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Drawing together the insights of postcolonial scholarship and
cultural studies, Popular Postcolonialisms questions the place of
'the popular' in the postcolonial paradigm. Multidisciplinary in
focus, this collection explores the extent to which popular forms
are infused with colonial logics, and whether they can be employed
by those advocating for change. It considers a range of fiction,
film, and non-hegemonic cultural forms, engaging with topics such
as environmental change, language activism, and cultural
imperialism alongside analysis of figures like Tarzan and
Frankenstein. Building on the work of cultural theorists, it asks
whether the popular is actually where elite conceptions of the
world may best be challenged. It also addresses middlebrow cultural
production, which has tended to be seen as antithetical to radical
traditions, asking whether this might, in fact, form an unlikely
realm from which to question, critique, or challenge colonial
tropes. Examining the ways in which the imprint of colonial history
is in evidence (interrogated, mythologized or sublimated) within
popular cultural production, this book raises a series of
speculative questions exploring the interrelation of the popular
and the postcolonial.
This book is the first to focus exclusively on issues of gender and
sexuality in a range of post-war novels from the Anglophone
Caribbean. Concentrating on the 1950s to the mid 1970s, it
highlights the period's diversity of sexual concerns. New readings
of seminal figures like Samuel Selvon and George Lamming are
offered, in tandem with discussion of innovative, lesser-studied
authors such as Andrew Salkey, Oscar Dathorne and Rosa Guy. Whereas
this body of work has tended to be characterised as minimally
engaged with sexuality and overly reliant on patriarchal,
heteronormative frameworks, the book takes a different approach.
First, it unpacks the motivations behind the masculinist bent of
much of this writing, emphasising the anxieties underlying such
assertion. It exposes both the gendered and sexual imperatives of
the nationalist project and the destabilising effects of migration
on masculine performance. Second, it brings to life a range of
critically neglected same-sex desires. Framing such longing as both
narratively and nationally disruptive, it recovers the marginalised
erotic relations that challenge fantasies of national cohesion. As
a result, the book opens up existing mappings of Caribbean fiction.
Drawing on queer theory, feminism and masculinity studies, it
highlights the ways in which sex both exceeds and threatens the
imagined unity on which the nationalist vision depends.
Drawing together the insights of postcolonial scholarship and
cultural studies, Popular Postcolonialisms questions the place of
'the popular' in the postcolonial paradigm. Multidisciplinary in
focus, this collection explores the extent to which popular forms
are infused with colonial logics, and whether they can be employed
by those advocating for change. It considers a range of fiction,
film, and non-hegemonic cultural forms, engaging with topics such
as environmental change, language activism, and cultural
imperialism alongside analysis of figures like Tarzan and
Frankenstein. Building on the work of cultural theorists, it asks
whether the popular is actually where elite conceptions of the
world may best be challenged. It also addresses middlebrow cultural
production, which has tended to be seen as antithetical to radical
traditions, asking whether this might, in fact, form an unlikely
realm from which to question, critique, or challenge colonial
tropes. Examining the ways in which the imprint of colonial history
is in evidence (interrogated, mythologized or sublimated) within
popular cultural production, this book raises a series of
speculative questions exploring the interrelation of the popular
and the postcolonial.
This book is the first to focus exclusively on issues of gender and
sexuality in a range of post-war novels from the Anglophone
Caribbean. Concentrating on the 1950s to the mid 1970s, it
highlights the period's diversity of sexual concerns. New readings
of seminal figures like Samuel Selvon and George Lamming are
offered, in tandem with discussion of innovative, lesser-studied
authors such as Andrew Salkey, Oscar Dathorne and Rosa Guy. Whereas
this body of work has tended to be characterised as minimally
engaged with sexuality and overly reliant on patriarchal,
heteronormative frameworks, the book takes a different approach.
First, it unpacks the motivations behind the masculinist bent of
much of this writing, emphasising the anxieties underlying such
assertion. It exposes both the gendered and sexual imperatives of
the nationalist project and the destabilising effects of migration
on masculine performance. Second, it brings to life a range of
critically neglected same-sex desires. Framing such longing as both
narratively and nationally disruptive, it recovers the marginalised
erotic relations that challenge fantasies of national cohesion. As
a result, the book opens up existing mappings of Caribbean fiction.
Drawing on queer theory, feminism and masculinity studies, it
highlights the ways in which sex both exceeds and threatens the
imagined unity on which the nationalist vision depends.
Kate Holden's] road to recovery begins when she starts working in a
brothel. The clients seem to fit the same distribution curve -
brutish at one end, sweet at the other - but now that the trade is
coming to her, she draws strength from the power of her allure,
starts to take pride in her work, and discovers she's good at it.
This surprising trajectory, along with its searing intellectual and
emotional honesty and the quality of the writing, easily sets In My
Skin apart from most other my-substance-abuse-hell memoirs. - The
Independent on Sunday 21/05/06. Her vivid narrative voice lends a
gritty poetry to her tale of heroin addiction, half-hearted rehab
and prostitution. The book's power to shock rests in its contrasts;
the life Kate led during her 20s may have been unexceptional for
many young women, but not for a pretty, intelligent, middle-class
girl with a classics degree, a job in a bookshop and a loving
family of liberal, politically aware academics. She conjures with
glittering clarity the sense of invincibility that comes with the
first taste of adult life, the belief that drugs can make love and
art transcendent, the conviction that you are in control.In My Skin
is a compelling story of love and squalor that retains humanity and
sympathy. - The Observer, 14/05/06.
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