{"id":764,"date":"2022-07-31T11:34:13","date_gmt":"2022-07-31T03:34:13","guid":{"rendered":"https:\/\/caarchives.org\/?p=764"},"modified":"2022-07-31T16:16:54","modified_gmt":"2022-07-31T08:16:54","slug":"nature-other","status":"publish","type":"post","link":"https:\/\/caarchives.org\/nature-other\/","title":{"rendered":"\u201cNature-Other\u201d: A Posthuman Feminist Reading of Jeanette Winterson\u2019s The Stone Gods | Betsy Kwong"},"content":{"rendered":"\n

\u3010<\/strong>by<\/em> Betsy Kwong, June 2022\u3011<\/strong><\/p>\n\n\n\n

Renegotiate, recompose, and reform\u2014indicative actions that prescribes an urgency to the current predicaments of society that calls for a reconstitution of power relations in the political arena, specifically in the space and discourse of the nonanthropomorphic. In Anthropocene Feminism<\/em>, Rosi Braidotti proposes the need for revising humanism that is advanced by feminist and ecological critiques, with the objective to empower the \u201csexualized and racialized\u2014but still human\u2014 \u201cOthers\u201d\u201d (26). By challenging historical and political associations of females with nature, Braidotti emphasizes on a relational ontology that leans on cross-species alliances and a geocentered approach (Braidotti, 690) to produce a \u201cnature-culture continuum\u201d instead of injurious binaries affiliated with biopolitics. In that regard, posthuman feminism, which refers to \u201ca complex assemblage of human and nonhuman, planetary and cosmic, given and manufactured\u201d (Braidotti, 29), becomes an aptly tool to navigate murky boundaries and dysfunctional categories sustained by the dominant, archaic \u201cgender system\u201d (30). Hence, the posthuman feminist body is neither \u201cNature\u201d nor \u201cOther\u201d but a refraction of multispecies relationality that affects the fundamental understanding of human and the very structure of thinking. Reversing and reconfiguring the narrative centrality by focusing on the \u201cNature-Other\u201d and shifting away from the anthropological in the political sphere provides a praxis for coming to terms with the complexities of the human condition and the inner workings of the Anthropocene.<\/p>\n\n\n\n

In Jeanette Winterson\u2019s genre-blending metafiction The Stone Gods<\/em>, her ecofeminist ideals and posthuman vision echoes my interest in the interrogation of gender and the female body in the political discourse, and how posthuman feminism informs the development of praxes that aims to not only address the problems in this arena, but also promulgates an ideology that is centered on life beyond our conventional understanding of gender and the mere definition of what we know as \u201chumanity.\u201d To Winterson, the human civilization is deemed to repeat the same mistakes over and over again, and in structuring her story as an allegorical cycle of life, or \u201csamsara\u201d (214), she provides a materiality that coincides with the affirmation that humans and nonhumans \u201care in this <\/em>together\u201d (Braidotti, 40). To further inform and enhance the posthuman feminist discourse, this essay will draw on the ecological philosophy of Tanaka Shozo, a revered Japanese \u201cconservationist\u201d (Stolz, 1) who argues for \u201can active nature in motion\u201d in terms of two processes: nagare<\/em> (flow) and doku<\/em> (poison) (Stolz, 3). Nagare<\/em> refers to \u201can infinite material energy\u201d and doku<\/em> represents the flow of nature\u2019s energy in \u201charmful, destructive ways\u201d (Stolz, 4). In his search for resolutions to pollution, Tanaka argues for a remaking of politics, not nature (Stolz, 4). Intersecting Braidotti\u2019s posthuman feminist praxes with Tanaka\u2019s environmental activism provides a solid theoretical and practical approach to the reconstitution of the political sphere that opens space for conversation with the \u201cNature-Other\u201d in its departure from anthropocentric confines of \u201cnormality\u201d and advocates for a vision of the posthuman feminist body as an experimental site that foregrounds a complexity in the \u201cfeminist genealogy\u201d (Braidotti, 690) to better produce effects of nagare<\/em> and stun consequences of doku<\/em>. Through the analysis of the repercussions of war and capitalism, Winterson demonstrates a new sociopolitical order in which homo sapiens<\/em> becomes \u201cnaturalized\u201d and the poignancy of the natural world is elevated. Imploring the need to rectify the dire consequences of habitual anthropocentrism and patriarchy on the \u201cNature-Other\u201d, I argue that Winterson\u2019s caution of the humans\u2019 deep connection with the nonanthropomorphic extends the posthuman feminist praxes, allowing the decentralization of human exceptionalism to happen, which dissimilates the dichotomies of humans and nonhumans, thereby removing problematic power relations and archaic political structures from the Anthropocene and instilling an egalitarian approach that explores the complexity and relationality of the human condition.<\/p>\n\n\n\n

