Piecing Together the ‘Here’ and ‘There’: Identity Crises in Diasporic Literature

Imagine the pressure of being expected to follow your culture’s traditions even if you want to rebel and create your own identity. Carrying on traditions can be difficult for many young people who are searching for their identities as they grow up. Two texts, “Life in the age of the mimis” by Domingo Martinez and “El Olvido” by Judith Ortiz, tell about the struggles of losing one’s culture. One shows the reader that forgetting your own roots simply because of being ashamed or embarrassed can really harm you, while the other demonstrates that forgetting your culture for the sake of fame and fortune can also do the same damage.

One’s understanding of belonging can broaden their understanding and acceptance of themselves and the world around them. The statement that we all strive to belong is true, however it may take time to belong to a certain person, place, group, community or even the larger world. This issue is explored in Raimond Gaita’s biographical memoir Romulus, My Father and Khaled Hosseini’s confronting novel The Kite Runner. Throughout these texts, the themes of personal relationships, migrant experience and morals and values arise from the concept of

Through an individual’s intrinsic desire to develop meaningful connections with society, place or heritage, they forge their own sense of self-identity by overcoming the barriers in place. In Peter Skrzynecki’s poetry, particularly “Migrant Hostel” and “10 Mary Street” we witness an individual’s experience of segregation to eventual connection in the world they live.

Many writers explore the notion that cultural differences may inflict feelings of disconnection for their central characters. This is shown in the two texts ‘Neighbours’ and ‘Migrant Woman on a Melbourne Tram’, as both protagonists struggle to cope with their newly exposed environment. Despite this, we learn that it can be resolved through the acceptance of one another, yet others may remain to dissociate themselves from society.

An individual’s search for identity is fuelled by a need to find a place in the world where we belong, thus not belonging consequently leas to a feeling of alienation and isolation. This notion is explored through May’s journey seeking to connect with her racial heritage, her idea of understanding and acceptance. The old man Graham, May encounters at the mission expresses an Aboriginal perspective on the contemporary relationship between the two societies. “no one to talk about it. And they die, kill em selves, than those governments just put another numba, nother cross in they list. They still trying to do it, kill us of, tell us that its always been they plan.” They hybrid vernacular communicates the hatred through the ethnolect strongly marked by the non –standard features of the pronouns in “they list,” “they plan.” Graham’s diatribe reflects him as an individual demonstrating the marginalisation of the minority groups. Similarly, Armin Greder’s picture book The island demonstrates the notion concerning the duality of belonging with its inherit prejudices and xenophobic attitudes expresses the majority’s deliberate exclusion of ‘the other’ outside

What We All Long For describes the challenges of establishing identity in a place disconnected from your national and cultural origins. However, this novel is full of descriptions of streets and neighborhoods in Toronto. How do characters navigate these and how does their relationship to spaces shape or affect their sense of identity?

Forming a new identity in a foreign country is not an easy task. Immigrants usually face challenges to identify themselves. Identity formation is the development of one’s distinctive personality due to particular reasons such as new environment, new culture and conflicts. During the process, some characters from Jhumpa Lahiri’s The Namesake either create or deny the bond with their own culture; some undergo conflicts among generations. Those processes reflect significantly in Ashima and Gogol throughout the book. The degree of assimilations determines to what extent the characters have formed the new identity in the new culture.

In a world where seven billion people can communicate in fractions of a second across the globe, share thoughts and exchange cultures, the way we choose to identity ourselves can often ‘’mark’’ us. You can often tell a lot about someone who proclaims to be Quebecois before being Canadian. And theses thing are often present in areas that have a clash of cultures, such as Québec in the former example. But the author Thomas King dives deeper into the subject with his short story Borders. King’s characters do not attach themselves to the place they were born, instead they take pride in their parents’ legacy, their heritage. By writing through the eyes of a twelve year old boy and using opposition, King displays the importance of such things and how minorities are slowly losing them.

My first impression of “Brown Girl Dreaming” was that it was going to be a story about a girl that always seems to be dreaming. The silhouette on the cover made me question if the girl was going to be alive at all, or die somewhere along the way. Within the first few pages there of this novel there is a rather extensive family tree. One of the first indications that this book took place a few decades ago was the size of the families. An average sized family, now a days is about 2-3 kids, whereas about 50 years ago it was 4-5 kids. In the back of the book there is a few pages of pictures of the family. In most of the pictures people are smiling and happy, except the Ibrys of South Carolina. The south was not a place to be for

Joanne Hyppolite is a young girl that successfully jumps “between worlds with the same ease that you slide on your nightgown in the evening.” (Koppelman, “Perspectives”, p. 82) By defining herself as Dyaspora, “a scattered people originally located in one place” (Hyppolite, 2013) she acknowledges her Haitian homeland and heritage as well as her disconnection from its “physical landscape.” (Koppelman, “Perspectives”, p. 80)

Inspired by the contrast in clothing between flesh showing Melbourne women of the 1960’s and the black-clad, veiled women of Southern European migrants “Migrant Woman on a Melbourne Tram” through a variety of poetic techniques explores the concept of isolation, confusion and unfamiliarity experienced by a migrant. “Impossibly black” the woman finds herself in a tram struggling to navigate the streets of Melbourne with a scrap of paper in hand only with an address and destination that she cannot comprehend. The repetition of the word “impossibly” is the most noticeable verbal element that highlights the quality of the migrant standing out against the crowd therefore creating a contrast between two very different cultures. Disorientation experienced by someone who is suddenly placed in an unfamiliar way of life or a set of attitudes also known as a culture shock is an experience that is common to migrants. This is seen as the woman “hunches sweltering” to express a sense of discomfort and the lack of ease that the woman feels due to the culture shock that she cannot understand.

In her essay “My Two Lives,” Jhumpa Lahiri, an Indian American, explains the balance between the identities of the two countries inside her heart, as well as her psychological struggle between her bicultural identities. She describes herself as an Indian-American because she moved with her family from India to the United States when she was very young. However, confused with her identity through her growth, she feels that she doesn’t belong to either of the two countries because of its completely different cultures. When she is at home, she deals with her parents in an Indian way, which is strange compared to the American way that she come across outside. She says that she has a distinctive identity in spite of her Indian appearance

No diasporic community manifests all of these characteristics or shares with the same intensity an identity with its scattered ancestral kin. In many respects, diasporas are not actual but imaginary and symbolic communities and political constructs; it is we who often call them into being.” (Palmer)

Stuart Hall’s Cultural Identity and Diaspora focuses on the current issues of identity, cultural practices and cultural representations. He analyses the visual representations of Afro-Caribbean’s and challenges the notions of identity from African and European places. Hall then goes on to explain how Caribbean cinema has chosen to both, refute and embrace European influence. He presents two different forms of thinking about cultural identity. In the first position, Hall defines ‘cultural identity’ in terms of one, shared culture, which people with a shared history and ancestry hold in common. The first model uses “stable, unchanging and continuous frames of reference and meanings’ to present the idea of shared culture, history, and ancestry rooted beneath ‘more superficial imposed ‘selves’” (Hall, 223).

The Diasporic consciousness manifests itself in a variety of ways: a sense of loss and dispossession, a feeling of remaining straddled between two cultures, and anxiety to belong— either to one’s native cultural milieu or the new environment; an assertion of one’s nativity or immigrant status; an attempt to turn one’s in betweeness into strength; an agenda of multiculturalism; an active interrogation of all notions of belonging and an ultimate urgency to prove oneself (Sharma, 2013)