Amal understands the human potential of the young Israeli soldier who, if he were not produced by a belligerent political system could be something else other than a killer. Amal's geographical displacement and temporal transition between places (Jenin, Jerusalem, Jordan, Kuwait and Philadelphia) complicate her quest for rootedness. For Said, the starting point of any cultural elaboration is ‘the consciousness’ of who you are and ‘knowing thyself as a product of the historical process to date, which has deposited in you as infinity of traces, without leaving an inventory’ (Said 1978: 25). Similarly, Chaker, Lanasri and Ben Barks (2018) apply comparative approach to analyse the narrative voices of the main characters in Toni Morrison's Beloved and Susan Abulhawa's Morning in Jenin. After another year, she gave birth to her second child (Ismael) who received an injury that left a permanent scar on his face. Freire insists that praxis derives from a humanistic view which builds on a cultural and historicist conception of freedom. no one owned Old Lady, no one can own a tree, it can belong to you, as you belong to it We come from the land, give our love and labour to her, and she nurtures us in return. When she tries to cross borders that keep moving away from her, she tries to find her wholeness, through the past and its memories. Being unable to see his face – hidden by the muzzle of his automatic rifle, Amal lets her imagination draw a picture of him as a young boy ‘leaning into a mirror to insert the lenses in his eyes before getting dressed to kill’ (p. 1). For the oppressed to understand historicity does not mean fatalistically accepting the status quo, but realising that such understanding positively induces transformational acts to eliminate their suffering (Glass 2001: 17). This multidisciplinary and interdisciplinary journal brings them together. The main character is called Amal (the Arabic word for hope, with a long vowel, indicating plural.) When we die, we return to the land. Amal, then, is a construction of contested forces of the past and the present, but Amal's real crisis is not caused by these competing constructions. Confused by the enigmatic future waiting for them, refugees are bewildered as to which course to follow: to wait for the international resolutions or to follow the path of resistance and struggle for their rights. These doctrines answer a basic existentialist question for Amal who is living in the world as an unknown member of a redundant people. Ten months later, she ‘gave birth to a stillborn child’ (p. 28). Edinburgh University Press. Abulhawa's discursively constructed realities disrupt the pleas for monolithic struggle that chime with the notion of dissent and resistance. She also understands that while his action might be justified as an action of war, hence, he would not be blamed with legal culpability, his discretion leads him to perceive the immoral side of his murder. Of a girl who escaped her destiny to become a word, drained of its meaning. When the village of ‘Ein Hawd’ east of Haifa (the Palestinian hometown of the Amal family, Abulheja) was emptied of its native people, Moshe and his fellow soldiers were relieved achieving easy victory against unarmed natives: ‘He and Jolanta saw the birth of Israel. 0000015945 00000 n
<> Escaping the aftermath and the uncanny of Jolanta's Holocaust experience is achieved through creating other holocausts for unknown people on a land which is unknown to her. Like Amal, Ari bears responsibility for a humanisation which endorses the Other's right to a human existence. The loss of Ismael, similar to the loss of land and dislocation, is significant in Abulhawa's narrative on intensifying the trauma of the family. Said's diaspora is an ‘out of place’ concern that has never ended, and out of which an exilic consciousness emerges. They share feelings of love, friendship, hatred, and agony. ‘Mrs. This is what Abulhawa diligently represents in a world where the line between legitimate resistance and ‘terror’ becomes blurred, and where the meta-narratives of the global discourse on terrorism mystify both concepts. Exile, however, inherently holds the potential for a constructive critique of suppressed and marginal people, who are often located in a juncture of time where the history of the postcolonial world has lost its appeal with enormous arguments addressing terrorism, radicalism and violence. At the same time, hope and joy penetrate through those sad memories; ‘we [Amal and Huda] offered up our wishes and secrets to the starry Mediterranean sky’ (p. 175). Yehya, Amal's grandfather, left the camp life in Jenin and crossed the borders back to the occupied land seeking a refuge to his tortured soul and nostalgia; ‘Haj Salem was sure that Yehya had gone back to die where he was supposed to die, and when people spoke of Yehya's passing, they said he had died from the malady of a broken heart’, but ‘the actual death was a gunshot wound’, and ‘when the family cleaned Yehya's body for burial, they found three olives in his hand and some figs in