It is important to note that doku<\/em> does not only mean toxins that creates pollution, but it is also a positive affirmation that just happens to produce a compatibility that is no longer life-sustaining (Stolz, 5). Simply put, doku<\/em> is a reaction to humans\u2019 intervention and manipulation of nature, which often stems from political and social regimes that claim that certain destructions are necessary in the name of growth and economic health (Stolz, 8). Concept of doku <\/em>is significant to the posthuman feminist discourse in that it positions humans as the contaminants to the natural world, which depicts a reciprocated dynamic in which the \u201cNature-Other\u201d and by extension, nature itself, is at the center of the narrative. In Winterson\u2019s \u201crepeating world\u201d (175) in which \u201ceverything is imprinted forever with what it once was\u201d (246), humans rely on technology for the upkeep of their daily lives by consenting to the control and surveillance of a monopolizing conglomerate called MORE. This singular entity of domination represents an unstable governance rooted in normative and anthropocentric ideals. Through the assemblage of \u201cresidents\u201d of the Dead Forest as a collective \u201cthey\u201d, Winterson foregrounds a \u201cus versus them\u201d social order in which the \u201clucky\u201d humans are pitched against \u201ctoxic radioactive mutants\u201d (203), who are \u201cre-evolving\u201d humans and animals that poses as remnants of a nuclear war (188). The Dead Forest resembles a dramatized vision of an atomic hypocenter and by emphasizing on the shocking imagery and horrific details of how the war damaged and maimed the forest habitants, Winterson illuminates the \u201cugliness\u201d of war (194) and unsettles the \u201cclean shiny version\u201d (203) of \u201ctruth\u201d that was manipulated and told by MORE to its citizens. By branding these \u201cincurables and freaks\u201d as mere \u201cenemy collateral\u201d and compounding them in a \u201cRed Zone\u201d like a virus or pollutants (Winterson, 203), these epitomized forms of \u201cNature-Other\u201d demonstrates a political and social decision of simply ignoring the repercussions of war in hope that the collective memory of an atomical disaster could solve itself eventually. MORE\u2019s concealment of these \u201ccreatures on another planet\u201d (234) from the media\u2019s attention depicts an apathetic society that finds the \u201cNature-Other\u201d repulsive and unassimilable. Furthermore, Winterson criticizes the hypocrisy of those in power, who declares that World War Two was \u201canother war to end all wars\u2026[to] Freedom\u201d (156), by placing her characters in medias res<\/em> of a \u201cPost-3 War\u201d (158), bringing a circularity back to her narrative and providing deeper resonance with her anti-war and conservation promulgation. By isolating and distancing residents of the Dead Forest, members of the \u201cnormative\u201d society could indulge themselves with the illusion of a utopia that is devoid of doku<\/em>, which accentuates the anthropocentric practices that plagues contemporary society and calls for a restructuring of how information is transmitted and received, and the contingencies that could affect the validity of the human experience.<\/p>\n\n\n\n

Denouncing humans\u2019 \u201cmonocultures of the mind\u201d (Braidotti, 85), which indicates a persistent marginalization and \u201cothering\u201d of those of an unconventional nature with a singularity that dismisses positive collaboration and productive integration, Winterson depicts a posthuman feminist body in her novel as one that possesses \u201cclose-to-nature\u201d subjectivity and rejects conventional notions of normativity. Spike, who is \u201c\u2026the world\u2019s first Robo sapiens<\/em>\u2026 looks amazing\u2014clear skin, green eyes, dark hair. She has no body because she won\u2019t need one. She is a perfect head on a titanium plate\u2026she\u2019s God\u201d (Winterson, 158). Spike as a robot with artificial intelligence and a \u201cPerfect Body\u201d that invokes the divine expresses the humanistic fear of reverting back to ancient ways of being while simultaneously working to rationalize and mechanize the body, which renders human beings obsolete (Jeffrey, 141). Spike\u2019s very constitution\u2014a robot without a body and no distinctive racial features\u2014embodies paradoxes that effectively counters notions of able-bodiedness, race, and beliefs as factors that allows accessibility to \u201chumanity\u201d. Furthermore, as Winterson denotes that Spike is a \u201cshe\u201d, which we can assume is the female sex, her glorification of Spike\u2019s \u201cperfect\u201d body also revokes society\u2019s tendency to dehumanize women and marginalize nature. The contradicting nature of Spike\u2019s body and existence and how MORE created her in hopes that she could lead human beings to making better decisions about their world, is precisely the posthuman feminist mindset that propels a dissolution of boundaries between human and nonhuman entities and reifies the importance of understanding the network relations between humans and nonhumans.<\/p>\n\n\n\n

