Using the aesthetic and political concerns of Parry's oeuvre as a touchstone, this book explores new directions for postcolonial studies, Marxist literary criticism, and world literature in the contemporary moment, seeking to re-imagine the field, and alongside it, new possibilities for left critique. It is the first volume of essays focusing on the field-defining intellectual legacy of the literary scholar Benita Parry. As a leading critic of the post-structuralist turn within postcolonial studies, Parry has not only brought Marxism and postcolonial theory into a productive, albeit tense, dialogue, but has reinvigorated the field by bringing critical questions of resistance and struggle to bear on aesthetic forms. The book's aim is two-fold: first, to evaluate Parry's formative influence within postcolonial studies and its interface with Marxist literary criticism, and second, to explore new terrains of scholarship opened up by Parry's work. It provides a critical overview of Parry's key interventions, such as her contributions to colonial discourse theory; her debate with Spivak on subaltern consciousness and representation; her critique of post-apartheid reconciliation and neoliberalism in South Africa; her materialist critique of writers such as Kipling, Conrad, and Salih; her work on liberation theory, resistance, and radical agency; as well as more recent work on the aesthetics of "peripheral modernity." The volume contains cutting-edge work on peripheral aesthetics, the world-literary system, critiques of global capitalism and capitalist modernity, and the resurgence of Marxism, communism, and liberation theory by a range of established and new scholars who represent a dissident and new school of thought within postcolonial studies more generally. It concludes with the first-ever detailed interview with Benita Parry about her activism, political commitments, and her life and work as a scholar.

This book explains neoliberalism as a phenomenon of the capitalist world-system. Many writers focus on the cultural or ideological symptoms of neoliberalism only when they are experienced in Europe and America. This collection seeks to restore globalized capitalism as the primary object of critique and to distinguish between neoliberal ideology and processes of neoliberalization. It explores the ways in which cultural studies can teach us about aspects of neoliberalism that economics and political journalism cannot or have not: the particular affects, subjectivities, bodily dispositions, socio-ecological relations, genres, forms of understanding, and modes of political resistance that register neoliberalism. Using a world-systems perspective for cultural studies, the essays in this collection examine cultural productions from across the neoliberal world-system, bringing together works that might have in the past been separated into postcolonial studies and Anglo-American Studies.

Using the aesthetic and political concerns of Parry's oeuvre as a touchstone, this book explores new directions for postcolonial studies, Marxist literary criticism, and world literature in the contemporary moment, seeking to re-imagine the field, and alongside it, new possibilities for left critique. It is the first volume of essays focusing on the field-defining intellectual legacy of the literary scholar Benita Parry. As a leading critic of the post-structuralist turn within postcolonial studies, Parry has not only brought Marxism and postcolonial theory into a productive, albeit tense, dialogue, but has reinvigorated the field by bringing critical questions of resistance and struggle to bear on aesthetic forms. The book's aim is two-fold: first, to evaluate Parry's formative influence within postcolonial studies and its interface with Marxist literary criticism, and second, to explore new terrains of scholarship opened up by Parry's work. It provides a critical overview of Parry's key interventions, such as her contributions to colonial discourse theory; her debate with Spivak on subaltern consciousness and representation; her critique of post-apartheid reconciliation and neoliberalism in South Africa; her materialist critique of writers such as Kipling, Conrad, and Salih; her work on liberation theory, resistance, and radical agency; as well as more recent work on the aesthetics of "peripheral modernity." The volume contains cutting-edge work on peripheral aesthetics, the world-literary system, critiques of global capitalism and capitalist modernity, and the resurgence of Marxism, communism, and liberation theory by a range of established and new scholars who represent a dissident and new school of thought within postcolonial studies more generally. It concludes with the first-ever detailed interview with Benita Parry about her activism, political commitments, and her life and work as a scholar.

The ambition of this book is to resituate the problem of 'world literature', considered as a revived category of theoretical enquiry, by pursuing the literary-cultural implications of the theory of combined and uneven development. This theory has a long pedigree in the social sciences, where it continues to stimulate debate. But its implications for cultural analysis have received less attention, even though the theory might be said to draw attention to a central - perhaps the central - arc or trajectory of modern(ist) production in literature and the other arts worldwide. It is in the conjuncture of combined and uneven development, on the one hand, and the recently interrogated and expanded categories of 'world literature' and 'modernism', on the other, that this book looks for its specific contours. In the two theoretical chapters that frame the book, the authors argue for a single, but radically uneven world-system; a singular modernity, combined and uneven; and a literature that variously registers this combined unevenness in both its form and content to reveal itself as, properly speaking, world-literature. In the four substantive chapters that then follow, the authors explore a selection of modern-era fictions in which the potential of their method of comparativism seems to be most dramatically highlighted. They treat the novel paradigmatically, not exemplarily, as a literary form in which combined and uneven development is manifested with particular salience, due in no small part to its fundamental association with the rise of capitalism and its status in peripheral and semi-peripheral societies as a 'modernising' import. The peculiar plasticity and hybridity of the novel form enables it to incorporate not only multiple literary levels, genres and modes, but also other non-literary and archaic cultural forms - so that, for example, realist elements might be mixed with more experimental modes of narration, or older literary devices might be reactivated in juxtaposition with more contemporary frames.

