Stuart Hall's Three Conceptions of Cultural Identity in Bessie Head's When Rain Clouds Gather (1968) and Nadine Gordimer's The Pick Up (2001)

Abstract

This study takes Stuart Hall’s three conceptions of cultural identity as an approach to Nadine Gordimer’s The Pick Up and Bessie Head’s When Rain Clouds Gather. Hall differentiates between three different conceptions of identity: those of the (a) Enlightenment subject (b) sociological subject, and (c) post-modern subject. Whereas the Enlightenment subject is built on a perception of the individual as a self-centered, fully integrated essential entity, the sociological subject is built upon the realization that the person is not self-dependent; rather, he/she is shaped through his/her interaction with others. However, due to its continuous interaction with different cultural identities, the self is transformed from a coherent identity into an inconsistent identity. As a result, the postmodern subject evolves, with no definite, essential, or stable form: the subject is presented with a plethora of potential identities with which he/she may temporarily associate. Makhaya’s and Julie’s narratives reflect Hall’s three conceptions of cultural identity. Firstly, both go through the stage of the Enlightenment subject. Makhaya’s cultural identity relates to the Black, South African culture. Similarly, Julie’s self-centered essential identity is related to her single culture as a white, South African, English-speaking, Christian girl. Both, secondly, become sociological subjects. Makhaya attempts to define himself with his native Black fellow citizens. However, he is repulsed by the traditional false beliefs of his tribe. Likewise, Julie joins a Bohemian social world. However, her new social world becomes full of inconsistencies, since her revolution proves to be eventually insincere. Finally, both complete the transformation into post-modern subjects with new hybrid, contrapuntal, transcultural identities. Makhaya renounces the idealistic ‘myth’ of a coherent and solid identity and is able to identify with new multicultural identities in Botswana. Julie identifies with Arab, African, and Arabic-speaking Muslim community. Makhaya’s and Julie’s new post-modern identity is symbolized by their infatuation with the “cosmic oneness” of a pantheistic universe.