A
characteristic of contemporary literature is the question of identity: its
frailty, resilience and interchangeability. To have an identity is to be an
individual, a differentiated complete person with self-perception. However,
individuals are also irreversible connected to others in vertical relationships
(between parents and children) and horizontal, reversible relationships with
spouses and friends. Additionally, individuals can be connected to geographical
contexts that do not conform to vertical or horizontal associations. The link
between character and place, at least in contemporary literature, ranges from
the permanent to transient and overall suggests the development of identity and
character. Places - cities, countries, houses - can reflect, amplify, and
forecast characters' hopes and choices.
The interchangeability of characters and their respective places is
suggested in the three books, Omeros, Istanbul: Memories and the City, and The White Castle.
Orhan
Pamuk's autobiography, Istanbul: Memories and
the City, outlines the historical narrative of Istanbul, consequently
providing a subtle sketch of Pamuk's own life. He identifies with the city's
ebb and flow of historical richnesss, suffering and "disorder [that]
resists classification" (169). Pamuk cannot help but to resonate with Istanbul and its melancholic
ruins, writers, steam ships and cobbled streets: "for anything we say
about the city's essence says more about our own lives and our own states of mind.
The city has no center other than ourselves" (349). He sees the rapidly
changing landscape of Istanbul and feels that "this city, like my soul, is
fast becoming an empty - truly empty - place" (317).The narratives on
Istanbul are intricately connected to Pamuk's life, if not a reflection of his
"inner turmoil" (358). The two entities are interchangeable, and
perhaps even identical. The city amplifies Pamuk's inner melancholy; he
represents Istanbul in one discrete individual package.
But
despite the resonance with Istanbul's melancholy, Pamuk realizes that the
despair within the city will inevitably infect him: "its melancholy begins
to seep into me and from me into it, I begin to think there's nothing I can do;
like the city, I belong to the living dead" (317). He abhors the mix of
Eastern and Western, traditional and European influences that are making the
city into an ugly hybrid. He writes that Istanbul is "indeed a city moving
westward, but it's still not changing as fast as it talks...Everything is half
formed, shoddy, and soiled" (319). Pamuk must distance himself from the
quiet and heavy melancholy of the city - from himself - as he converses with
his mother on his future. He senses her "constant entreaties to 'be
normal, ordinary, like other people' " to be stifling; Pamuk knows that he
must ultimately "resist the broken-down, humble, melancholy life that
Istanbul was offering" although it is more painless and comfortable to do
so (358). Because Pamuk knows Istanbul's historical melancholy intimately, he
can conscientiously identify with the city, choosing to detach himself from the
safe and stagnant mundaneness of Istanbul and become a writer.
Pamuk's
novel, The White Castle, also relates
identification with place, in this case the ancient city of Constantinople. An
Italian scholar is taken captive and forced to be a slave to Hoja, or master,
who is his doppelganger. As the narrator shares his life stories with Hoja -
who he is, how he has become who he is - the pair form a charged love-hate
relationship. The narrator must prove his courage by writing why he is who he
is, but Hoja continually says that "anyone could write things like
this" and doubts its raw human authenticity (61). Later on, the narrator
is able to persuade Hoja into the same "activity" which proves to be
enlightening: "Thus in the space of two months I learned more about his
life than I'd been able to learn in eleven years" (63). Furthermore, he
encourages him to write down every inconsequential detail as he "sensed
then that [he] would later adopt [Hoja's] manner and his life-story as [his]
own" (63). Perhaps he stirs him on through the meticulous remembrance because
he wanted to "master" his language and "turn of mind" as it
were his own story (63).
As
the characters become knowledgeable about the other, they become each other's
confidante and friend, blurring the lines of individuality like an "ant
[who] patiently carries his shadow around on his back like a twin" (49).
Through their knowledge of each other's place, in this case family, culture,
country, childhood in addition to the geographical place, they discover that
their identities are not so unique after all. The narrator calls Hoja his
"real self" and feels indignantly separated from him during a parade
celebrating the end of the plague: "It wasn't that I wished to seize a
share in the triumph...I should be by his side, I was Hoja's very self! I had
become separated from my real self and was seeing myself from the outside"
(98). In The White Castle, two
characters switch physical places successfully swapping identities, implying a
deep and inseparable link between identity and place as exchanging places
produces an identification switch.
Derek
Walcott's epic poem Omeros contains many
story lines, combining them within rich layers of history and context to create
a palimpsest of stories. One of the stories is of Helen, an island beauty, who
is in a triangle relationship with Achille and Hector. Walcott effectively uses
Helen's characterization as also a description of St. Lucia's recent changes.
Just as St. Lucia has had a history of harsh colonialism and has experienced
abrupt modernizations, Helen vacillates between Achille and Hector depending on
her mood . Because of the island's burden of rapid modernization pressures,
Helen abandons her values just as St. Lucia lost its local traditions to keep
up with the world: "She was selling herself like the island, without/any
pain, and the village did not seem to care/that it was dying in its change, the
way it whored/away a simple life" (111). Major Plunkett realizes that
Helen was tempting him in the same way that the Caribbean islands may have been
as abundant and desirable to the empires that conquered it. In essence,
"the island was Helen,/and how it darkened the deep humiliation/he
suffered for her and the lemon frock" (103). Similarly, the loss of land
and self (Helen) is seen in North America with the colonization of Native
American land. As the narrator views the flat expanses of the Midwest, he
remembers the contracts between the natives and the colonists: "Our
contracts/were torn like the clouds, like treaties with the Indians,/but with
mutual treachery" (175). He mourns for "a land that was lost"
and consequently, also "a woman who was gone" just like Helen's
downfall (175).
The
link between character and place in contemporary literature can outline the
development of character identity and growth. Specifically, it can help clarify
the similarity and thus the interchangeability of the characters with their
respective places. The characters' progress in the course of the stories can be
charted by following descriptions of cities, such as Istanbul, or countries,
like St. Lucia. In Omeros, Istanbul: Memories and the City, and The White Castle the interchangeability of
characters and their respective places is suggested by expository narratives on
non-characters.