Genealogies of Memory and Inherited Dislocation in Nazar Eshonqul’s Maymun Yetaklagan Odam

Scholarship on Nazar Eshonqul has primarily interpreted his fiction through the frameworks of absurdism, symbolism, and postmodern alienation. In this article, I make a different claim: that his title story, Maymun Yetaklagan Odam (“The Man Led by a Monkey”), and the stories that cluster around it in the 2008 collection can best be read as a sustained meditation on genealogical rupture: what happens to a family and a community when the lines along which memory, value, and identity are supposed to pass are broken. The study is based on memory studies (Halbwachs, the Assmanns), postmemory theory (Hirsch), cultural trauma theory (Alexander, Caruth), and theories of narrative identity and habitus (Ricoeur, Bourdieu, Hall) and reads these in conjunction with recent work on post-Soviet narrative and inherited trauma in similar literary works in order to interpret the painter, his monkey-led-man canvases and his estranged son in close detail. The study argues that the monkey functions as a symbol of inheritance detached from its origin, a transmission that lives on mechanically, without meaning. The narrative fictionalises the violent social changes that were part of twentieth-century Central Asian life and which emptied the spaces of familial and cultural continuity, resulting in alienation, social amnesia and an identity that no longer knows how to tell itself. This reading situates Uzbek modernist fiction within broader debates on genealogy and memory, showing how literary narrative can more effectively illuminate disruptions in cultural inheritance than discursive analysis alone.