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As England withdrew from its empire after World War II, how did
writers living outside the United Kingdom respond to the history of
colonialism and the aesthetics of modernism within a global
context? In fourteen original essays, edited by Richard Begam and
Michael Valdez Moses, a distinguished group of scholars considers
these questions in relation to novelists, playwrights, and poets
living in English-speaking countries around the world. Modernism,
Postcolonialism, and Globalism not only examines how modernism and
postcolonialism evolved over several generations, but also situates
the writers analyzed in terms of canonical realignments inspired by
the New Modernist Studies and an array of emerging methodologies
and approaches. While this volume highlights social and political
questions connected with the end of empire, it also considers the
aesthetics of postcolonialism, detailing how writers drew upon,
responded to and, sometimes reacted against, the formal innovations
of modernism. Many of the essays consider the influence modernist
artists and movements exercised on postcolonial writers, from W. B.
Yeats, Joseph Conrad, Franz Kafka, Marcel Proust, James Joyce, T.
S. Eliot, and Virginia Woolf to Impressionism, Expressionism,
Surrealism, and Abstractionism. Modernism, Postcolonialism, and
Globalism is organized around six geographic locales and includes
essays on Africa (Chinua Achebe, Ngugi wa Thiong'o, Nadine
Gordimer, J. M. Coetzee), Asia (Salman Rushdie, Arundhati Roy), the
Caribbean (Jean Rhys, Derek Walcott, V. S. Naipaul), Ireland
(Samuel Beckett, Seamus Heaney), Australia/New Zealand (David
Malouf, Keri Hulme) and Canada (Michael Ondaatje). Examining how
Anglophone writers engaged with the literary, intellectual, and
cultural heritage of modernism, this volume offers a vital and
distinctive intervention in ongoing discussions of modern and
contemporary literature.
This collection of essays by renowned literary scholars offers a
sustained and comprehensive account of the relation of British and
Irish literary modernism to colonialism. Bringing postcolonial
studies into dialogue with modernist studies, the contributors move
beyond depoliticized appreciations of modernist aesthetics as well
as the dismissal of literary modernism as irredeemably complicit in
the evils of colonialism. They demonstrate that the modernists were
not unapologetic supporters of empire. Many were avowedly and
vociferously opposed to colonialism, and all of the writers
considered in this volume were concerned with the political and
cultural significance of colonialism, including its negative
consequences for both the colonizer and the colonized.Ranging over
poetry, fiction, and criticism, the essays provide fresh appraisals
of Joseph Conrad, T. S. Eliot, Ezra Pound, Virginia Woolf, D. H.
Lawrence, Wyndham Lewis, E. M. Forster, W. B. Yeats, James Joyce,
Elizabeth Bowen, Hugh MacDiarmid, and Evelyn Waugh, as well as
Robert Louis Stevenson and H. Rider Haggard. The essays that
bookend the collection connect the modernists to their Victorian
precursors, to postwar literary critics, and to postcolonial poets.
The rest treat major works written or published between 1899 and
1939, the boom years of literary modernism and the period during
which the British empire reached its greatest geographic expanse.
Among the essays are explorations of how primitivism figured in the
fiction of Lawrence and Lewis; how, in Ulysses, Joyce used
modernist techniques toward anticolonial ends; and how British
imperialism inspired Conrad, Woolf, and Eliot to seek new aesthetic
forms appropriate to the sense of dislocation they associated with
empire. Contributors. Nicholas Allen, Rita Barnard, Richard Begam,
Nicholas Daly, Maria DiBattista, Ian Duncan, Jed Esty, Andrzej
Gasiorek, Declan Kiberd, Brian May, Michael Valdez Moses, Jahan
Ramazani, Vincent Sherry
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