"Dwelling Places" explores some of the key venues of black British literary and cultural production across the postwar period: bedsits and basements; streets and cafes; train stations and tourist landscapes; the suburbs and the city; the north and south. Extending from central London to the outskirts of Glasgow, the book pursues a "devolving" landscape in order to consider what an analysis of "dwelling" might contribute to the travelling theories of diaspora discourse. What happens, for example, when we "situate" literatures of movement and migration? There are fresh readings of work by some of the key literary figures of the postwar years, including Sam Selvon, George Lamming, Linton Kwesi Johnson, Farrukh Dhondy, Hanif Kureishi, Salman Rushdie, Meera Syal and Jackie Kay. These writings are explored alongside a range of non-literary material, including photography, painting and film, in order to consider their relation to broader shifts in the politics of black representation over the past fifty years. This book will appeal to students of British and postcolonial literature.

Without readers and audiences, viewers and consumers, the postcolonial would be literally unthinkable. And yet, postcolonial critics have historically neglected the modes of reception and consumption that make up the politics, and pleasures of meaning-making during and after empire. Thus, while recent criticism and theory has made large claims for reading; as an ethical act; as a means of establishing collective, quasi-political consciousness; as identification with difference; as a mode of resistance; and as an impulsion to the public imagination, the reader in postcolonial literary studies persists as a shadowy figure. This collection answers the now pressing need for a distinctively postcolonial take on the rapidly expanding area of reader and reception studies. Written by some of the top scholars in the field, these essays reveal readers and reception to be varied and profoundly unstable subjects that challenge many of our assumptions and preconceptions of the postcolonial from the notion of reading as national fellowship to the demands of an ethics of reading.

James Procter's introduction places Hall's work within its historical contexts, providing a clear guide to his key ideas and influences, as well as to his critics and his intellectual legacy. Stuart Hall has been pivotal to the development of cultural studies during the past forty years. Whether as director of the Centre for Contemporary Cultural Studies, or as one of the leading public intellectuals of the postwar period, he has helped transform our understanding of culture as both a theoretical catagory and a political practice. Topics include: * popular culture and youth subcultures * the CCCS and cultural studies * media and communication * racism and resistance * postmodernism and the postcolonial * Thatcherism * identity, ethnicity, diaspora Stuart Hall is the ideal gateway to the work of a critic described by Terry Eagleton as 'a walking chronicle of everything from the New Left to New Times, Leavis to Lyotard, Aldermaston to ethnicity'

James Procter's introduction places Hall's work within its historical contexts, providing a clear guide to his key ideas and influences, as well as to his critics and his intellectual legacy. Stuart Hall has been pivotal to the development of cultural studies during the past forty years. Whether as director of the Centre for Contemporary Cultural Studies, or as one of the leading public intellectuals of the postwar period, he has helped transform our understanding of culture as both a theoretical catagory and a political practice. Topics include: * popular culture and youth subcultures * the CCCS and cultural studies * media and communication * racism and resistance * postmodernism and the postcolonial * Thatcherism * identity, ethnicity, diaspora Stuart Hall is the ideal gateway to the work of a critic described by Terry Eagleton as 'a walking chronicle of everything from the New Left to New Times, Leavis to Lyotard, Aldermaston to ethnicity'

