Tag Archives: Migrant


LT: “How does exile or migration affect the use of memory?”

SB: “Exile is both about suffering in banishment and springing into a new life. The leap is also a gap, often an unbridgeable one; it reveals an incommensurability of what is lost and what is found.”

“Does this gap at all parallel the one between hope and desolation, homeland and new land, memory and forgetting, fiction and non-fiction?”

“Only a few manage to turn exile into an enabling fiction.”

“And how different is that enabling fiction from the one it takes to get up in the morning, to try and do anything at all? I guess I am speaking of a collective memory of inherent exile, the metaphoric exile.”

“The main feature of exile is a double conscience, a double exposure of different times and spaces, a constant bifurcation. Exiles and bilinguals were always treated with suspicion and described as people with a ‘double destiny’ or half a destiny, as well as adulterers, traitors, traders in lost souls, ghosts.”

“A double-conscience, sure. One remembers what one wishes to forget, and vice versa. Memories as specters, forgetting as beyond spectral. It is as if the exile must narrate the other half of that conscience into the future, must write out that bifurcation, that betrayal, those ghosts.”

“For a writer banished from his or her homeland, exile is never merely a theme or a metaphor; usually physical uprooting and displacement into a different cultural context challenges the conceptions of art itself as well as the forms of authorship. In other words, the experience of actual exile offers an ultimate test to the writer’s metaphors; instead of the poetics of exile, one should speak of the art of survival.”

“Does this art of survival drive exilic narration and writing, or is it the other way around?”

“All immigrants know that exile is much more attractive as a poetic image than it is as a lived experience. It looks better on paper than it does in life.”

“Of course it is easier to record migrant memory than migrant forgetting, even though forgetting may be less painful and, at a certain level, more desirable and even necessary. The danger is when memory automatically imposes an alienated status on the migrant. What role does forgetting play in this exilic art of survival?”

“Instead of curing alienation – which is what the imagined community of the nation proposes – exiled artists use alienation as a personal antibiotic against homesickness.”

“So, the migrant must potentially forget the national origin, the home country, shift around memories of nationalism in favor of a different imagined community that may more easily embrace and utilize forgetting? What about the language?”

“Bilingual consciousness is not a sum of two languages, but a different state of mind altogether; often the bilingual writers reflect on the foreignness of all language and harbor a strange belief in a ‘pure language,’ free from exilic permutations.”

“But isn’t language innately riddled with ambiguity, possibility, and progress through misuse and mutation, no matter if exilic bifurcation is involved or not? Language continuously wedges itself into the dialectic of memory and forgetting. So isn’t it that a pure language could only be one that can express memory and forgetting simultaneously?”

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