Woman, Native, Other: Writing Postcoloniality and Feminism

Woman, Native, Other: Writing Postcoloniality and Feminism

Woman, Native, Other: Writing Postcoloniality and Feminism

Woman, Native, Other: Writing Postcoloniality and Feminism

Synopsis

..". methodologically innovative... precise and perceptive and conscious... " -- Text and Performance Quarterly "Woman, Native, Other is located at the juncture of a number of different fields and disciplines, and it genuinely succeeds in pushing the boundaries of these disciplines further. It is one of the very few theoretical attempts to grapple with the writings of women of color." -- Chandra Talpade Mohanty "The idea of Trinh T. Minh-ha is as powerful as her films... formidable... " -- Village Voice..". its very forms invite the reader to participate in the effort to understand how language structures lived possibilities." -- Artpaper "Highly recommended for anyone struggling to understand voices and experiences of those 'we' label 'other'." -- Religious Studies Review

Excerpt

A grain of sand contains all land and sea

—Zen saying

poetic language” … is an unsettling process—when not an
outright destruction—of the identity of meaning and speaking
subject, and consequently, of transcendence or, by derivation,
of “religious sensitivity

—Julia Kristeva, Desire in Language

i was made to believe
we who write also dance
yet no dancer writes
(the way we write)
no writer ever dances
(the way they dance)
while writing we bend
and bend over
stoop sit and squat
and can neither stand erect
nor lie flat on our back
whoever pretends to feed
walk skip run while writing
must be flying free
as free as a cage-bird
seeing not lines as lines
bars as bars
nor any prison-yard

All stills are taken from the following films by Trinh T. Minh-ha: Reassemblage (R); Naked Spaces—Living Is Round (NS); Surname Viet Given Name Nam (SVGNN); India—China (work in progress) (I-C). The production photographs are by Jean-Paul Bourdier.

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