Bead Bai
Bead Bai
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白珠
DOI：
10.1080/19438192.2013.828502
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发表时间：
2014
影响因子：
0.6
通讯作者：
M. Pandurang
中科院分区：
文献类型：
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作者：
M. Pandurang
小说的主要主人公是Sakina，出生于1922年3月15日，Kiipande大屠杀当天，“士兵们向抗议监禁Harry Thuku的人群开火”（第5页）。萨金娜生活在种族隔离的内罗毕的棚户区集市上，小说的第一部分有效地捕捉了20世纪20年代和30年代“东方内罗毕的声音和气味”（第7页）。被剥夺了上学的机会，Sakina的日子被家务琐事占据，其中之一是在她祖父的商店“Duka la Ushanga na Blanketi，珠子和毯子商店”跑腿。这家商店位于传说中的Moti Bazaar（或Bead Bazaar）巷，亚洲商店内外都有珠子陈列。小说的结构是故事中的故事，正如Sakina回忆起她的民族主义叔叔Noordin，Naraas Dai Bai，继母Ma戈尔Bai和她的祖父Dadabapa的迷人故事一样，“像所有优秀的说书人一样，总是有一个故事要讲”他称之为“Desh”的古老国家（第128页）。他们的集体生活叙事构成了她的家庭和整个社区的历史轨迹，处于Khojas、白色定居者和土著人民殖民命运的交汇点。Sakina从继母戈尔白那里学习扎里线刺绣的技巧。复杂的针脚将她带入了“想象的天堂”，创造了一种私人语言，其中每一针都“有一个小小的声音，就像达达巴巴的萨特诗歌中描绘的古吉拉特字母”。莎琪娜在刺绣时，一种“狂喜的草”体现了她（第204页）。正如Somjee在关键词及其文化背景的词汇表中所解释的那样，“rass”“是艺术情绪和愉悦的音调”（第439页）。随着时间的推移，她从她所在社区的妇女的私人记忆中了解到更多关于她们的生活的信息，这些记忆包括刺绣服装、帕切迪斯、莎丽服和头巾等。16岁的Sakina嫁给了Haiderali Devji，他的家人住在Nairowua，距离内罗毕有一个小时的车程。在她的生命中，Sakina第一次冒险超越了这个城市隔离的亚洲部分的参数。被一个压迫性的婚姻和一个强加一个家庭琐事的强势婆婆所束缚
The novel’s main protagonist is Sakina, born on 15 March 1922, the day of the Kiipande massacre when ‘soldiers fires crowd protesting against the imprisonment of Harry Thuku’(p. 5). Sakina lives in the Shantytown bazaar of a racially compartmentalized Nairobi, and the first section of the novel effectively captures ‘the sounds and smells of oriental Nairobi’of the 1920s and 1930s (p. 7). Denied the opportunity to attend school, Sakina’s days are occupied by domestic chores, one of which is to run errands at her grandfather’s store called ‘Duka la Ushanga na Blanketi, the Bead and Blanket Store’. The shop is located on the legendary lane called Moti Bazaar (or Bead Bazaar), with panels of beads on display both inside and outside the Asian shops. The novel’s structure is one of stories within stories, as Sakina recalls the captivating tales of her nationalist Uncle Noordin, Naraas Dai Bai, step mother Ma Gor Bai and her grandfather Dadabapa,‘who like all good storytellers, always had one more story to tell’of the old country that he calls ‘Desh’(p. 128). Their collective life narratives constitute the trajectory of the history of her family, and community large, at the intersection of the colonial destinies of the Khojas, white settlers and indigenous peoples. Sakina learns the skills of zari-thread embroidery from her stepmother Gor Bai. The intricate stitches transport her into ‘a paradise of her imagination’creating a private language wherein each stitch ‘has a little sound in it like a Gujarati letter sketched in Dadabapa’s book of Satpanth verse’. As Sakina embroiders, a ‘rass of ecstasy’embodies her (p. 204). As Somjee explains in the glossary of keywords and their cultural contexts,‘rass’‘is the pitch of artistic mood and pleasure’(p. 439). Over time, she learns more about the lives of women in her community from their private ‘memories of embroidered dresses, pachedis, saris and shawls like the bandhani’(p. 206). Sixteen-year-old Sakina is married off to Haiderali Devji, whose family lives at Nairowua, an hour’s drive away from Nairobi. For the first time in her life, Sakina ventures beyond the parameters of the segregated Asian section of the city. Shackled by an oppressive marriage and a dominating mother-in-law who imposes one domestic chore