Postcolonialism's Archive Fever

Jacques Derrida. Archive Fever. Trans. Eric Prenowitz. Chicago: U of Chicago P, 1996.

^________. Of Grammatology. Trans. Gayatri Chakravorty Spivak. Baltimore: John Hopkins UP, 1976.

Gayatri Chakravorty Spivak. "Can the Subaltern Speak?" Marxism and the Interpretation of Culture. Ed. Cary Nelson and Lawrence Grossberg. Urbana: U of Illinois P, 1988. 271-313.

1. Reading the Subaltern Archivally--or, Back to Antiquity

Many readers of "Can the Subaltern Speak?" have been disturbed by Spivak's controversial answer to her own question, which is that "no scene of speaking" can arise for the subaltern woman; no discursive space can emerge from which she could formulate an "utterance." ¹ One way of rephrasing Gayatri Spivak's highly resonant question might be, Can there be such a thing as a "postcolonial archive"? The purpose of our essay is to demonstrate just how crucial the concept of an "archive"--perhaps even a "postcolonial archive"--is for a more sympathetic understanding of Spivak's now notorious "silencing" of the subaltern woman. The underread and scarcely commented-on third and fourth sections of Spivak's essay raise the question, Can we approach the gendered subaltern more productively if our project is to recover not "lost voices" but rather lost texts? In the process of unpacking the textual complexities underlying Britain's 1829 abolition of sati (the widow's self-immolation on her husband's funeral pyre), Spivak pushes us further back in time when she observes intriguingly that "the archival . . . work involved here is indeed a task of 'measuring silences'" [286, our emphasis]. ² We contend that her choice of the term "archival" is highly motivated and can serve as the long-overdue occasion for a return to the largely unread sections of "Can the Subaltern Speak?"

We can think of at least two risks involved in our undertaking. For one thing, revisitations to well-known essays can often seem more regressive than innovative. We are well aware that we may have to overcome a certain indifference on the part of readers who, feeling confident that they know it well, judge that "Can the Subaltern Speak?" (now over ten years old) has had its theoretical "moment" and should now give way to more current efforts to locate nonelite, subaltern subjectivity within a politics of resistance. A second concern is that because our project of reading the subaltern woman "archivally" must necessarily reexamine and justify Spivak's career-long engagement with Derrida and with deconstruction, we must be aware of the extent to which her deconstructive feminism has been prematurely and unfairly associated with the supposed political shortcomings of Derridean deconstruction, the regrettable result being an almost reflex aversion to her deconstructive theory within both feminism and postcolonialism. Despite these risks, however, we hope that our use of the archive as the governing principle for our return to Spivak's essay can pave the way for a more sympathetic reading of Spivak's "silent" subaltern. Our essay will argue that "Can the Subaltern Speak?" deserves a foundational or canonical status within postcolonial theory and should experience a "staying power" on the current critical scene as far-reaching and significant as Edward Said's Orientalism.

Spivak's essay at one point refers quite literally to the concept of an archive, that is, the colonial "archive" of the East India Company, consisting of the "correspondence among the police stations, the lower and higher courts, the courts of directors, the prince regent's court," and so on [298]--all the documents instrumental in British law's recodification of sati from "ritual" to "crime" (also, we might add, the archive of subaltern historiography). ³ However, as Foucault's concept of the archive reminds us, the archive is not just "that whole mass of texts that belong to a single discursive [in this case, legal] formation," but can also be conceptualized more abstractly as the "law of what can be said, the system that governs the appearance of statements as unique events...