The Ambivalence of Revolutionary Cleaning in Mona Prince's Revolution is My Name

Nada Ayad — 2024-03-19

Egyptian writer Mona Prince’s self-published 2012 memoir Revolution is My Name abounds with descriptions of transferring Tahrir Square into a domestic space during the 2011 Revolution: people nurturing fellow visitors and protestors; sharing of blankets, warm clothing and mattresses; cooking and eating; distributing Coca-Cola, endless cups of tea, cigarettes; and nursing the injured who clashed with the police. In one point in her chronicling of her political participation, she describes moving one of her friend’s mattresses out into the square and accepting food from whoever is offering it to her. She also details the square being cleaned by women of the elite class, heralding, in Prince’s imaginings, “a new people.” Focusing on descriptions of the cleaning of the square, this article argues that Prince expands domesticity’s political function while overlooking class and religious biases and blindness that undergird her theorizations of it. This blindness, I argue ultimately undermines the revolution’s attempt at total rupture from the unjust state regime of the past and extends insights into the entanglement of power, oppression and political resistance. Given that theorizations of cleanliness have been mobilized by the colonial project as an alibi for the gendered and racialized inequality of colonialism (and neocolonialism), cleaning here raises the specter of colonialism and highlights its mobility to function as a tool to measure complex class ambivalences.

“Ye Be the Clear Morag Yourself”

Namita Goswami — 2024-03-25

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.

Journal of Global Postcolonial Studies

The Ambivalence of Revolutionary Cleaning in Mona Prince's Revolution is My Name

“Ye Be the Clear Morag Yourself”