Gender in Jackie Kay’s Trumpet

AbstractThe boilersuit impact of the role of sexual practice and prejudice have an influence in every society in every nation roughly the world. This study examines the literature that has the potential to illustrate many of the controversial subjects uphill in society today. Beginning with a base assessment of Kays work allows a far greater depth of understanding and appreciation to be created. This piece critically defines the shots of the Trumpet in locate to illuminate a vital station of needed evolution. With a lasting figment line, this analysis raise be applied to a wide variety of studies in come in to add fundamental persona and understanding. The issues of gender and empathy in the actuallym of literature have consistently been an area of discussion, with a wide chain of interpretation. This study examines the role of gender in Brewers theory of geomorphological venture as well as assessing how Jackie Kays Trumpet establishes empathy finished its portrayal of gender. Alongside this assessment will be a discussion on how Trumpet fits within the categories of queer and postmodern writing in similarity to the continuum of Scottish literature at the end of the 20th and beginning of the 21st century. This view is necessary in order to grasp the relevance of a transgendered campaign character in an award-winning literary clean. It is by means of the utilization of symbolism that Kay illustrates a relatable link enabling her view to emerge clearly. Establishing key points of the while through metaphor enables Kay to create a tale that is both easy to assimilate and interesting to seek for the reader.From the onset, the schooling in Trumpet is designed to drive the reader to empathize with Millies pain at the irreverence of media after the death of her beloved husband. This emotion is evident in the opening sentence as the condition invokes the image of a widow that is afraid to fully open the curtains because of what lies beyond (1 998, p.1). This approach is designed lead the reader to empathise with Millie by describing her anxiety and pain at the paparazzi surrounding her home in a manner that allows them to readily associate with the situation. thus far here now the sound of cameras, like the assault of a machine gun, is playing inside my head. I cant get the noise to go no number what I do, (p. 2). Sharing Millies misery at the hounding by the media, Kay draws the reader deep into the plot before ever revealing that this is a queer tale. The use of gender, and societal prejudice, fork outs a critical place setting upon which to build the overall storyline. The ability to define the character prior to revealing potentially sensing ever-changing randomness adds depth and associable elements to the plotline. This is a prime example of Brewers theory of guess accurately determining the direction of the literature.Using structural affect, Kay is careful in her initial descriptions of Joss in order to describe him as Millie observed him (1998 p. 3). This ensures that that the reader, although sympathizing with Millie, alike identifies her as a reliable narrator. This is a vital point that must be emphasized as the plot line relies on the strength of the narration to progress. The story evolves in such a manner that the reader never believes that Millie is lying about her mistaken conclusion that Joss had been born male until their first versed encounter. By that m a critical point has passed, Millie is in love and the reader has come to know Joss as she saw him during that time (p. 3).Before revealing the deep dark secret that has led to the media scrutiny and the enmity of Millies son, Kay takes the tale book binding in time to introduce Millies love story with Joss (1998, p. 4). This creates a form of empathy with the reader that allows them to remember what it feels like to perish in love. Creating a mechanism that invokes a real smell of companionship serves to hi ghlight the tender picture of the story. This is an illustration of her effective implementation of the structural affect theory.the emotions of the reader are systematically determined by the configuration of the plot and the knowledge states of various agents. For example, consider what happens when the reader has the emotion of surprise. The creator withholds critical cultivation at the beginning of the story, information that is necessary for a correct interpretation of the story. Later on, the critical information is revealed, which triggers surprise in the reader.(Graesser and Klettke, n.d., p.2)The saver manipulates the readers reaction to specific points of the story by choosing what is revealed and when. This wight is utilized to draw out the main eventidets and bring the immaculate plot into focus. Even when Millie has her first sexual encounter with Joss, as he/she removes the binding on her breasts, the revelation of Joss secret is hinted at rather than announced (p. 20-21). Throughout the story, Kay manipulates the stimulated and intellectual response of the reader in order to ensure that the overarching theme stay firmly in the readers mind. To accomplish this, the author utilizes the method of introducing Joss as Millie sees him as the person she loved, the adoring have, the prize member of the community as well as the clear musician (p. 5).Brewers structural affect theory focuses on the influencing the psychology of the reader through the literature.Brewer tested his model by (a) manipulating features of the text and knowledge states of the reader and (b) observing whether these manipulations systematically predicted readers self-reports of particular emotions and how much they liked the story. The structural affect theory fared quite well in accounting for the psychological data.