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This is a provocative piece of scholarship, and it engages an intriguing aspect of postcolonial writing.-Choice "Fawzia Afzal-Khan's excellent book could stand as a reply to those hostile critics who today attack 'multiculturalism' for reductively politicizing literature. In her trenchant discussion, Afzal-Khan shows just how complex the politics of 'liberation' can be for colonial and postcolonial novelists." -Gerald Graff, University of Chicago"Afzal-Khan's study is a major new contribution to the related fields of Indian writing in English and post-colonial literatures. Focused primarily on four Indian novelists, its arguments and conclusions are of vital importance to our understanding of the many new literatures from the former British colonies. Through her judicious use of the theoretical constructs of Frantz Fanon, Fredric Jameson, Edward Said, and others, Afzal-Khan has produced a fresh and compelling interpretation of the Indian-English novel."-Amritjit Singh, Rhode Island CollegeCultural Imperialism and the Indo-English Novel focuses on the novels of R. K. Narayan, Anita Desai, Kamala Markandaya, and Salman Rushdie and explores the tension in these novels between ideology and the generic fictive strategies that shape ideology or are shaped by it. Fawzia Afzal-Khan raises the important question of how much the usage of certain ideological strategies actually helps the ex-colonized writer deal effectively with post-colonial and post-independence trauma and whether or not the choice of a particular genre or mode employed by a writer presupposes the extent to which that writer will be successful in challenging the ideological strategies of "containment" perpetuated by most Western "orientalist" texts and writers. She argues that the formal or generic choices of the four writers studied here reveal that they are using genre as an ideological "strategy of liberation" to help free their peoples and cultures from the hegemonic strategies of "containment" imposed upon them. She concludes that the works studied here constitute an ideological rebuttal of Western writers' denigrating "containment" of non-Western cultures. She also notes that self-criticism, as implied in Rushdie's works, is not be confused with self-hatred, a theme found in Naipaul's work.
A landmark work from the author of Orientalism that explores the long-overlooked connections between the Western imperial endeavor and the culture that both reflected and reinforced it. In the nineteenth and early twentieth centuries, as the Western powers built empires that stretched from Australia to the West Indies, Western artists created masterpieces ranging from Mansfield Park to Heart of Darkness and Aida. Yet most cultural critics continue to see these phenomena as separate. Edward Said looks at these works alongside those of such writers as W. B. Yeats, Chinua Achebe, and Salman Rushdie to show how subject peoples produced their own vigorous cultures of opposition and resistance. Vast in scope and stunning in its erudition, Culture and Imperialism reopens the dialogue between literature and the life of its time.
This book is the first major attempt to examine the cultural manifestations of the demise of imperialism as a social and political ideology in post-war Britain. Far from being a matter of indifference or resigned acceptance as is often suggested, the fall of the British Empire came as a profound shock to the British national imagination, and resonated widely in British popular culture. The sheer range of subjects discussed, from the satire boom of the 1960s to the worlds of sport and the arts, demonstrates how profoundly decolonisation was absorbed into the popular consciousness. Offers an extremely novel and provocative interpretation of post-war British cultural history, and opens up a whole new field of enquiry in the history of decolonisation.
The Pre-Occupation of Postcolonial Studies contains essays by both leading figures and younger scholars engaged in the field of postcolonial studies. In this state-of-the-field reader, editors Fawzia Afzal-Khan and Kalpana Seshadri-Crooks have created a dynamic forum for contributors from a variety of theoretical and disciplinary vantage points to question both the limits and the limitations of postcolonial thought. Since it burst on the academic scene as the "hot" new disciplinary field during the final decade of the twentieth century, postcolonial studies has faced criticism from those who question its "troubling" trajectories, its sometimes suspect epistemological and pedagogical methods, and its relatively narrow focus. With diverse essays that emerge from such disciplines as South Asian, Latin American, Arab, and Jewish studies, this volume responds to skeptics and adherers alike, addressing not only the broad theoretical issues at stake within the field but also the position of the field itself within the academy, as well as its relationship to modern, postmodern, and Marxist discourses. Contributors offer critiques on ahistorical and universalizing tendencies in postcolonial work and confront the need for scholars to attend to issues of class, ideology, and the effects of neocolonial practices. Seeking to broaden the field's traditionally literary spectrum of methodologies, these essayists take up large thematic issues to examine specific sites of colonial activities with all of their historical, political, and cultural significance. Closing the volume is an insightful interview with Homi Bhabha, in which he discusses postcolonial studies in the context of contemporary cultural politics and theory. The Pre-Occupation of Postcolonial Studies not only offers an overview of the discipline but also pushes and pulls at the edges of postcolonial studies, offering a comprehensive view of the field's diversity of thought and envisioning clear pathways for its future. Contributors. Fawzia Afzal-Khan, Ali Behdad, Homi Bhabha, Daniel Boyarin, Neil Larsen, Saree Makdisi, Joseph Massad, Walter Mignolo, Hamid Naficy, Ngugi Wa Thingo, Timothy B. Powell, R. Radhakrishnan, Bruce Robbins, Kalpana Seshadri-Crooks, Ella Shohat, Rajeswari Sunder Rajan
On publication Arundhati Roy's first novel The God of Small Things (1997) rapidly became an international bestseller, winning the Booker Prize and creating a new space for Indian literature and culture within the arts, even as it courted controversy and divided critical opinion. This guide to Roy’s ground-breaking novel offers: an accessible introduction to the text and contexts of The God of Small Things a critical history, surveying the many interpretations of the text from publication to the present a selection of new essays and reprinted critical essays by Padmini Mongia, Aijaz Ahmad, Brinda Bose, Anna Clarke, Émilienne Baneth-Nouailhetas and Alex Tickell on The God of Small Things, providing a range of perspectives on the novel and extending the coverage of key critical approaches identified in the survey section cross-references between sections of the guide, in order to suggest links between texts, contexts and criticism suggestions for further reading. Part of the Routledge Guides to Literature series, this volume is essential reading for all those beginning detailed study of The God of Small Things and seeking not only a guide to the novel, but a way through the wealth of contextual and critical material that surrounds Roy's text.