From Aberdeen to the Isle of Wight, Out of Bounds is a newly charted map of Britain as viewed by its black and Asian poets. It takes the reader on a riveting, sensory journey through Scotland, England and Wales, showing the whole country from a fresh perspective. This extensive and ground-breaking anthology - with its sudden forks in the road, and its roads not taken - stops off in the Highlands and Islands, skirts the North East coast from Whitley Bay to the sands of Bridlington, wanders lonely through the Lake District and Yorkshire, climbs the mountains of Wales before descending to the Black Country and Southern England. Along the way it takes in lochs and landmarks from Glasgow's George Square and the Angel of the North to the London Eye and the Long Man of Wilmington. If alienation, unbelonging and dislocation remain key aspects of black and Asian experiences in Britain, what such terms simultaneously conceal are the rich and manifold attachments to place, region, city and landscape offered in Out of Bounds. The poems question the idea of an easy or singular identity, nimbly dealing with the triple bind of ethnic, geographical and poetic belonging. An alternative A to Z of the nation, a new poetic guide, the book enables us to look again at the UK's local and regional landscapes and the poets who pass through them. Out of Bounds is a definitive anthology that brings together new and established black and Asian writers and places them firmly on the map of what is great and not so great about Britain. Includes: Shanta Acharya, John Agard, Patience Agbabi, Moniza Alvi, James Berry, Jean 'Binta' Breeze, Vahni Capildeo, Merle Collins, Fred D'Aguiar, David Dabydeen, Imtiaz Dharker, Bernardine Evaristo, Khadijah Ibrahiim, Linton Kwesi Johnson, Jackie Kay, Tariq Latif, Sheree Mack, Jack Mapanje, E.A. Markham, Daljit Nagra, Grace Nichols, Louisa Adjoa Parker, Michelle Scally-Clarke, Seni Seneviratne, John Siddique, Lemn Sissay, Dorothea Smartt, Wole Soyinka, Derek Walcott, Benjamin Zephaniah, and many others.

The first anthology of its kind, this timely collection brings together a diverse range of black British literatures, essays and documents from across the post-war period within a single volume.. Spanning half a century, this rich archive of representations includes South Asian, African and Caribbean cultural production by both leading and lesser-known artists, critics and commentators:. Sam Selvon Salman Rushdie George Lamming Hanif Kureishi Stuart Hall Linton Kwesi Johnson Caryl Phillips Paul Gilroy Meera Syal Kobena Mercer James Berry E. R. Braithwaite Wilson Harris Farrukh Dhondy V. S. Naipaul Ben Okri Wole Soyinka Hazel Carby Kamau Braithwaite Isaac Julien C. L. R. James Dick Hebdige A. Sivanandan Buchi Emecheta Louise Bennett Grace Nichols Jackie Kay. Directed at a truly interdisciplinary market, accommodating popular and 'high' cultural materials from across the disciplines of literature, film, photography, history, sociology, politics, Marxism, feminism, cultural and communications studies.. Situated and contextualised within accessible historical and cultural frameworks and incorporating lucid introductions, a detailed chronology and extensive bibliography. -- .

Without readers and audiences, viewers and consumers, the postcolonial would be literally unthinkable. And yet, postcolonial critics have historically neglected the modes of reception and consumption that make up the politics, and pleasures of meaning-making during and after empire. Thus, while recent criticism and theory has made large claims for reading; as an ethical act; as a means of establishing collective, quasi-political consciousness; as identification with difference; as a mode of resistance; and as an impulsion to the public imagination, the reader in postcolonial literary studies persists as a shadowy figure. This collection answers the now pressing need for a distinctively postcolonial take on the rapidly expanding area of reader and reception studies. Written by some of the top scholars in the field, these essays reveal readers and reception to be varied and profoundly unstable subjects that challenge many of our assumptions and preconceptions of the postcolonial - from the notion of reading as national fellowship to the demands of an ethics of reading.

Scripting Empire recovers the literary and cultural history of West Indian and West African writing at the BBC in order to rethink the critical mid-century decades of shrinking British sovereignty, late modernism, and mass migration to the metropole. Between the 1930s and the 1960s, a remarkable group of black Atlantic artists and intellectuals became producers, editors, and freelancers at the corporation, including Una Marson, Langston Hughes, Louise Bennett, Wole Soyinka, Derek Walcott, Amos Tutuola, V.S. Naipaul, Sam Selvon, Cyprian Ekwensi, Stuart Hall, and C.L.R. James. Operating at the interface of a range of literary and broadcast genres, this loose network of African Caribbean writers and thinkers prompt a reassessment of the aesthetic, formal, and political fallout of decolonization between the outbreak of World War II and the first airings of post-colonial independence. Scripting Empire works comparatively across dozens of different programmes spanning the General Overseas Service, Home Service, Light Programme, and Third Programme. Drawing upon a transnational archive of materials including scripts, correspondence, periodicals, visual records, and sound recordings, it seeks to re-position the cultural contribution of West Indians and West Africans within a more pervasive and porous account of radio transmission, the legacy of which extends well beyond broadcasting.

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