Culturally, those who lived near the atomic hypocenters of Hiroshima and Nagasaki are known as hibakusha<\/em> in Japanese, which means \u201cthe blood of devil\u201d and imbues them with a stigmatized identity (\u201cAftermath\u201d). In an attempt to \u201cpurge\u201d the city of pollutants and doku<\/em> that resembles the hibakusha<\/em>, with what can be regarded as a na\u00efve belief in civil responsibility and accountability, Billie Crusoe, the protagonist of Winterson\u2019s novel, encounters a group of Japanese wearing \u201cpre-war Burberry hats and macs\u201d (Winterson, 183) who travels around on golf carts and claims to be part of the \u201cInternational Peace Delegation\u201d that seeks to provide \u201cAid and Sanitation to War Refugees\u201d (184). This capitalistic reference and ill-treated displacement of someone\u2019s right to live in ones\u2019 own hometown exudes an air of hypocrisy, favoritism, and entitlement that contradicts the \u201cHumanitarian\u201d relief they wish to provide (186). \u201cAid\u201d insinuates a hierarchical structure in which one party becomes indebted to the one who is offering help, and \u201cSanitation\u201d can be interpreted as simply unclean and in need of purification. Yet residents of the Dead Forest and Wreck City, which is a lawless place that operates with mechanics of \u201cthe past\u201d while adapting to the repercussions of war, did not ask for help. This further engages with the posthuman feminist praxes that seeks to deconstruct the gender system by criticizing the futile post-war efforts as misdirected and adds to the ecological crisis\u2014fans the fire, per se. While the \u201cnorm\u201d holds onto the instructions of a broken and outdated system, these \u201cWar Refugees\u201d have adapted to a new way of living in which they co-evolve with the changing landscape that they inhabit in, even if it looks as though it is filled with doku<\/em>. This demonstrates that those who are more inclined toward nature has the \u201crelational capacity of the posthuman subject\u201d (Braidotti, 33), which signifies that \u201cNature-Other,\u201d organic life, embodied human flesh, animals, and the earth are all interconnected. Humans as a compulsive interference in matters of nature and evolution is the root of environmental disasters, and thus, Winterson urges for a reevaluation of power relations, structural inequalities, and the utility of a hegemonic approach to decisions pertaining to the value of and sovereignty over life.<\/p>\n\n\n\n

By promulgating \u201cno more war\u201d (234), Winterson establishes humans\u2019 relationship with nature as one that is inextricably connected with potentially devastating consequences. Posthuman feminism addresses questions of anthropocentrism directly while \u201cremaining committed to social justice and ethical accountability\u201d (Braidotti, 85). Winterson proposes a lens to \u201crecompose\u201d the meaning of human beings in relation to nature (39) through her lucid but radical composition of posthuman feminist bodies, which attributes the destruction of nature to manmade initiatives. This foregrounds an ecocritical and anti-war position in which humans are not superior to nature, but a part of its interdependent evolution. Observing \u201csamsara\u201d, Winterson cautions the consequential effects of a chain reaction and calls for an affirming action from nature\u2019s counterparts to break the vicious and toxic relationship humans have with nature by thinking beyond gender constraints. I proposed Tanaka Shozo\u2019s environmental philosophy of nagare <\/em>and doku<\/em> as key vehicles in driving our understanding of the possible intentions of certain political and social regimes and the effects of a capitalistic society on such policy remaking. All in all, Winterson\u2019s reorientation of narrative centrality contributes to the gender discourse in the advancement of our knowledge and practice of posthuman feminism regardless of culture, gender, race, and class, by deepening our comprehension and acceptance that we are, in an essence, \u201chumanimals\u201d (Braidotti, 86). Decisions are often socio-politically driven, and it is only through a conscious attempt to maintain a balanced relationship with all living matters and the \u201cNature-Other\u201d on earth that we can relinquish the devastating forces of inhumanity and reshape the future of the Anthropocene.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n\n\n\n

AUTHOR<\/strong>
Betsy Kwong, Hong Kong Baptist University, Hong Kong<\/p>\n\n\n\n

\n\n\n\n
<\/div>\n\n\n\n

WORKS CITED<\/strong><\/p>\n\n\n\n

Braidotti, Rosi. \u201cPosthuman Feminist Theory.\u201d The Oxford Handbook of Feminist Theory. <\/em>Oxford University Press, 2016.<\/p>\n\n\n\n

Braidotti, Rosi. \u201cCritical Posthuman Knowledges.\u201d The South Atlantic Quarterly<\/em>, vol. 116, no. 1, 2017, pp. 83-96.<\/p>\n\n\n\n

Braidotti, Rosi. \u201cFour Theses on Posthuman Feminism.\u201d Anthropocene Feminism<\/em>. University of Minnesota Press, 2016.<\/p>\n\n\n\n

Normile, Dennis. \u201cAftermath.\u201d Science.org, 23 Jul, 2020, https:\/\/www.science.org\/content\/article\/how-atomic-bomb-survivors-have-<\/a>transformed-our-understanding-radiation-s-impacts. Accessed on 13 June, 2022.<\/p>\n\n\n\n

Stolz, Robert. \u201cRemake Politics, Not Nature: Tanaka Shozo\u2019s Philosophies of \u2018Poison\u2019 and \u2018Flow\u2019 and Japan\u2019s Environment,\u201d The Asia-Pacific Journal<\/em>, vol 5, no 1, 2007, pp. 1-9.<\/p>\n\n\n\n

Winterson, Jeanette. The Stone Gods<\/em>. Penguin Books, 2007.<\/p>\n","protected":false},"excerpt":{"rendered":"

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