2018 4th International Conference on Social Science and Management (ICSSM 2018)

ISBN: 978-1-60595-190-4

A Post-colonialist Analysis of Salman Rushdie’s The Free Radio

Keywords: Salman Rushdie; Discourse of power; Cultural identity.

Abstract. Drawing upon post-colonialism, this paper is intended to probe into the problem of
cultural identity reflected in Salman Rushdie’s The Free Radio. Starting from an overview of the
historical context, the paper is devoted to the reinterpretation of the main characters (the rack puller,
the thief’s widow and the old teacher) by resorting to Foucault’s power of discourse. The paper
argues that the source of Ramani’s tragedy results from the concept of colonialism deeply rooted in
the mind of the colonized. It is hoped the research may shed some light on a holistic understanding
of cultural identity of those in the Third World.

Introduction
Salman Rushdie was born in a Muslim family and educated in Britain. He lived in Pakistan as a
television writer for a short time and moved to New York in 2000. The experience affords him
opportunities to get access to the western civilization and lays a solid foundation for his literary
writing. Such writers as Rushdie who have crossed borders geographically and experienced cultural
collisions are classified as migrant writers [1]. As a leading figure in contemporary literature studies,
Rushdie’s greatness as a writer lies in his ability to consistently explore the larger themes of
globalization and migrancy through varied prisms of schizophrenic ravings, international terrorism,
and the tender flirtation between a Russian porter and an Indian ayah (nanny) [1].
The Free Radio is drawn from East, West, a collection of short stories written in 1994. The
collection is divided into three sections East, West and East, West on a geographical basis. It is
therefore evaluated as a handbook of testing the cultural diversity and similarity between the East
and the West. Set in the mid-seventies, The Free Radio depicts three main characters—Ramani, the
thief’s widow and an old teacher (the narrator). The story centers on the free radio the protagonist
Ramani longs for with great eagerness. It turns out to be an illusory dream made by the government
that destroys the protagonist completely. The story ends with Ramani’s leaving for Bombay in order
to pursue his fantastic dreams.
Staring from an overview of the historical context, the paper is intended to reinterpret and
reconstruct three main characters from the perspective of post-colonialism, discourse of power put
forward by Foucault in particular.

Historical Context
In his writing, Rushdie does well in recording historical events of India metaphorically. As with
the Free Radio, the historical context is constructed from two aspects: physically and psychically,
the historical event at home and the academic trend of thought, among which the former refers to
the Emergency of India from 1975 to 1977, while the latter is the post-colonialism prevalent among
men of letters, especially those migrant writers who have crossed frontiers and experienced cultural
conflicts between the colonizer and the colonized.
As aforementioned, as an erstwhile colony of the British Empire, India has undergone many
vicissitudes before getting rid of the control of the Great Britain. Therefore, three times of national
emergency were declared in response to threats both at home and abroad [2], in which the Free
Radio alludes the third time of emergency when Indira Gandhi took office. In 1970s, the whole
India had gone through a political turmoil, during which the Prime Minister Indira Gandhi declared
a state of Emergency, lasting for 21 months. Subsequently a series of policies were carried out,
including the official compulsory vasectomies. While in the Free Radio, the historical context is not
indicated explicitly, but it can be inferred by such clues and hints as local health official, and a big
white caravan, etc.
In addition, the ideological circumstance peculiar to men of letters rises in importance on account
of its influence on literature. Like other Eastern countries, India has been colonized by the Great
Empire politically, economically, culturally for a long time. Hence, it may be easy to break away
from the control of the colonists politically and economically, but it is much difficult to uproot the
tangible or intangible control in culture. Accordingly, the newly-developed thoughts and
retrospections on such a situation gain widespread attention rapidly. It is claimed that
post-colonialism is mainly concerned with the cultural issues of the former colonized countries and
the power relations between the two sides.
Rushdie, an in-between straddling different cultures, becomes well aware of the post-colonial
issues in terms of the spiritual awakening. Such questions as culture, identity, a sense of belonging
haunt him over and again. He becomes, on the one hand, helpless and puzzled when facing with the
mighty exotic culture and on the other hand, he is determined to fight for cultural identity for
himself and his countrymen. His literary works have been greatly imbued with the sentiment.

