홉킨스의 인종 다시쓰기- ＂숨겨진 자아,＂ 과거/기억, 근친상간, 그리고 흑인여성의 몸
Rewriting Race in Hopkins’s Of One Blood; Or, the Hidden Self: “the Hidden Self,” Past/Memory, Incest, and Black Female Body
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홉킨스(Pauline E. Hopkins)의『하나의 혈통; 숨겨진 자아』(Of One Blood; Or, the Hidden Self)는 1902-03년 사이 작가가 편집을 맡고 있던 흑인잡지 (Colored American Magazine)에 연재된 소설이다. 홉킨스는 아마 흑인여성 작가들 중 그 재능을 일찍이 그리고 제대로 평가받지 못한 작가였는지는 몰라 도, 다방면에서 뛰어난 능력을 보여준 예사롭지 않은 목소리를 가졌던 여성작가 이다.1 당시 미국사회에 팽배해 있던 생물학적 우열의 인종차별론뿐만 아니라 흑인에 대한 폭력과 차별이 극을 치닫고 있던 시점에 나온 이 작품은, 그루서 (John Gruesser)가 지적하듯, 아프리카가 중요한 배경으로 등장하는 최초의 미 국 흑인소설이기도 하다(77). 19세기 후반을 기점으로 20세기를 들어서며 미국 흑인들 사이에서는 인종적 자긍심을 가지고 과거를 되돌아보며 흑인종의 뿌리 를 찾는 움직임이 일고 있었다. 작품은 이 같은 시대적 흐름을 선도하며 미국사 회의 인종문제를 두고 새로운 접근 가능성을 타진하면서, 미국흑인을 위한 새로 운 인종사와 인종 정체성의 모색을 시도한다. 본 논문은 오랜 노예사 속에서 단절되어온 미국흑인의 과거(기억/역사) 회복 의 문제뿐만 아니라 그들의 아프리카 혈통과 인종성 회복의 문제를 두고 작품이 어떤 서사구도를 형성해내는지를 주목한다. 작품에서 흑인정체성은“숨겨진 자 아”에 의해서 보존되어진, 새롭게 되찾아야 할 과거와 직결되며, 그것은 곧 미 국흑인의‘이중적 자아,’즉“숨겨진”동시에“하나의 혈통”인 흑인자아를 이해 하는 길과도 연결되고 있다. 나아가 홉킨스가 재현하고 있는 근친상간의 구도를 추적하면서, 그것이 과거사와 흑인성의 의미화과정 뿐만 아니라 흑인여성의 몸 과 어떻게 긴밀히 연관되어 있는지도 조사한다. 그리하여 미국인(흑과 백) 내면 에“숨겨진”또 다른 자아로서 과거를 재고할 필요성을 제기하면서, 흑인여성의 입장에서 미국인의“혈통”의 의미뿐만 아니라 인종의 의미를 새롭게 재구성하 고자 하는 작가의 서사욕망을 살펴본다. 20세기 초 흑인작가들의 글쓰기와는 차 별적으로 인종문제를 의미화하고 있는 홉킨스는 과연 인종문제를 두고 어떤 새 로운 담론적 가능성을 제시하면서, 어떻게 흑인여성적 글쓰기 전통에 그 초석을 깔고 있는지를 알아본다.
Abstract
Pauline Hopkins’s Of One Blood; Or, the Hidden Self was published in the Colored American Magazine during 1902-03. As a literary experimentalist and a political protester, Hopkins uses her fiction as a medium to overcome and ameliorate the violently racialized surroundings of the turn-of-the-century America. Having been faced with racist rhetorics and theories growing on biological differences between races, Hopkins must have felt an overwhelming urgency to challenge the heritage of slavery in American history. In order to speak out her political agenda in such a milieu, she needed a new setting as well as new narrative materials for the new era. She had to move the setting from America to Africa, the ancient utopian Ethiopia; her interest in the ancient African civilization reflects both a popular African-American vision of Africa and the movement of “black nationalism” of the time. She also needed materials from nineteenthcentury sciences, the newly evolving theories of psychology and mysticism (spiritualism/mesmerism), to explore the meaning of “the hidden self” which unfolds the complex nature of Hopkin’s position on race, “blood,” and African- American racial subjectivity. Hopkins in the novel explores not the color line but the bloodline. Tracing the horrific legacy of incest in the history of slavery, she attempts to redefine the true racial identity of African-Americans in America and to reconstruct their past, both family and race history. At the very center of her major tropes in the novel— such as “of one blood,” “the hidden self,” and incest—exists female body. Black female body, though it represents the violent site of sexual body (rape and incest) in slavery, ultimately becomes a vehicle to convey and preserve the truth of racial memory/past/history for African-Americans. As a conveyor of the past, black women not just connect the past and the present but also reawaken African- Americans with the legacy of the African ‘pure’ bloodline. Hopkins’s vision here necessitates the reevaluation of black women’s role in family and history, heralding the 20th-century black feminine writing. With the major tropes, Hopkins clearly suggests that the blood of (African-)Americans is unrecognizably intermixed. Although the novel ends with ambivalence and without resolution on what Africa signifies, those tropes certainly offer her a vehicle for criticizing as well as for challenging the racial reality of America.
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