This new book is the second volume in a two-volume "mini-series" devoted to representing diverse and innovative ecocritical voices from throughout the world, particularly from developing nations (the first volume, Ecoambiguity, Community, and Development, appeared in 2014). The vast majority of existing ecocritical studies, even those which espouse the "postcolonial ecocritical" perspective, operate within a first-world sensibility, speaking on behalf of subalternized human communities and degraded landscapes without actually eliciting the voices of the impacted communities. We have sought in Ecocriticism of the Global South to allow scholars from (or intimately familiar with) underrepresented regions to "write back" to the world's centers of political and military and economic power, expressing views of the intersections of nature and culture from the perspective of developing countries. This approach highlights what activist and writer Vandana Shiva has described as the relationship between "ecology and the politics of survival," showing both commonalities and local idiosyncrasies by juxtaposing such countries as China and Northern Ireland, New Zealand and Cameroon. The two volumes of the Ecocriticism of the Global South Series point to the need for further cultivation of the environmental humanities in regions of the world that are, essentially, the front line of the human struggle to invent sustainable and just civilizations on an imperiled planet.

Worldwide environmental crisis has become increasingly visible over the last few decades as the full scope of anthropogenic climate change manifests itself and large-scale natural resource extraction has expanded into formerly remote areas that seemed beyond the reach of industrialization. Scientists and popular culture alike have turned to the term "Anthropocene" to capture the global scale of environmental and even geological transformations that humans have carried out over the last two centuries. The chapters in Ecological Crisis and Cultural Representation in Latin America examine the dynamics and interplay between local cultures and the expansion of global capitalism in Latin America, emphasizing the role of art in bearing witness to and generating awareness of environmental and social crises, but also its possibilities for formulating solutions. They take particular care to draw out the ways in which local environmental crises in Latin American nations are witnessed and imagined as part of a global system, focusing on the problems of time, scale, and complexity as key terms in conceiving the dimensions of crisis. At the same time, they question the notion of the Anthropocene as a species-wide "human" historical project, making visible the coloniality of natural resource extraction in Latin America and its dire effects for local people, cultures, and environments. Taking an ecocritical approach to Latin American cultural production including literature, film, performance, and digital artwork, the chapters in this volume develop a notion of ecological crisis that captures not only its documentary sense in the representation of environmental destruction (the degradation of the oikos), but also the crisis in the modern worldview (logos) that the acknowledgment of crisis provokes. In this sense, crisis is also the promise of a turning point, of the possibilities for change. Latin American representations of ecological crisis thus create the conditions for projects that decolonize environments, developing new, sustainable ways of conceiving of and relating to our world or returning to old ones.

Worldwide environmental crisis has become increasingly visible over the last few decades as the full scope of anthropogenic climate change manifests itself and large-scale natural resource extraction has expanded into formerly remote areas that seemed beyond the reach of industrialization. Scientists and popular culture alike have turned to the term "Anthropocene" to capture the global scale of environmental and even geological transformations that humans have carried out over the last two centuries. The chapters in Ecological Crisis and Cultural Representation in Latin America examine the dynamics and interplay between local cultures and the expansion of global capitalism in Latin America, emphasizing the role of art in bearing witness to and generating awareness of environmental and social crises, but also its possibilities for formulating solutions. They take particular care to draw out the ways in which local environmental crises in Latin American nations are witnessed and imagined as part of a global system, focusing on the problems of time, scale, and complexity as key terms in conceiving the dimensions of crisis. At the same time, they question the notion of the Anthropocene as a species-wide "human" historical project, making visible the coloniality of natural resource extraction in Latin America and its dire effects for local people, cultures, and environments. Taking an ecocritical approach to Latin American cultural production including literature, film, performance, and digital artwork, the chapters in this volume develop a notion of ecological crisis that captures not only its documentary sense in the representation of environmental destruction (the degradation of the oikos), but also the crisis in the modern worldview (logos) that the acknowledgment of crisis provokes. In this sense, crisis is also the promise of a turning point, of the possibilities for change. Latin American representations of ecological crisis thus create the conditions for projects that decolonize environments, developing new, sustainable ways of conceiving of and relating to our world or returning to old ones.