R.K. Narayan’s reputation as one of the founding figures of Indian writing in English is re-examined in this comprehensive study of his fiction, which offers detailed readings of all his novels. Arguing against views that have seen Narayan as a chronicler of “authentic” Indianness, John Thieme locates his fiction in terms of its specific South Indian contexts and cultural geography and its non-Indian intertexts. The study also considers the effect that Narayan’s writing for overseas publication had on novels such as Swami and Friends, The Guide and The Man-Eater of Malgudi. Narayan’s imaginary small town of Malgudi has often been seen as a metonym for India. Thieme draws on recent thinking about the ways in which place and space are constructed to demonstrate that Malgudi is always a fractured and transitional site, an interface between older conceptions of Indianness and contemporary views that stress the ubiquitousness and inescapability of change in the face of modernity. The study also shows that Malgudi is seen from varying angles of vision and with shifting emphases at different points in Narayan’s career. As well as offering fresh insights into the influences that went into the making of Narayan’s fiction, this is the most wide-ranging and authoritative guide to his novels to have appeared to date. It provides a unique account of his development as a writer.
British Fiction Today provides students and readers with a critical introduction to key authors and novels since 1990 and provides the latest critical perspectives on current British fiction. It offers comprehensive and up-to-date coverage of a broad range of selected contemporary authors, drawing together both established and emerging literary voices reflecting the scope of the new British writing. The book is organised around common themes - Modern Lives, Contemporary Living; Dreamtime; States of Identity and Histories. Each section begins with a short introductory essay and ends with a guide to further reading. Introducing key works, writers and major themes including post-colonialism, pluralism, gender and history, this book is the ideal guide to British fiction today. Includes discussion of Martin Amis, Julian Barnes, Jonathan Coe, Alan Hollinghurst, Peter Ackroyd, Jenny Diski, Ben Okri, Salman Rushdie, Toby Litt, Ian McEwan, Zadie Smith, Jeanetter Winterson, Pat Barker, A S Byatt, Adam Thorpe and Sarah Waters.
A collection of critical essays on Salman Rushdie's work.
Salman Rushdie (1947 ) Has Emerged Over The Years As One Of The Most Controversial Figures Of Our Times Who Excites Contrary Feelings. But Whether Admired Or Criticized, The Fact Remains That Rushdie, With His Commitment To Struggle For Freedom Of Expression, For Speech To The Silenced, For Power To The Disempowered, Is A Writer Who Cannot Be Ignored.One Of The Major Preoccupations Of Rushdie S Art Is The Issue Of Migrant Identity. Many Of His Characters Are Migrants Drifting From Shore To Shore In Search Of Some Imaginary Homeland , And Obviously The Author Identifies Himself With His Migrant Personae. Search For Identity Is Perhaps The One Recurring Theme In Rushdie S Works, And The Themes Of Double Identity , Divided Selves And Shadow Figures Persist In His Writings As Correlative For The Schismatic/Dual Identity Of The Migrant, As Well As The Necessary Confusion And Ambiguity Of The Migrant Existence. Rushdie Describes The World From This Unique Point Of View Of The Migrant Narrator. He Is Also Conscious Of His Role In This Regard In Re-Describing The World, And Thus Creating A New Vision Of Art And Life.By Exercising What He Describes As The Migrant Writer S Privilege To Choose His Parents Rushdie Has Chosen His Inheritance From A Vast Repertoire Of Literary Parents, Including Cervantes, Kafka, Melville, Et Al.His Novels And Stories Derive Their Special Flavour From The Author S Superb Handling Of The Characteristic Postmodern Devices Like Magic Realism, Palimpsest, Ekphrasis, Etc. Rushdie Has Been Rightly Compared With Such Literary Innovators Stalwarts Of Our Times As Gunter Grass, Milan Kundera, Gabriel Garcia Marquez, Et Al. Readers Of The Present Volumes Will Be Taken Round The World Of Rushdie By Erudite Scholars Whose Well-Researched, Perceptive Articles Will Add Substantially To Their Enjoyment Of These Fantastic Imaginary Homelands .