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Abstract only
Sara Upstone

have been Asian writers in Britain for almost as long as there have been Asians in Britain: since the seventeenth century.3 In the wake of mass migration from the 1950s, however, for the first time there exist in large numbers Asians born in Britain or settled since childhood and, now as a result, British-born or British-raised Asian authors. This book focuses on the works of fiction produced by this new generation. Its central contention is that such authors, who have emerged only in notable numbers in the late twentieth and early twenty-first centuries, mark the

in British Asian fiction
Intercultural exchanges and the redefinition of identity in Hugo Hamilton’s Disguise and Hand in the Fire
Carmen Zamorano Llena

and narrative voice in Hand in the Fire, has been deprived of a sense of Heimat by tragic historical and private events in his country of origin. The theme of immigration in contemporary Ireland and the experiences of the socalled ‘new Irish’ in the Celtic and post-Celtic Tiger context are themes that have attracted the attention of a number of contemporary Irish writers, including Roddy Doyle, Patrick McCabe, and Hugo Hamilton. A number of their fictional texts focus on the changes that Ireland has undergone under the influence of globalisation and mass migration

in Literary visions of multicultural Ireland
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Emergencies and spectatorship
Sam Haddow

image and its subject may be exploited in order to produce affective responses within the spectator. Where Chapter 1 argues that obscuring the subject of an image may in some ways weaponise that image, Chapter 2, ‘Two tales of my dying neighbours’ explores the effect that this obscuring has on the spectator themselves, specifically in their relationship to the other. My case study is the so-​called ‘refugee crisis’, an ongoing set of mass migrations in which images have frequently been manipulated or overwritten in order to divorce western spectators from the plight

in Precarious spectatorship
Abstract only
Sara Upstone

‘are squishily affirmative’.11 Such readings obscure the assertions of self which the novel develops that define a distinct progression towards a more hopeful, positive future. What critics such as Hussain rightfully recognise, however, is an unresolved tension in Ali’s narrative. The majority of the novel echoes the conventional – and somewhat clichéd – model of alienated migrant subject most associated with postcolonial fiction. Dealing with the relatively late mass migration of Bangladeshis to London, which only reached its peak after the 1962 Immigration Act

in British Asian fiction
Zombie pharmacology In the Flesh
Linnie Blake

fence to ensure that any straggling brain-eaters stay out. Even with the series’ Victus Party championing the rights of the living at a national level and exerting a phenomenal degree of control over local policies and practices, the Roartonians are, by their very nature, isolationist. Theirs is Fortress Roarton, the fence evoking contemporary British efforts to stem mass migration to the country

in Neoliberal Gothic
Power, presentation and history in Gravity’s Rainbow
Simon Malpas and Andrew Taylor

miles, sliding away, numb, indifferent to all momenta but the deepest, the instability too far below their itchy feet to give a shape to … caravans of Gypsies, axles or lynchpins failing, horses dying, families leaving vehicles beside the roads for others to come live in a night, a day … so the populations move, across the open meadow, limping, marching, shuffling, carried, hauling along the detritus of an order, a European and bourgeois order they don’t yet know is destroyed forever. (GR 549–51) Gravity’s Rainbow depicts the mass migrations taking place at the end

in Thomas Pynchon
Hill and the political imagination
Alex Wylie

the idea of polity as constitution, in fact, which recurs in the kinds of quotations Hill picks out to illustrate his sense of this, and which bespeak a certain political tradition which, again, is largely a thing of the past, in official culture at least. To qualify this slightly: many of the writers Hill values evince some sense of civil constitution in terms of the body politic, and the absence of this metaphor from contemporary discourse is a notable absence –​though a comprehensible one in an era of mass migrations and globalisation, in which borders and

in Geoffrey Hill’s later work
Andrew Teverson

, Grimus also lacks many of the features that are now seen as constitutive of his writing: the unflinching (and often libellous) location in easily identifiable cultural, historical and political milieux; the persistent concern with cultural and national identity in the aftermath of empire; and – most strikingly – the interest in the forms that South Asian identity has taken in the age of mass-migration and globalisation. Partly because these elements were not present to root Rushdie’s fictive playfulness in more solid contemporary concerns, Grimus was published in

in Salman Rushdie
Marie Mulvey-Roberts

in Europe, particularly Russia, led to mass migration. Literature of the fin de siècle , such as Dracula , saw the rise of invasion narratives. Fears of miscegenation penetrated British culture, arousing anxieties over the crypto-Jew, whose assimilation into mainstream society was seen as a threat to ideals of racial purity. Pogroms and persecutions, which kept the Jewish race in an endless

in Dangerous bodies
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Daniel Lea

the convergence of the themes of spectacle, beauty, and violence, and particularly so in Parks’ relationship with Grace, where beauty becomes tied to the politics of seeing and the violence of appropriation. Grace, a bareback horse rider who lives in the same apartment block as Parks and who soon becomes the subject of his affections, hails from a mélange of central European heritages, but her precise derivation is never clear. Instead she represents the early twentieth-century mass migration of European peoples to America with the desire to build 167 twenty

in Twenty-first-century fiction