Power, gender and racial identity essay PDF

Preview

Summary

Essay comparison between The Ways of White Folks, written by Langston Hughes and An Awakening, written by Kate Chopin....

Description

51982743_EL30RD_Americanvoices

Consider the relationships between power, gender and/or racial identity as explored by any two of the writers studied on this course? Two novels on the course that explore the relationships between power, gender and racial identity are ‘The Ways of White Folk’ written by Langston Hughes and ‘The Awakening’!by Katie Chopin. Both novels demonstrate how the consciousness of identity, allows the characters to gain a purpose of power over stereotypes, based on societal constructs. ‘Father and son’ in ‘Ways of White Folks’ specifically shows how consciousness is used to gain power over gender and racial identity. Whereas ‘The Awakening’!reveals how consciousness is used to gain power, through self-awareness over gender. Both novels use ominous narrators to make the reader believe they are entering the character's mind of consciousness. This essay will demonstrate how the writers use stereotypes and terms to invoke the characters' consciousness. It is this consciousness that leads the characters to question their identity. Within this exploration of identity, the characters begin to take hold of this consciousness and use it to their advantage, whether this is power over gender, power over racial identity or power over gender and racial identity. With this being said, this essay will also prove that although the characters are conscious of their identity and can hold power over their self, it is limited due to societal structures and consequences.

One way that ‘Father and Son’ in!‘The Ways of White Folks’!portrays the relationship between power and racial identity is through consciousness. This consciousness is depicted especially by Hughes through the use of short episodes. These short episodes mean that the reader can gain the point of view of the narrator in a sort of timeline. There is not one designated narrator, instead, there is an overall ominous third-person narrator. The short paragraphs then allow it to travel from one perspective to the other. With these short paragraphs, Hughes also uses short chapters thus aiding the reader to gain different perspectives. This allows the reader to have a full understanding of the consciousness of the characters; to show the relationship between power and racial identity. Through the colonel’s consciousness, we see specifically, how he executes his power over racial identity physically and mentally. For an example “that child, Bert, looking almost like a white child (and a hell of a lot favouring the colonel.) had come running out to the stables one afternoon. The boy had come up to him crying, ‘papa’ (he knew better right in front of company). 1 Later the colonel gives Bert a beating, resulting in Bert not referring him as papa no longer. Through this 1

Langston Hughes, ‘The Ways of White Folks’, ed. By Alfred A. Knopf, inc., New York, in 1934 p210, 215, 218, 226, 226

51982743_EL30RD_Americanvoices consciousness, we can see how the colonel does not accept Bert as his own. Through the term ‘that child’ the reader assumes that the colonel wants to be as far removed from Bert as possible. The colonel has exerted his power to the highest degree, due to his social superiority and high status that he has to keep ‘keep in front of company’ Bert recognises this, it’s then here we begin to receive Bert’s consciousness. According to Anne Borden, in her review ‘genderracial resistance in the works of Langston Hughes’,2 Bert resists the label of ‘bastard’ his father has pinned on him. The term bastard is often used to refer to someone who is fatherless. Bert refuses this term as his consciousness leads him to understand that he is both parts black and white. Bert’s consciousness of his racial identity irritates the colonel, as it forces the colonel to acknowledge the fact that he is his child, despite societal beliefs. Bert in some sense has power over the colonel due to his consciousness of his racial identity, however, the Colonel only holds power over Bert due to his position as a high status, white male, thus showing the relationship between power and racial identity and it’s limitations. ! One way that ‘Father and Son’ portray the relationship between power, gender and racial identity, is through the power dynamic of Cora, Bert and the colonel’s relationship. This is shown through consciousness and awareness of societal structure. The colonel and Cora’s relationship is deemed socially unacceptable. The interracial bond is not for economic or political reasons. It is only for complete pleasure, this being due to the lust and desire of black women. Cora is conscious of this desire and uses it to her advantage. When Cora hears news that the colonel and his wife are having marital problems, she decides to make an effort in her appearance. For example she combed her hair and oiled it better than before and when she took milk to the big house now, she tried to look her best.1. Although innocent, Cora realises the significant impact as a black woman, of being involved with a white man. When she becomes pregnant with the colonels firstborn, her mother responds with, it’s better than slavin’ in the cotton fields, she said “Is known colored woman what’s wore silk dresses and lived like queens on plantations right here in Georgy”1. Hugh often invokes the voice of a black woman through the ominous third-person narrator. Through this consciousness, the reader can grasp the contrast of ‘the black mistress’ stereotype against reality. Cora consciously realises that she has power over her gender, that she can utilise to gain a better life for herself due to her racial identity previously prohibiting this. However, because of this, she runs into the stereotype of 2

Borden, Anne. ‘Heroic Hussies and ‘Brilliant Queers’: Genderracial Resistance in the Works of Langston Hughes.’ African American Review, vol. 28, no. 3, [Indiana State University, Saint Louis University, African American Review, African American Review (St. Louis University)], 1994, pp. 333 - 45, https://doi.org/10.2307/3041970.!

