This innovative contribution to understanding the promise and contradictions of contemporary postcolonial culture applies a wide array of theoretical tools to a large body of literature. The author compares the work of established Indian writers including Bharati Mukherjee, Meena Alexander, Sara Suleri, and Sunetra Gupta to new writings by such Afro-Italian immigrant women as Ermina dell'Oro, Maria Abbebù Viarengo, Ribka Sibhatu, and Sirad Hassan. Sandra Ponzanesi's analysis highlights a set of dissymmetrical relationships that are set in the context of different imperial, linguistic, and market policies. By dealing with issues of representation linked to postcolonial literary genres, to gender and ethnicity questions, and to new cartographies of diaspora, this book imbues the postcolonial debate with a new élan.

The Postcolonial Cultural Industry makes a timely intervention into the field of postcolonial studies by unpacking its relation to the cultural industry. It unearths the role of literary prizes, the adaptation industry and the marketing of ethnic bestsellers as new globalization strategies that connect postcolonial artworks to the market place.

This book is the first major study of French Caribbean literature in light of the concept of postcoloniality. Postcolonial theory debates have developed in the anglophone domain, and have not as yet referred prominently to francophone literature. Jeannie Suk investigates how the literature of Martinique and Guadeloupe provides a kaleidescopic view of the paradoxes at the heart of postcoloniality. Through subtle and provocative readings of Aimé Césaire, Edouard Glissant, Maryse Condé, Baudelaire, Freud, and others, she illuminates how the development of French Caribbean literature and debates about négritude, antillanité, and creolité contribute to theories of in-betweenness and incompleteness central to postcolonial modes. In each chapter, lively and detailed analyses of literary and critical texts reveal connections between key thematic, conceptual, rhetorical, and psychic issues that form the interface of Caribbean and postcolonial concerns. The first part paves theoretical ground, focusing on readings of two seminal texts, Césaire's Cahier d'un retour au pays natal and Glissant's Discours antillais; the second part concentrates on Maryse Condé's exemplary work. Lucidly articulating the overlap and interplay of the distance of oceanic crossing, the discontinuities of allegorical signification, and the gap at the heart of trauma, Suk probes the paradoxical dynamic of impossible yet inevitable returns in space, time, and the psyche. She shows how literal and metaphorical "crossings" both produce and impede history and representation. The result is a new framework for understanding the intersection of postcolonial, psychoanalytic, deconstructive, and French Caribbean problems in a language attentive to improbable recurrences across theories and registers. Postcolonial Paradoxes is a major contribution to criticism and theory, of interest to scholars and students of postcolonialism, Caribbean and African diaspora literature, French literature, and psychoanalysis.

Winner of the 2006 NSW Prize for Literary Scholarship. The work of Joseph Conrad has been read so disparately that it is tempting to talk of many different Conrads. One lasting impression however, is that his colonial novels, which record encounters between Europe and Europe’s ‘Other’, are highly significant for the field of post-colonial studies. Drawing on many years of research and a rich body of criticism, Postcolonial Conrad not only presents fresh readings of his novels of imperialism, but also maps and analyzes the interpretative tradition they have generated. Terry Collits first examines the reception of the author’s work in terms of the history of ideas, literary criticism, traditions of ‘Englishness’, Marxism and post-colonialism, before re-reading Heart of Darkness, Lord Jim, Nostromo and Victory in greater depth. Collits’ incisive and wide-ranging volume provides a much needed reconsideration of more than a century of criticism, discussing the many different perspectives born of constantly shifting contexts. Most importantly though, the book encourages and equips us for twenty-first criticism, where we must ask anew how we might read and understand these crucial and fascinating novels.

In White Innocence Gloria Wekker explores a central paradox of Dutch culture: the passionate denial of racial discrimination and colonial violence coexisting alongside aggressive racism and xenophobia. Accessing a cultural archive built over 400 years of Dutch colonial rule, Wekker fundamentally challenges Dutch racial exceptionalism by undermining the dominant narrative of the Netherlands as a "gentle" and "ethical" nation. Wekker analyzes the Dutch media's portrayal of black women and men, the failure to grasp race in the Dutch academy, contemporary conservative politics (including gay politicians espousing anti-immigrant rhetoric), and the controversy surrounding the folkloric character Black Pete, showing how the denial of racism and the expression of innocence safeguards white privilege. Wekker uncovers the postcolonial legacy of race and its role in shaping the white Dutch self, presenting the contested, persistent legacy of racism in the country.