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This essay reads Saadat Hasan Manto's short story, 'Thanda Gosht' (1950), depicting women's experience of sectarian brutality during the 1947 partition of India and Pakistan, to delineate the postcolonial significance Gayatri Spivak's concept of originary queerness. Manto's synecdoche ('cold meat') for an unnamed and raped female corpse, her Sikh abductor and violator, as well as for the story's readers, (re)figures reproductive heteronormativity as a process of unknowing that emplaces a gendered taxonomy, even when its victims are silent. Rather than reinforce sexual difference as a finished itinerary, however, Kulwant Kaur's repeatedly piercing question--who she is--queers 'Thanda Gosht' by taking us to a 'she' who we cannot imagine but seem to know. This tarrying with originary queerness 'in its place' (Spivak, 'Gender' 817, emphases added) dockets an unpredictable futurity made especially resonant by the chill that asseverates from Ishar's Singh's use of a peculiar affective idiom to describe his encounter with the unnamed and raped corpse, whose originary queerness inverts a teleological trajectory to manifest (the fight for) Nation as (visiting) 'burre ki ma ka ghar' [phrase omitted] R; the house of Bad's mother). This place, far from patriarchal honor and protection, makes a 'zaalim' ( bloodthirsty) of ('us') all, such that we cannot say what happened. Keywords: Spivak, Originary Queerness, Manto, Thanda Gosht, Subaltern, Postcolonial, Sexual Difference, Introduction When the subaltern speaks, the world of knowing is moved. (Josie Arnold, 'The Unnamed' 19) Women's story is not the substance of great narratives. But women are curious, they [...]

Introduction These are turbulent times for the many countries that form the Global South. South Asian nation-states are no exception; the last half century has ushered in liberalization of economies, [...]

This essay creates a heuristic homology between postcoloniality and strains of survivorship whose very contingency "de-humaniz[ es] greed as the primum mobile . . . [and thereby composes] the dangerous supplement, one on one yet collective" (Spivak, "Marx" 281). Using Spivak's attempt to globalize Marx by abjuring epistemological enterprises that privilege "a philosophically correct structural position" (281) at the expense of the subaltern's "right to intellectual labor" (284), this essay reads the phantasms and afflictions of the Scottish diaspora in the 1940s coal-mining town of Cape Breton, Nova Scotia, as represented by Sheldon Currie's The Glace Bay Miners' Museum (1996), for a postcoloniality that, in being attuned to what is left of communally viable forms of collective survival, especially as these remain inappropriable by capital, yields proliferative subjectifications of traumatic experience that are capable of eluding the open "secret of the theft of surplus value" (279) by which global capitalism ruthlessly extracts the unraveling of the biosphere as normality. [ABSTRACT FROM AUTHOR]