51982743_EL30RD_Americanvoices the ‘black mistress’. Stereotypes in ‘Father and Son’!is what creates the driving force of societal structure and explain how power can be asserted due to these stereotypes. According to research scholar, B. Sreekat Reddy’s review ‘A portrayal of racial-gender issues in the poems of Langston Hughes’,3 !he states that. “Hugh demonstrates that the oppression of black women and men are linked due to race, however, are manifested in specific gender and power dynamic ways.” For example, Cora is depicted as the image of the ‘loose black woman.’ Whereas Bert is depicted as ‘that yellow nigger’. The oppression of Cora and her son is linked because of racial identity, however, they are portrayed in gender-specific ways. Cora is left with nothing, whereas Bert is killed. The lynching was a white response to Bert’s rebellion against the power of his racial identity. Furthermore, Cora is neglected by the community, this being the white response against the relationship between power and gender racial identity. By addressing this sexual exploitation of black women by white men and society, Hughes explores the relationship of the gender stereotypes and the power it holds as a means of reinforcing racial oppression as well as racial identity. Cora’s gender means she holds a certain power over black men, however, her race still limits her privilege. Thus showing how the relationship between power, gender and racial identity intersects. The power is shifted based on who is using their consciousness of societal behaviour to their advantage at that time, whether this is gender over racial identity, racial identity overpower or power over racial and gender identity. However, there are some limits to this.

‘The Awakening’, specifically explores the relationship between power and gender, like ‘Father and son’,!through consciousness and awareness of societal structure. However in ‘The Awakening’!Edna can hold power over her gender through her self awakening and consciousness with fewer limitations, (these limitations are only through her gender and not racial identity.) This state of consciousness, like Cora’s, also occur through the power dynamic relationship of man and woman. According to Christina R. William’s essay, ‘Reading beyond feminism: Katie Chopin’s, ‘The Awakening’, “Edna’s femininity is best illustrated by her interaction with her husband which establishes the objection of the heroine through the male gaze.” 4 An example of this specific femininity is evident after Mr Pontellier and Edna’s first disagreement over Edna’s capability as a mother. Edna then experiences a sort of self-awakening, that goes against the male gaze: “An

3

B. Sreekat Reddy, ‘Portrayal of Racial-Gender Issues In Poems of Langston Hughes’, Research scholar, 2013, http://www.researchscholar.co.in/downloads/9-b.sreekanth-reddy.pdf 4

W. R, Christina, ‘Reading Beyond Modern Feminism : Kate Chopin’s The Awakening’ Winthrop University, 2008, https://scholarcommons.sc.edu/cgi/viewcontent.cgi?referer=https:// scholar.google.com/scholar? hl=en&as_sdt=0%2C5&q=the+awakening+Katie+Chopin+consciousness+and+gender&btnG=&ht tpsredir=1&article=1092&context=tor

51982743_EL30RD_Americanvoices indescribable oppression, which seemed to generate in some unfamiliar part of her consciousness, filled her whole being with a vague anguish.” 5 Here, Edna realises the role she is forced into by society. She is expected to attend to her own family’s needs, without regard for herself. It’s in this first experience that Edna feels oppression is placed directly in front of her. Like Cora, Edna decides to take power over her position as a female and to use what she can to her advantage. Edna becomes indulged in her consciousness and this becomes apparent when Edna tries to explain to Madame Ratignolle that “i would give up the unessential; I would give my money, I would give my life for my children; but I wouldn’t give myself. I can’t make it more clear; it’s only something which I am beginning to comprehend myself, which is revealing itself to me.”2 Edna consciously realises that she has power over her gender and that she can utilise this, to gain a better life for herself, due to her motherhood identity previously prohibiting this. Edna realises that to take control of her own identity she has to get rid of the unessential, that society deems necessary to be the perfect woman. Edna releases this consciousness by expressing her art and becoming more independent, however, because of this runs into the stereotype of being a ‘bad mother’ or ‘unwell’. For example, when Edna, tries to explain to her husband, her need for self-expression, he replies with “then in god’s name paint! But don’t let the family go to the devil.”2 It becomes clear that women can have a form of expression but only if it benefits the structure of motherhood, that they are forced to follow. This reinforces the idea that Christina R.Williams wrote in her essay explaining the objection of the male gaze. Chopin demonstrates that the oppression of women is linked to motherhood but is however manifested in gender-specific ways that define femininity. Edna’s self-consciousness and expression mean she can hold power over her idea of femininity and motherhood, however the patriarchal system limits this. Thus showing the relationship between power and gender, and its intersectionality based on consciousness.!