his pockets’ (p. 54). The signs of this trajectory appear in her criticism of the ‘international resolutions’ and politics, in general. Unreconciled Strivings of ‘Exilic Consciousness’: Critical Praxis of Resistance in Susan Abulhawa's, Assistant Professor of English The University of Jordan/Aqaba P.O. In her psychological analysis of the soldiers’ personal stories, Sherman concludes: they desire raw revenge at times, though they wish they wanted a nobler justice; they feel pride and patriotism tinged with shame, complicity, betrayal and guilt. In America, Amal absorbs all these clashing forces wrapped up by her haunting memories. ‘He [Yousef] cloistered the pain, letting it tangle with powerlessness. She adds Arabic words to give you a glimpse of pain in that language. The ‘uncanny’ state of Amal is a constant theme throughout the narrative since, from beginning to end, Amal's traumatic memories prodce an inevitable desire to construct her consciousness. I argue that the use of the third person narrative suggests a splintering of Amal's self as a result of her traumatic memories so that she detaches herself from the ‘I’ of self-identification. Mornings in Jenin opens with a prelude set in Jenin in 2002, as Amal faces an Israeli soldier’s gun. For her, time and place outline an unceasing evolutionary consciousness. This is the part of Moshe which the political system produces and nourishes, robbing him of his moral side. (p. 295). 0000011143 00000 n
Moshe was an active commander in the 1948 war and, commissioned by an omnipotent edict (‘a land without a people, for a people without land’), he kidnapped Dalia's child (Ismael) while she was escaping the war seeking for refuge. Box 2595 Aqaba 77110, Jordan, Ambivalent nostalgia: a discursive construction of exilic consciousness, Strangers in My Home The Quest for Identity in Mornings in Jenin, Diasporic Reconciliations of Politics, Love and Trauma: Susan Abulhawa's Quest for Identity in’ Mornings in Jenin, Order out of Chaos in Toni Morrison's Beloved and Susan Abulhawa's Mornings in Jenin, Literary Trespassing in Susan Abulhawa's Mornings in Jenin and Sayed Kashua's Second Person Singular, On Paulo Freire's philosophy of praxis and the foundations of liberation education, Vexing Resistance, Complicating Occupation: A Contrapuntal Reading of Sahar Khalifeh's Wild Thorns and David Grossman's The Smile of the Lamb, Journal of Holy Land and Palestine Studies, https://www.aijssnet.com/journals/Vol_7_No_2_June_2018/11.pdf, http://publishingperspectives.com/2012/03/the many-lives-and-languages-of-a-palestinian-novel/, Edward Said, Postcolonialism and Palestine's Contested Spaces, Psychoanalysis under Occupation: Nonviolence and Dialogue Initiatives as a Psychic Extension of the Closure System, Remembering Resistance: The ‘More-than-Human’ Memorial Landscapes at the Vercors and Larzac, France, Marwan Darweish and Andrew Rigby, Popular Protest in Palestine: The uncertain future of unarmed Resistance (London: Pluto Press, 2015). (p. 285). He depicts his own life as a Palestinian in continuous exile and motion: ‘to me, nothing more painful and paradoxically sought after characterises my life than the many displacements from countries, cities, abodes, languages, environments that have kept me in motion all these years’ (1999: 217). America, her final destination, thus constructs her diasporic consciousness and, later, empowers her to engage in critical praxis, dissent and resistance for the rest of her life. Before the Nakba, Ari explains to Hasan how Zionists recruited an army from the shiploads of Jews that arrived every day in Palestine and he warns him of the coming war. It was a tale of war, its chilling, burning, and chilling-again fire. 0000005593 00000 n
As a matter of fact, Hasan, of the second generation, plays a central but unobtrusive role in exile ‘keeping to the periphery of day-today life’ (p. 55). Either as a refugee boy with a damaged leg or as a professor devoting his entire life to the search for knowledge, it is in Ari's tiny office where Amal chooses to end her narrative: In Ari's office, we were three generations hauled together by the willful drag of a foreclosed story swindled by fate but gathered in that moment to demand to be told. By continuing to browse the site you are agreeing to our use of cookies. Although classified as a political activity, Mornings in Jenin gives this lasting and ‘terrible conflict [Arab/Israeli] a human face’ (Malouf 2011: 2). ؼ���Kdo,9�����+̧ȶ�>b�`n`Y;�K�����yP��⋸�Rv����
O.�X��5�9͞�l�x��Ӆ��Y%�E��Z�7;x'��0�!������.�;n2d��HOa=ǖ���X�0�h����~OU!ۥB�.�"U&�*_�T���e��*���T�n[x�S�b���%��*�. In this paper, I claim that Abulhawa's diasporic identity grows into an exilic consciousness that enables a progression of resistance discourse to reclaim the lost agency and voice of the Palestinians. Yet, ‘the Arab woman's face [Dalia], and her scream of ‘ibni, ibni’ [‘my son’, ‘my son’], would haunt Moshe's years and the awful things he had done would give him no peace until the end’ (p. 45).
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