(Graesser and Klettke, n.d., p. 3).Millies early reminiscing is one of the methods that Kay uses throughout this story, this serves to set the stage for the narration to a point. Writing in the first person, Kay relates the tale through Millies perception and allows a real sense of personalized emotion to reach the story. This included the idea that by chance she had hurt his manhood, (p. 39) when she expressed her desire to have a baby.Kay employs the affect principle to allow the reader to sympathize with Colman over what he views as his parents betrayal (1998, p. 40). She accomplishes this by interjecting a chapter in the third person as a means to make it absolutely clear that Joss had been born and died a female. By moving a mongerha and forth between narrators, the author enables a wide range of views to emerge. This instrument is effective and enables the author to transitions back into a first person narrative, this time with Colman as the narrator. Like his m early(a) before him, Colman begins envisageing of his father as he reflects on the elements that make Joss a good father (p. 41). The loathing that the reader l ater on develops for Colman is his give doing, based in part on his self-description. It was all right, it was, being Joss Moodys son. all when I became Colman Moody did everything start to become a total fucking drag. Its a large order when you expected to be somebody just because your father is somebody, (p. 45). Through Colmans narration, we see Kay explore the feelings of being the adopted child. This is a critical point, as much of the story hinges on these negative emotional feelings. This is a direct association to the desire to look like ones adoptive parents as well as the childs efforts to have a normal life with unconventional parents. She even helps the reader to understand why Colman is angry, embarrassed even, that not knowing his fathers secret made him look stupid (p. 46).Overall, the structure of the novel is meant to make Colman appear more callous than sympathetic. This is an attempt by the author to ensure that the plot progresses in a manner that benefits t he underlying story. In the early chapters, we fill that Colman refuses to take his mothers calls and then later that he has sided with a tabloid reporter who wants to write a biography of Joss (1998, p. 15). The reader feels his betrayal of his parents in the action because of the way Kay structured the story. If Kay had led with Colmans narrative, focussing on the sons negative memories of his parents and that they failed to provide the child with what he viewed as a normal home life, Colman might have been a more sympathetic character to the reader. Instead, Kay uses her structure of the novel to manipulate the readers reaction to the character in a manner that adds to the underlying plot. This adds legibility and long term credibility to the story.Kay utilizes structural affect to create a postmodern novel in that the tale embraces popular culture and accessibility. In the introduction to her book Postmodernism and Pop Culture (1994), Angela McRobbie argues that one of the def ine characteristics of postmodern texts, whether art or literature, is accessibilityNot only was essence in art or in culture all there, for all to see, stripped of its old hidden elitist difficulty, but it also, again as Jameson pointed out, seemed already familiar, like the faint memory of an old pop song, a refrain, a chorus, a tune, a cover version of an original which never was. (2005, p. 3)In essence, McRobbie (1994, p. 1) argues that postmodern works would tell us the meaning behind Mona Lisas smile, rather than forcing art critics to speculate on it for 400 years.Kay does not go so far as to spell out the entire intent of the novel in her narrative, she employs the story itself to provide a means of motivation to progress. This is illustrated in the detail that the lesson to his son is about choosing ones own identity. The pictures called Mumbo Jumbo which has made me angrier than anything I can remember. Hes not given a name. Even the name he was given, John Moore, was no t his original name, (p. 276). Joss letter for his son discusses the idea that the name other people give us is perhaps less fundamental than the name we give ourselves. This theme adds to the personal value experienced by reader. He, for example, might have been born Josephine Moore, but that was not who he was (p. 276). As Joss explains these things to his son, he makes it clear that no matter what label or name a person is given, they accept for themselves who they will be. Thats the thing with us we keep changing names. Weve all got that in common. Weve all changed names, you, me, my father. each(prenominal) for different reasons. Maybe one day youll understand mine, (p. 276).McRobbie argues that postmodernism is also intended to force us to prize seriously about the trivial (p. 3). While it is incorrect to label the issues that Kay raises as trivial, there is an aspect of the novel that does seemingly grasp at this approach. Intertwining these elements lends depth and char m to the story, which in turn increases the final impact. In the chapter written in the third person, describing the doctor who comes