Refugee research and debate have focused on international agreements, border controls and the legal status of asylum seekers. The lived, daily life of refugees in different phases of their flight has thus been unduly neglected. How have refugees experienced policies of reception and resettlement, and how have they individually and collectively built up their own cultures of exile? To answer these questions the author of this study has undertaken long-term fieldwork as a community worker in a Norwegian municipality. Refugees from Chile, Iran, Somalia, Bosnia and Vietnam were on occasions subjected to exclusionary and discriminatory practices. Nevertheless, restistance was seen in the form of a Somali women's sewing circle, the organisation of a multi-cultural youth club, running refugee associations and printing their own language newspapers. Moreover, in activities such as these, refugees addressed and came to terms with a limited number of shared existential concerns: morality, violence, sexuality, family reunion, belonging and not belonging to a second generation. Drawing upon these experiences a general theory of refugeeness is proposed. It states that the cultures refugees create in exile are the necessary prerequisite for self-recognition and survival.

Focusing on the highly diverse Karenni refugee population living in camps on the Thai-Burma border, this innovative book explores materiality, embodiment, memory, imagination, and identity among refugees, providing new and important ways of understanding how refugees make sense of experience, self, and other. It examines how and to what ends refugees perceive, represent, manipulate, use as metaphor, and otherwise engage with material objects and spaces, and includes a focus on the real and metaphorical journeys that bring about and perpetuate exile. The combined emphasis on both displacement and materiality, and the analysis of the cultural construction and intersections of exilic objects, spaces, and bodies, are unique in the study of both refugees and material culture. Drawing theoretical influences from phenomenology, aesthetics, and beyond, as well as from refugee studies and anthropology, the author addresses the current lack of theoretical analysis of the material, visual, spatial, and embodied aspects of forced migration, providing a fundamentally interlinked analysis of enforced exile and materiality.

Charts new directions for interdisciplinary research on refugee writing and representationPlaces refugee imaginaries at the centre of interdisciplinary exchange, demonstrating the vital new perspectives on refugee experience available in humanities researchBrings together leading research in literary, performance, art and film studies, digital and new media, postcolonialism and critical race theory, transnational and comparative cultural studies, history, anthropology, philosophy, human geography and cultural politicsThe refugee has emerged as one of the key figures of the twenty-first-century. This book explores how refugees imagine the world and how the world imagines them. It demonstrates the ways in which refugees have been written into being by international law, governmental and non-governmental bodies and the media, and foregrounds the role of the arts and humanities in imagining, historicising and protesting the experiences of forced migration and statelessness. Including thirty-two newly written chapters on representations by and of refugees from leading researchers in the field, Refugee Imaginaries establishes the case for placing the study of the refugee at the centre of contemporary critical enquiry.

A Finalist for the 2019 Kirkus Prize in Nonfiction "Nayeri combines her own experience with those of refugees she meets as an adult, telling their stories with tenderness and reverence.” —The New York Times Book Review "Nayeri weaves her empowering personal story with those of the ‘feared swarms’ . . . Her family’s escape from Isfahan to Oklahoma, which involved waiting in Dubai and Italy, is wildly fascinating . . . Using energetic prose, Nayeri is an excellent conduit for these heart–rending stories, eschewing judgment and employing care in threading the stories in with her own . . . This is a memoir laced with stimulus and plenty of heart at a time when the latter has grown elusive.” —Star–Tribune (Minneapolis) Aged eight, Dina Nayeri fled Iran along with her mother and brother and lived in the crumbling shell of an Italian hotel–turned–refugee camp. Eventually she was granted asylum in America. She settled in Oklahoma, then made her way to Princeton University. In this book, Nayeri weaves together her own vivid story with the stories of other refugees and asylum seekers in recent years, bringing us inside their daily lives and taking us through the different stages of their journeys, from escape to asylum to resettlement. In these pages, a couple fall in love over the phone, and women gather to prepare the noodles that remind them of home. A closeted queer man tries to make his case truthfully as he seeks asylum, and a translator attempts to help new arrivals present their stories to officials. Nayeri confronts notions like “the swarm,” and, on the other hand, “good” immigrants. She calls attention to the harmful way in which Western governments privilege certain dangers over others. With surprising and provocative questions, The Ungrateful Refugee challenges us to rethink how we talk about the refugee crisis. “A writer who confronts issues that are key to the refugee experience.” —Viet Thanh Nguyen, Pulitzer Prize–winning author of The Sympathizer and The Refugees

Focusing on the highly diverse Karenni refugee population living in camps on the Thai-Burma border, this innovative book explores materiality, embodiment, memory, imagination, and identity among refugees, providing new and important ways of understanding how refugees make sense of experience, self, and other. It examines how and to what ends refugees perceive, represent, manipulate, use as metaphor, and otherwise engage with material objects and spaces, and includes a focus on the real and metaphorical journeys that bring about and perpetuate exile. The combined emphasis on both displacement and materiality, and the analysis of the cultural construction and intersections of exilic objects, spaces, and bodies, are unique in the study of both refugees and material culture. Drawing theoretical influences from phenomenology, aesthetics, and beyond, as well as from refugee studies and anthropology, the author addresses the current lack of theoretical analysis of the material, visual, spatial, and embodied aspects of forced migration, providing a fundamentally interlinked analysis of enforced exile and materiality.

Some sixty-five years after 750,000 Palestinians fled or were expelled from their homeland, the popular conception of Palestinian refugees still emphasizes their fierce commitment to exercising their "right of return." Exile has come to seem a kind of historical amber, preserving refugees in a way of life that ended abruptly with "the catastrophe" of 1948 and their camps—inhabited now for four generations—as mere zones of waiting. While reducing refugees to symbols of steadfast single-mindedness has been politically expedient to both sides of the Arab-Israeli conflict it comes at a tremendous cost for refugees themselves, overlooking their individual memories and aspirations and obscuring their collective culture in exile. Refugees of the Revolution is an evocative and provocative examination of everyday life in Shatila, a refugee camp in Beirut. Challenging common assumptions about Palestinian identity and nationalist politics, Diana Allan provides an immersive account of camp experience, of communal and economic life as well as inner lives, tracking how residents relate across generations, cope with poverty and marginalization, and plan––pragmatically and speculatively—for the future. She gives unprecedented attention to credit associations, debt relations, electricity bartering, emigration networks, and NGO provisions, arguing that a distinct Palestinian identity is being forged in the crucible of local pressures. What would it mean for the generations born in exile to return to a place they never left? Allan addresses this question by rethinking the relationship between home and homeland. In so doing, she reveals how refugees are themselves pushing back against identities rooted in a purely nationalist discourse. This groundbreaking book offers a richly nuanced account of Palestinian exile, and presents new possibilities for the future of the community.

Exile is the dominant theme of our times. It can be found in the forced migration of populations but also in the temporal, cultural and physical alienation of the individual's experiences of the postmodern world. This is a world of unstable, shifting identities dominated, and perhaps most acutely expressed by, the fluidity of the visual image. The essays in this volume examine issues such as remembering and forgetting trauma and nostalgia, time and space, social and sexual exclusion in relation to visual media and new technologies, cinema and the visual arts. The multi-facetted and interdisciplinary exploration of exile and displacement — whether geographical, temporal, corporeal or performative — provides an important analysis of a significant and fascinating aspect of contemporary culture.