Discourse of Power
In the light of the power of discourse put forward by Foucault, power is transformed into
discourse that bears the characteristic of social property. Accordingly, in the process of colonization,
the Great Empire has invented specific colonized discourse which embodies its powerful oppression,
especially in the form of literature. In The Free Radio, two types of discourse of power can be
reflected: one is the discourse of England on India, and the other is the discourse of the intellectual
on the citizens.
On the one hand, there is no denying that the discourse of England on India is absolute. On the
other hand, the absolute discourse of the intellectuals on the citizens pervades the whole story. It
seems that the old teacher interferes Ramani’s life out of affection and concern. Nevertheless, it is
his social status that qualifies him a discourse of power, thereby providing a plausible excuse for his
behavior. It can be well explained by the theory of intellectuals put forward by Antonio Gramsci.
According to Gramsci, there are two categories of intellectuals in all societies: traditional ones
and organic ones. However, it is the latter one that counts. As a distinct social category independent
of class, the intellectuals weigh heavily in the stability of the society as performing an essential
mediating function in the struggle of class forces [3]. For instance, the importance of the
ecclesiastics can’t be overemphasized in terms of defending the monopoly of the ruling class. On
the one hand, they help to disseminate the ideology of the ruling class, thereby strengthening the
latter’s reign over the citizens. On the other hand, they are bestowed with equal status like the
aristocracy, even some privileges and wealth, which can be considered as the upper-middle-class. At
the same time, they get direct access to the lower class to be tamed.
The old teacher transferred the willingness by means of education for the purpose of
domestication. Therefore, so far as he was concerned, Ramani was always an innocent lamb before
he met the thief’s widow. Previously, the old teacher had an absolute power over Ramani in terms
of discourse, however, his control turned invalid gradually as the story developed. In this regard, the
discourse of power he stands for declines for a political reasons. The line “I’m an old man, my ideas
are wrinkled with age …… Maybe all the views of the old can be discounted now …… ” implies that
the golden age of the old teacher had passed. In fact, the unbalanced power relation can be traced
from the discourse of the old teacher.