The vast majority of existing ecocritical studies, even those which espouse the "postcolonial ecocritical" perspective, operate within a first-world sensibility, speaking on behalf of subalternized human communities and degraded landscapes without actually eliciting the voices of the impacted communities. Ecocriticism of the Global South seeks to allow scholars from (or intimately familiar with) underrepresented regions to "write back" to the world's centers of political and military and economic power, expressing views of the intersections of nature and culture from the perspective of developing countries. This approach highlights what activist and writer Vandana Shiva has described as the relationship between "ecology and the politics of survival," showing both commonalities and local idiosyncrasies by juxtaposing such countries as China and Northern Ireland, New Zealand and Cameroon. Much like Ecoambiguity, Community, and Development, this new book is devoted to representing diverse and innovative ecocritical voices from throughout the world, particularly from developing nations. The two volumes complement each other by pointing out the need for further cultivation of the environmental humanities in regions of the world that are, essentially, the front line of the human struggle to invent sustainable and just civilizations on an imperiled planet.

This comparative study, the first of its kind, discusses paradise discourse in a wide range of writing from Mexico, Zanzibar, and Sri Lanka, including novels by authors such as Malcolm Lowry, Leonard Woolf, Juan Rulfo, Wilson Harris, Abdulrazak Gurnah, and Romesh Gunesekera. Tracing dialectical tropes of paradise across the "long modernity" of the capitalist world-system, Deckard reads literature from postcolonial nations in context with colonial discourse in order to demonstrate how paradise begins as a topos motivating European exploration and colonization, shifts into an ideological myth justifying imperial exploitation, and finally becomes a literary motif used by contemporary writers to critique neocolonial representations and conditions in the age of globalization.

Combining a range of critical perspectives cultural materialist, ecocritical, and postcolonial the volume opens up a deeper understanding of the relation between paradise discourse and the destructive dynamics of plantation, tourism, and global capital. Deckard uncovers literature from East Africa and South Asia which has been previously overlooked in mainstream postcolonial criticism, and gestures to how the utopian dimensions of the paradise myth might be reclaimed to promote cultural resistance."

This comparative study, the first of its kind, discusses paradise discourse in a wide range of writing from Mexico, Zanzibar, and Sri Lanka, including novels by authors such as Malcolm Lowry, Leonard Woolf, Juan Rulfo, Wilson Harris, Abdulrazak Gurnah, and Romesh Gunesekera. Tracing dialectical tropes of paradise across the "long modernity" of the capitalist world-system, Deckard reads literature from postcolonial nations in context with colonial discourse in order to demonstrate how paradise begins as a topos motivating European exploration and colonization, shifts into an ideological myth justifying imperial exploitation, and finally becomes a literary motif used by contemporary writers to critique neocolonial representations and conditions in the age of globalization.

Combining a range of critical perspectives-cultural materialist, ecocritical, and postcolonial-the volume opens up a deeper understanding of the relation between paradise discourse and the destructive dynamics of plantation, tourism, and global capital. Deckard uncovers literature from East Africa and South Asia which has been previously overlooked in mainstream postcolonial criticism, and gestures to how the utopian dimensions of the paradise myth might be reclaimed to promote cultural resistance.

The ambition of this book is to resituate the problem of 'world literature', considered as a revived category of theoretical enquiry, by pursuing the literary-cultural implications of the theory of combined and uneven development. This theory has a long pedigree in the social sciences, where it continues to stimulate debate. But its implications for cultural analysis have received less attention, even though the theory might be said to draw attention to a central - perhaps the central - arc or trajectory of modern(ist) production in literature and the other arts worldwide. It is in the conjuncture of combined and uneven development, on the one hand, and the recently interrogated and expanded categories of 'world literature' and 'modernism', on the other, that this book looks for its specific contours. In the two theoretical chapters that frame the book, the authors argue for a single, but radically uneven world-system; a singular modernity, combined and uneven; and a literature that variously registers this combined unevenness in both its form and content to reveal itself as, properly speaking, world-literature. In the four substantive chapters that then follow, the authors explore a selection of modern-era fictions in which the potential of their method of comparativism seems to be most dramatically highlighted. They treat the novel paradigmatically, not exemplarily, as a literary form in which combined and uneven development is manifested with particular salience, due in no small part to its fundamental association with the rise of capitalism and its status in peripheral and semi-peripheral societies as a 'modernising' import. The peculiar plasticity and hybridity of the novel form enables it to incorporate not only multiple literary levels, genres and modes, but also other non-literary and archaic cultural forms - so that, for example, realist elements might be mixed with more experimental modes of narration, or older literary devices might be reactivated in juxtaposition with more contemporary frames.