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Beginning at the End - Decadence, Modernism, and Postcolonial Poetry (Hardcover)
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Beginning at the End - Decadence, Modernism, and Postcolonial Poetry (Hardcover)
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During the struggle for decolonization, Frantz Fanon argued that
artists who mimicked European aestheticism were "beginning at the
end," skipping the inventive phase of youth for a decadence thought
more typical of Europe's declining empires. Robert Stilling takes
up Fanon's assertion to argue that decadence became a key idea in
postcolonial thought, describing both the failures of revolutionary
nationalism and the assertion of new cosmopolitan ideas about
poetry and art. In Stilling's account, anglophone postcolonial
artists have reshaped modernist forms associated with the idea of
art for art's sake and often condemned as decadent. By reading
decadent works by J. K. Huysmans, Walter Pater, Henry James, and
Oscar Wilde alongside Chinua Achebe, Derek Walcott, Agha Shahid
Ali, Derek Mahon, Yinka Shonibare, Wole Soyinka, and Bernardine
Evaristo, Stilling shows how postcolonial artists reimagined the
politics of aestheticism in the service of anticolonial critique.
He also shows how fin de siecle figures such as Wilde questioned
the imperial ideologies of their own era. Like their European
counterparts, postcolonial artists have had to negotiate between
the imaginative demands of art and the pressure to conform to a
revolutionary politics seemingly inseparable from realism.
Beginning at the End argues that both groups-European decadents and
postcolonial artists-maintained commitments to artifice while
fostering oppositional politics. It asks that we recognize what
aestheticism has contributed to politically engaged postcolonial
literature. At the same time, Stilling breaks down the boundaries
around decadent literature, taking it outside of Europe and
emphasizing the global reach of its imaginative transgressions.
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