Cultural Identity
Under the forceful intervention of the empires and their spokesmen, like the old teacher, people
like Ramani, began to ponder the issue of identity. However, Hall contests that identities are not
‘who we are’ or ‘where we came from’ so much as what we might become, how we have been
presented and how that bears on how we might represent ourselves [4]. But identities are the names
we give to the different ways we are positioned by, and the position ourselves within, the narratives
of the past [5].
In addition, identity is such a concept—operating ‘under erasure’ in the interval between reversal
and emergence [4]. It is argued that identity can be found in difference rather than conformity.
Moreover, it touches upon the struggle for power in history for the reason that only power can be
the dominant factor having great impact on the construction of the cultural identity.
We attempt to presume that cultural identity mainly consists of two aspects: ontological and
epistemological. On the one hand, the question of ‘being’ is, first and foremost, of great importance
in seeking for identity ontologically, which depends heavily on the earthly world people live by,
involving a plenty of external elements. On the other hand, the topic of ‘becoming’ refers to the
process we are going to be and the way we examine ourselves epistemologically in the world,
which is an incessant procedure and lasting forever.
As the cultural identity is formed in cracks and fracture of history biasedly, it is hard to get a clear
understanding of it for those at a loss. In Orientalism, Said holds that there is a binary division
between East and West, while the former is often described negatively with adjectives like cruel,
sneaky, evil, cunning and the like when compared with the latter. Therefore, it is predicted that such
category of cultural identity is positioned in a biased society dominated by the colonizer, thus
distorting their self-awareness, which is a pressing issue in post-colonial studies.
Rushdie makes attempt to seek a way out spiritually, like making trips between countries, leading
to a rush of migrancy. In other words, migrancy can be called the reigning trope of the twentieth
century, which is not only to the displacement of people in history but to a state of displacement that
befalls humankind in general [6]. Rushdie was well aware of such tendency, his unique experience
provided him access to the Western life and the Eastern one as well. In England, he was strongly
aware of his Eastern identity was belittled, while in India, he felt superior to his countrymen after
being shaped and polished by England. Therefore, encountered with such tricky problems, Rushdie
endeavors to reconstruct cultural identity for his countrymen by his sharp pen. In the Free Radio,
both Ramani and the radio are representatives of the identity. Ramani was so crazy about the radio
that he announced to the street that “This is All-India Radio. Here is the news”, in which Rushdie
portrays the radio as a device of rebellion and submission in both colonizing and colonized nations
[7]. No wonder Ramani was so much fascinated by the radio. Furthermore, Ramani is depicted as
an “innocent, foolish and stone-head” boy with fantastic dream. At first he was young and energetic
and docile according to the old teacher’s narration. Then things change when he gets acquainted
with some bad gangs and the thief’s widow, during which what he had done violates the doctrines
of the old teacher. He dreams of receiving a free radio and becoming a famous film-star for his
handsomeness, which seems fantastic to the old teacher.
In the post-colonial age, the social value still dominated by the colonizer had a great impact on
those oppressed. Ramani makes every effort to seek for his own identity. First, the attempt to imitate
western hairstyle and dressing style was the first step. Even though he was just a poor rickshaw
driver, he made his hair greased when working to follow the western counterparts for the purpose of
getting acknowledged. Second, violation of the doctrines of the old teacher implies that Ramani
chooses to break away from the old dogmas that have slaved and domesticated people for a long
time. From the description of the old teacher, it is concluded that the innocent boy was obedient to
the teacher before he met the thief’s widow. Hence, it is presumed that it is a turning point on his
way to pursuing his own identity. Ramani finally decides to chance his luck in Bombay, a symbol of
civilization or an epitome of England. As a matter of fact, the ultimate destination of Ramani is to
pursue his identity in the western part, therefore, migration becomes a necessity rather than a
choice.
Summary
As a diasporic writer, Rushdie pursues his identity in his own way. Based on a close reading of the
Free Radio, this paper elaborates the story from the perspectives of post-colonialism, and analyzes
the invisible force that controls the discourse. In addition, centered upon the history of India, the
paper makes an attempt to research the issue of cultural identity, a hot topic in the post-colonial
studies. The protagonist endeavors to break away from the traditional doctrines that have slaved
them for a long time in order to seek for identity in his own way, from which it is presumed that it is
the authentic history that really works.

Acknowledgements
This research was supported by Guangdong Philosophy and Social Science Planning Program
(Grant No. GD15XWW24), the Fundamental Research Funds for the Central Universities, SCUT
(Grant No. XZD23), and Foundation for Distinguished Young Talents in Higher Education of
Guangdong (Grant No. 2012WYM_0017).

References
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[2] Information on https://en.wikipedia.org/wiki/State_of_Emergency_in_India.
[3] A. Gramsci, Selection from the Prison Notebooks [M]. London: The Electric Book Company,
1999.
[4] S. Hall, Introduction: Who Needs Identity? Questions of Cultural Identity. London: SAGE
Publications, 1996.4-17.
[5] S. Hall, Cultural Identity and Diaspora, Identity: Community, Culture, Difference [M]. London:
Lawrence & Wishart, 1992:222-237.
[6] S. Sharma. Salman Rushdie: The Ambivalence of Migrancy [J], Twentieth Century Literature,
2001(04):597.
[7] T. Klassen. The Uncertainty of National and Cultural Identity in Salman Rushdie’s East, West
and Midnight’s Children [D].Syracuse University Honors Program Capstone Projects, 2013.