to make out Joss death certificate, the physician finds it necessary to crossover out male and write in female and then write it again, more distinctively (Kay p. 276). The author makes it clear that this seems trivial. This is a purposeful effort to guide the reader to make assumptions that are essential to the story. The question, implied by the text and the remainder of the novel, is how does it matterDid the sex assigned to Joss by birth affect the core of who he was, how he loved his family or the music that he madeThe intent then of the work is to make the reader affect if the sex we are assigned at birth is important to whom we are. Or, is gender a trivial matter than can be changed to reflect who we are as human beings?Kays writing has had a ordained impact on the development of Scottish literature at the end of the 20th century. One of th e major factors identified by some scholars is that Kays work, and others like it, help move Scottish literature forth from the concept that there is a homogeny in the writing there (Shirey p. 5). Kays plot line creates an comprehensive perception that enables a wide range of acceptance on the part of the author. This translates directly into an international perception of tolerance outside of the traditional norms.The second case, the loss of population, is of course related to the pervasive anxiety in modern Scotland over emigrationthe recurring sense that many of the potential architects of the Renaissance were contributing their energies towards diasporic communities around the world or towards the preserved, futile administration of British imperial power at precisely the flake of that powers decline.(Shirey, p.6)There had been an perception that the rebirth of Scottish literature was not progressing due to the fact that the writers were either writing about their histor ies and cultures from before settling in Scotland or that they were so concerned with British approval that they were not distinctively Scottish (p. 7). The ability for Kay to reach out and touch a sensitive portion of the population through the shared experiences of her characters adds to the recognition of Scottish credibility. Her ability to tie in the gender issues of her characters in such a relatable manner illustrates a fundamental knowledge of the issues, which in turns adds gravitas to her entire effort.Where Kay (p. 15) differentiates Trumpet from these trends is that her characters think of themselves as definitively Scottish. This strong national identity adds strength to the notion that the region stay strong in poignant literature. Joss, for example, knows that his father was from somewhere in Africa, but he teaches his son to think of Scotland as his home (Kay p. 276). This allows them to remain Scottish, even though much of their life and experience lies outside of the nation. Kay also takes her characters beyond the stereotype of the Scotsman in her further contribution to Scottish literature. There is a real sense of progression and development on a cultural and national level throughout the entire story.Kays contribution to Scottish literature is that she refuses to mould her Scottish nationalism to a white heterosexual history. This is an important point that she makes no apologies for. She makes it clear that not only are the authors of Scottish literature no hourlong straight white men, neither are the characters. A reflection of modern life creates a real window for the reader to experience the travails of the characters. This allows her writing to carry not only a decisive and relatable story line about a delicate topic, but a real perception of strength and comprehensive nature that illustrates the potential of an evolving culture. In the end, Kays work has built a solid foundation upon which to continue to build new and more enti cing works.ReferencesBennett, A. and Royle, N. (2004) Introduction to Literature, Criticism and system, 3rd ed, Pearson Longman, Harlow. Retrieved from mhttp//site.iugaza.edu.ps/ahabeeb/files/2012/02/An_Introduction_to_Literature__Criticism_and_Theory.pdfBird, D., Dixon, R. and Lee, C. (2001) Authority and Influence Australian Literary Criticism 1950-2000, Brisbane, University of Queensland Press. Retrieved from http//espace.library.uq.edu.au/eserv.php?pid=UQ8899&dsID=Bird_Intro.pdfGraessar, A.C. and Klettke, B. (n.d.) Agency, Plot, and a Structural Affect Theory Of Literary Short Comprehension, The University of Memphis. Retrieved from http//www.memphis.edu/psychology/graesser/publications/documents/IBSCHB2.pdfKay, J. (1998) Trumpet, New York, Vintage Contemporaries.McRobbie, A. (2005) Postmodernism and Pop Culture, Routledge, London. Retrieved from ttp//m.friendfeed-media.com/b64ddf30a52cfe50d0a7907b198b1b67214613d5Shirey, R. D. (2007) A Shrinking Highlands Neil Gunn, Nationalism and the World Republic of Letters, external Journal of Scottish Literature. 3. Retrieved from http//www.ijsl.stir.ac.uk/issue3/shirey.pdfStein, A. and Plummer, K. (July, 1994), I Cant Even Think Straight Queer Theory and the Missing Sexual Revolution in Sociology, Sociological Theory, 12.2 178-187. Web. 15 Retrieved from http//jsingleton.wiki.westga.edu/file/view/I+cant+even+think+straight+queer+theory.pdf/299878142/I%20cant%20even%20think%20straight%20queer%20theory.pdfThrift, N. (2008) Non-Representational Theory Space/Politics/Affect, New York & London, Routledge.Warner, M. (2002) common and Counterpublics (abbreviated version). Quarterly Journal of Speech. 88 (4), pp. 413 425.