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• W2000201159 abstract "Postcolonial societies like India in their quest for development often create vast numbers of dispossessed and displaced. Modernization, set in motion from around 1950s in form of dams, industrial projects and economic planning, has also, concomitantly, shifted large numbers of people from their habitat, professions and cultural roots. The Narmada dam alone has affected 120, 000 people, while arrival of multinational industries has resulted in a water famine affecting 300,000 people in Karnataka, to cite just instances (Chowdhury and Chowdhury 1997, 132, 158). As Arundhati Roy puts it, the millions of displaced people in India are nothing but refugees in an unacknowledged war (2001, 65). Postcolonial modernization thus results in loss of and homelands (India does have a national rehabilitation policy). Aniitav Ghosh's The Hungry Tide (2004, hereafter HT) offers a humanist critique of dispossession in postcolonial world. It deals with people who are of and seeking a It is in a postcolonial India, with its colonial past and continued claims for social justice from displaced, Dalits, minorities and women that refugees are created. Morichjhâpi's spectral refugee is emblematic ot inadequacy of postcolonial state to provide a safe home, Dalits, minorities and other marginalized occupy an unhomely space in postcolonial nation - in fact, many of refugees in Sunderbans are Dalits. They are unhomely only in that they are of place, without a place on land or in history, but that land itself is unhomely, by virtue of being inhospitable.1 This essay argues that Ghosh's critique of politics of possession/dispossession is worked out effectively through a postcolonial uncanny.2Ghosh sketches history of Sunderbans as a history of failed colonization by humans: Europeans, other Asians (Khmer, Javanese) but also poor Indians, so desperate for land that they were willing to sell themselves in exchange for a biglia or two (2004, 51). But, Ghosh notes, no human settlement could flourish because of predators and very nature of land. Ghosh has here foregrounded impossibility of inhabiting Sunderbans: islands could never really be because implies stability, security and freedom from fear. It is in a of and homelessness in now-land, now-water Sunderbans that postcolonial uncanny emerges.The uncanny, as theorized by Freud (1919) is about human sense ot house and It is a perception of a space where perceiver finds herself simultaneously home and not at home. The uncanny is name ot this experience of double perception of any space which is at once familiar and strange, safe and threatening, mine and not mine. The is a sensate condition, and uncanny, being a matter of perception, is different for different people. Maria Tatar suggests, following work of Tzvetan Todorov, that ambiguity in uncanny event generates that defines fantastic (1981, 169). What is significant in Tatar's reading of uncanny is emphasis on hesitation as state of mind ot perceiving subject. This also shifts uncanny out of realm of purely psycho-sexual (Bhabha 1990) into a more worldly state of location, topoi, place and perceptions of place. The sight of a particular place or event invokes uncanny dread because perceiver hesitates to classify, define and identify ambiguity in place or event.Bhabha argues that Freud mixes repression with surmounting, though former reters to a psychic reality and latter to repressive workings of cultural (2006, 1 94). If repression is term for psychic reality of Fokir's canniness, then surmounting would be erasure and rejection of such an indigenous canny in discourses - cultural unconscious - of postcolonial nation. …" @default.
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• W2000201159 date "2010-01-01" @default.
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• W2000201159 title "The Postcolonial Uncanny: The Politics of Dispossession in Amitav Ghosh's <i>The Hungry Tide</i>" @default.
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