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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.

The Ground Beneath Her Feet and Fury

available are placed at the service of his mock-Satanic ambitions to own the city of Bombay, and, in owning it, eradicate any local character it might once have had. Rushdie’s following two novels, The Ground Beneath Her Feet and Fury , also take globalisation as a central theme. These latter fictions, however, tend to reflect more ambivalently upon the subject, since they focus upon global mass culture – a phenomenon in which Rushdie is able to discover egalitarian and utopian impulses flourishing alongside the darker machinations of international capital flows. On

in Salman Rushdie
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Peter Carey's fictions explore the experiences lurking in the cracks of normality, and are inhabited by hybrid characters living in between spaces or on the margins. Carey took a circuitous route into literature and writing. Characterising Carey's stories takes us to the heart of his fictional practice. Most adopt a mixture of narrative modes, a central feature of his writing. In Carey stories, terminal societies trap characters in drive-in movie car parks, or offer the bizarre possibility of exchanging bodies, or generate a counter-revolutionary resistance movement led by fat men. Grouping the stories around themes and issues allows for a fairly comprehensive insight into Carey's shorter works, and provides some key threads for later discussions of the longer fiction. Four of the most significant areas are: American imperialism and culture; capitalism; power and authority; and gender. In Bliss, the hippy capitalists of 'War Crimes' are replaced by the more conventional scenario of hippies versus capitalists. Illywhacker examines twentieth-century Australian history with the savage humour and fantasy of the earlier fiction now placed within an epic framework. Oscar and Lucinda might be termed 'retro-speculative' fiction. The Tax Inspector is Carey's most savage novel to date, and it captures Marx's vision of the ravening effects of capital. The Unusual Life of Tristan Smith marks a return to the overt alternative world-building found in the early stories with their fantastic and fable-like scenarios. The overlap between post-modernism and post-colonialism in Carey has been investigated by a number of critics.

Mobility, migration and the global in Charlotte Brontë’s Shirley and the writings of Mary Taylor

, after death, haunted Haworth. The ‘grey Rectory’, ‘quiet parlour’ and ‘remote bypaths’ which constrain Caroline Helstone in Shirley have similarly limited conceptions of Brontë and her wider cultural legacy (Brontë, 2006: 368). By focusing closely upon this novel, however, the present chapter will reveal that Brontë was deeply preoccupied with the movement of people and capital across global space, as well as with visions of restrictive local place. Like the sea-​stained pages of her aunt’s magazines, which Caroline reads in the rectory library (Brontë, 2006

in Charlotte Brontë

in proportion as capital accumulates … [i]t makes an accumulation of misery a necessary condition, corresponding to the accumulation of wealth. Accumulation of wealth at one pole is, therefore, at the same time accumulation of misery, the torment of labour, slavery, ignorance, brutalization and moral degradation at the opposite pole. (Karl Marx) 1 T HE Tax Inspector is Carey’s most savage novel to date, and it captures Marx’s vision of the ravening effects of capital. The book takes us full circle back to the

in Peter Carey

. He opposed the aesthetic or feminine to what he saw as the fully achieved masculinity of soldiers. The most often cited example of Kipling’s response to London after his arrival to launch his career as a professional writer in 1889 is the poem ‘In Partibus’.29 Biographers look to it to ink in Kipling’s response to the gloom of the capital and to its literary culture. The reaction to London is said to capture Kipling’s fragile mental state.30 Another line of response begins from noting that the poem was written to entertain and amuse an audience back in India

in In Time’s eye

’s Fox, Swallow, Scarecrow (2007) and Anne Haverty’s The Free and Easy (2007). Finally, we find more recent works of fiction which manage to definitively give voice to the realities of immigrants in Ireland, in order to offer readers their own perspective and experience: Chris Binchy’s Open-Handed (2008), Peter Cunningham’s Capital Sins (2010), and Hugo Hamilton’s Hand in the Fire (2010) are good examples. Picturesque Ireland: ‘How we’d get so fashionable?’ An exhaustive study of the Irish novels published since the 1990s reveals that it is not until the early twenty

in Literary visions of multicultural Ireland

) comes to a similar diagnosis, but his terms are different. He suggests that ‘welfare capitalism’ dominates the post-war consensus, which he defines as a kind of corporatism in which ‘the state takes on the running of the economy and the responsibility for social justice, and seeks, through a network of influence and control, to reconcile capital and labour by drawing them into the process of government’. 12 In Britain, argues Sinfield, welfare capitalism was ‘doomed almost from the start because it requires a powerful commitment to social justice to secure popular co

in Iain Sinclair

Orbital Sinclair notes that the Dome cost ‘£80 a minute to the taxpayer’). 3 In psychogeographical terms, the Dome is a kind of intervention in the spatial fabric of London, a deforming presence that attests to the imperatives of power and capital that are the foundations of Sinclair’s opposition to New Labour. In terms of the cultural and social history of London’s civic spaces, however, perhaps the Dome is not so anomalous after all. In Sorry Meniscus , Sinclair paraphrases the discourse of New Labour publicists when rationalising the Dome to the public: ‘They said

in Iain Sinclair

canon’ to include those writers who are less known because they do not fit the patterns indicated above; that is, excluded because (i) they are simply not published or studied outside Cuba, in Spanish or translated versions; (ii) they have not published memoirs or other self-narratives which inevitably contribute to the visibility and prestige of the author, according to Western models of canon construction; (iii) their literary authority or cultural capital – in the form of texts and public recognition – exists predominantly in Cuba rather than in the centres of

in Literary culture in Cuba