‘The Awakening’ !focuses on the term ‘mother woman’, thus explaining the expectations of women within the novel. Edna’s consciousness of this idealism of ‘motherhood’ and ‘mother woman’ significantly explores the relationship between power and gender. This idealism of the perfect woman is contrasted with Edna’s acquaintance Adele. Adele is depicted as the perfect woman in societal terms. Edna is conscious of this, as well as her husband, who states, “many of them were delicious in their role; one of them was the embodiment of every womanly grace and charm. If her husband did not adore her, he was a brute, deserving of death by slow torture. Her name was Adele Ratignolle.”2 Unlike Adele, Edna defies those standards and refuses to let motherhood consume her life. Edna is not against the passion of ‘motherhood’, but against the duty of those roles rather than 5

Katie Chopin, ‘The Awakening’, ed. By Oxford University Press Inc., New York, in 2000, p8, 10, 57, 64

51982743_EL30RD_Americanvoices their independent choice. Because of the wealth and status of Edna’s household, she has many social obligations. However, upon Edna’s return to the city, Edna begins to consciously ignore many of her social and household obligations. When her husband says, “we’ve got to observe les convenances if we expect to get on and keep up with procession.”2 However, keeping up with the procession of pretence and motherhood is no longer of importance to Edna. Although Edna has almost achieved a high degree of independence and power over her gender expectations, she is conscious that, because she is a woman, she is subject to society’s restrictions in ways that she might not be if she were a man. Due to this, Edna has taken some power over her independence and gender by defying the role of motherhood. However, Edna can not escape the role completely due to the societal structure built around her. Therefore, her consciousness is the only true independence and freedom she can explore to have power over her gender.

‘Father and Son’!also focuses on terms such as ‘white man’s nigger’. Bert’s consciousness of the expectations of black people significantly explores the relationship between power and racial identity. This idea of appraisal of the acceptable black person is contrasted between Bert and his brother, Willie. Willie is depicted as a black person who is socially acceptable in terms of white people’s perspective, for example, “Willie and the Colonel got along fine, because Willie was docil and good-natured and nigger-like, bowling and scaping and treating white folks like they expected to be treated. “But Bert, you ain’t a bit like that.”1 Unlike Willie, Bert wants to defy those standards and refuses to let being black consume his whole identity. Bert is not against the passion of being black but against the duty of those roles, rather than their independent choice. Bert constantly reminds people that he does not want to be “a white man’s nigger!”1 His rebellion is a portrayal of this. He wants to have power over his own racial identity rather than to be defined by someone else. Like Edna, his consciousness is the only true independence and freedom he can explore to have power over his racial identity. ! In conclusion, both writers explore the relationship between power, gender and racial identity significantly through consciousness. On the one hand, ‘Father and Son’!portray this consciousness through challenging specific stereotypes such as ‘the white man’s nigger’ and the ‘black mistress’ ideology. However, through the different states of consciousness and voices of characters, the reader becomes aware of the different ways that gender-specific and racial-specific consciousness can affect the power that these characters, such as Cora and Bert have over their freedom. Both characters can gain consciousness and have power over their identity however there are limits to as far as this freedom can go. Similarly, in ‘The Awakening’, Edna also faces challenges in breaking

51982743_EL30RD_Americanvoices the stereotype of the ‘mother-woman’. Again it is Edna’s consciousness that allows the reader to understand the gender-specific social constructs that creates power dynamics, that makes it hard for Edna to reach full freedom. Overall both novels demonstrate how consciousness can help the characters gain a sense of self-awareness, however, societal structures mean that they are limited over the full power of their gender and racial identity. However, there are moments where all characters seem to at one point have taken over their identity, therefore showing how the relationship between power, gender and racial identity intersects due to consciousness and societal structures.

Words 2422

Bibliography

B. Anne, ‘Heroic Hussies’ and ‘Brilliant Queers’: Genderracial Resistance in the Works of Langston Hughes. African American Review 28, no. 3 (1994): 333-45. https://doi.org/ 10.2307/3041970.

B. Sreekanth Reddy, ‘Portrayal of Racial-Gender Issues In The Poems of Langston Hughes’ research scholar, 2013, http://www.researchscholar.co.in/downloads/9-b.sreekanth-reddy.pdf

Langston Hughes, ‘The Ways of White Folks’, ed. By Alfred A. Knopf, Inc., New York, in 1934

Katie Chopin, ‘The Awakening’, ed. By Oxford University Press, Inc., New York, in 2000

W. Christina, ‘Reading Beyond Modern Feminism : Kate Chopin’s The Awakening’ Winthrop university Rock Hill, South Carolina, 2008, https://scholarcommons.sc.edu/cgi/viewcontent.cgi? referer=https://scholar.google.com/scholar? hl=en&as_sdt=0%2C5&q=the+awakening+Katie+Chopin+consciousness+and+gender&btnG=&htt psredir=1&article=1092&context=tor...