes Aziz’s innocence belatedly, as I consider in more detail in Chapter 3.