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Desiring Brotherhood


(Halperin, 2012: 422). Anacleto’s involvement in high culture

certainly includes enjoyment and escape; being a “highbrow” and

enjoying highbrow things with his mistress also enhance his sense

of being “different.” As McCullers writes: “It was common

knowledge that [Anacleto] thought the Lord had blundered grossly

in the making of everyone except himself and Madame Alison


sole exceptions to this were people behind footlights, midgets,

great artists, and such-like fabulous folk” (McCullers, 2001c:


Moreover, Anacleto’s delight in highbrow culture is slightly

different from that of Lieutenant Weincheck. We have Anacleto

with brown skin dance, speak, and paint under his white mask. In

other words, his race complicates his adoration of Western high

culture, in which the master paradigm becomes a site of hybridity

and mimicry. His use of the master language overthrows the

colonists’ myth of the authenticity of “origins” and debunks the

Christian belief of logocentrism. This split identity embodies Homi

Bhabha’s “colonial mimicry” that works to lay bare the

ambivalence of colonial discourse and to disrupt its authority.

Almost the same but not quite, the ambivalence of mimicry is

“potentially and strategically an insurgent counter-appeal” (Bhabha,

2004: 91). As Bhabha puts it: “Under cover of camouflage,

mimicry, like the fetish, is a part-object that radically revalues the

normative knowledges of the priority of race, writing, history. For

the fetish mimes the forms of authority at the point at which it

deauthorizes them” (91). Therefore, the rational, enlightened

claims of the colonists’ enunciatory authority are continuously

violated. This is revealed in the anger and frantic disturbances of

Langdon whenever he finds Anacleto walking as a ballet dancer or

speaking in French. When Anacleto makes these intercultural,

hybrid enunciations, he both challenges the boundaries of colonial

discourse, and subtly changes its terms by setting up another

specifically colonial space of the negotiations and interrogations of

cultural authority. The master language/culture is now ready for a