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Corinne Fowler

3970 Postcolonial Manchester:Layout 1 28/6/13 12:37 Page 79 2 Publishing Manchester’s black and Asian writers Corinne Fowler [W]hen I was the first black literature development worker in the North of England in 1988 there were only two in the country. One at a place called Centreprise in Hackney, London, and one in Manchester. It is here that I set up Cultureword . . . I spent five years in that post. The knockon effect of its success meant that Liverpool, Bradford, Leeds and Birmingham all went on to produce funds for black literature development workers

in Postcolonial Manchester
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Helena Grice

A sian American literature by women is increasingly attracting critical attention as an important sub genre of American literature. Current debates over the literary canon, the changing profile of literary and cultural studies, the increasing presence of women’s and ethnic writing both within and beyond the canon may all explain the increasing popularity of Asian American women’s writing both within the US and beyond its geographical borders. Yet, the critical debate on Asian American women’s writing has barely begun when compared with

in Maxine Hong Kingston
Diaspora space and the devolution of literary culture

Postcolonial Manchester offers a radical new perspective on Britain's devolved literary cultures by focusing on Manchester's vibrant, multicultural literary scene. This book presents the North West of England as quintessential 'diaspora space' and contributes to a better understanding of the region in social, cultural and aesthetic terms. It examines the way in which stories, poems and plays set in locales such as 'the Curry Mile' and Moss Side, have attempted to reshape Manchester's collective visions. The book features a broad demographic of authors and texts emanating from different diasporic communities and representing a wide range of religious affiliations. Manchester's black and Asian writers have struggled to achieve recognition within the literary mainstream, partly as a result of exclusion from London-centric, transnational publishing houses. Manchester's unfortunate reputation as one of Britain's 'crime capitals' is analysed by the use of fiction to stretch and complicate more popular explanations. A historical overview of Manchester's literary anthologies is presented through a transition from a writing that paid tribute to political resistance to more complex political statements, and focuses on the short story as a literary mode. The book combines close readings of some of the city's best-known performance poets such as Lemn Sissay and SuAndi with analysis of the literary cultures that have both facilitated and challenged their art. The book affords readers the opportunity to hear many of the chapter authors 'in their own words' by reflecting on how they themselves in terms of the literary mainstream and their identities.

Helena Grice

popularity as a feminist writer, she deserves recognition as a pacifist writer and activist, and that we need to reconceive of her work as part of an on-going pacifist project. I make the claim that Kingston can be considered alongside other Asian American authors, notably Le-Ly Hayslip, as contributing towards the evolution of an Asian American women’s peace literature. Kingston as poet and peacemaker ‘I have almost finished my longbook,’ says Maxine Hong Kingston in To Be the Poet (2002). ‘Let my life as a poet begin

in Maxine Hong Kingston
The Secret History of Las Vegas
Annalisa Oboe and Elisa Bordin

sense of relief when an ethical equilibrium is re-established through the narration. This is the feeling of the benefactor or saviour, intervening to solve problematic situations according to their high ethical standards. Asia, Sunil’s lover and a prostitute by profession, names such a feeling the toxic compassion of the ‘good john’, the client who wants to be kind. He wants to lavish attention on you, gifts even. He will pay you more to let him kiss your lips, your breasts, and your vagina, to trace his

in Chris Abani
Dorothy Kim

, the camera's portability along with the fact that I could film using just the camera and a long selfie-stick fit into situating my material, raced, and gendered body in this 360-degree video experience. Since the organisation of perspective has significant power over how a work of art (or, indeed, a text) is viewed, the Margery Kempe digital project allows viewers to see me as I experience the Via Dolorosa. 48 And as a form of intersectional autoethnographic research praxis, as an Asian woman, the 360-degree camera

in Encountering The Book of Margery Kempe
Literary appreciation, comparatism, and universalism in the Straits Chinese Magazine
Porscha Fermanis

literati were usually merchants, businessmen, and shopkeepers. 3 Extending his study to the imperial cities of the Indian Ocean rim, Frost has further sketched out a distinct public sphere that developed in Bombay, Rangoon, and Singapore after 1870, ‘rooted in pan-religious movements’ and reformist agendas, and ‘sustained by the intelligentsias of intersecting diasporas’, who were often western-educated professionals, bi- or trilingual, and multi-ethnic in composition. 4 In South and Southeast Asia – wrongly imagined by ‘Orientalists as immobile and even timeless

in Worlding the south
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Shalimar the Clown
Andrew Teverson

Rushdie’s ninth novel, Shalimar the Clown , was published in 2005 shortly before this book was completed. Although it is impossible to predict the future trajectory of Rushdie’s career, Shalimar suggests a new development to the extent that it fuses the interest in US-led globalisation apparent in the novels of his middle period ( The Ground Beneath Her Feet and Fury ) with the sustained focus on a South Asian national experience apparent in the novels of his early period ( Midnight’s Children and Shame ). In this instance Rushdie

in Salman Rushdie
John Kinsella

, sources local histories and stories to stratify her sense of belonging (and also the alienations this can include) as well as a relationship to the stories of others (including the tragic) through spatial and conceptual proximity. Consideration of a recent anthology of ‘Asian-Australian’ poetry examines ‘region’ vs. ‘heritage’,2 and I hope readers would conclude of their own volition that such editorial acts are necessarily polyvalent and at the essence of the polysituated in terms of concurrent urges, threads and interpretations of presence and belonging in (sometimes

in Polysituatedness
Johanna Gondouin, Suruchi Thapar-Björkert, and Ingrid Ryberg

 116 7 WHITE VULNERABILITY AND THE POLITICS OF REPRODUCTION IN TOP OF THE LAKE: CHINA GIRL Jo ha n na G ond ouin, Suruc hi Thapar- ​Björ k ert a nd I ngr id  Ry berg T  op of The Lake: China Girl (Australia, Jane Campion, 2017) is the sequel to Jane Campion and Gerard Lee’s crime series Top of the Lake from 2013, directed by Campion and Ariel Kleiman. After four years of absence, Inspector Robin Griffin (Elisabeth Moss) returns to the Sydney Police Force and comes to lead the murder case of an unidentified young Asian woman, found in a suitcase at Bondi Beach

in The power of vulnerability