It is difficult to write well even in one language. Yet a rich body of translingual literature -- by authors who write in more than one language or in a language other than their primary one -- exists. The Translingual Imagination is a pioneering study of the phenomenon, which is as ancient as the use of Arabic, Latin, Mandarin, Persian, and Sanskrit as linguae francae. Colonialism, war, mobility, and the aesthetics of alienation have combined to create a modern translingual canon. Opening with an overview of this vast subject, Steven G. Kellman then looks at the differences between ambilinguals -- those who write authoritatively in more than one language -- and monolingual translinguals -- those who write in only one language but not their native one. Kellman offers compelling analyses of the translingual situations of African and Jewish authors and of achievements by authors as varied as Mary Antin, Samuel Beckett, Louis Begley, J. M. Coetzee, Joseph Conrad, Eva Hoffman, Vladimir Nabokov, and John Sayles. While separate studies of individual translingual authors have long been available, this is the first in-depth study of the general phenomenon of translingual literature.

Though it is difficult enough to write well in one?s native tongue, an extraordinary group of authors has written enduring poetry and prose in a second, third, or even fourth language. Switching Languages is the first anthology in which translingual authors from throughout the world examine their experiences writing in more than one language or in a language other than their primary one. Driven by factors as varied as migration, imperialism, a quest for verisimilitude, and a desire to assert artistic autonomy, translingualism has a long and brilliant history. ø In Switching Languages, Steven G. Kellman brings together several notable authors from the past one hundred years who discuss their personal translingual experiences and their take on a general phenomenon that has not received the attention it deserves. Contributors to the book include Chinua Achebe, Julia Alvarez, Mary Antin, Elias Canetti, Rosario Ferrä, Ha Jin, Salman Rushdie, Läopold Sädar Senghor, and Ilan Stavans. They offer vivid testimony to the challenges and achievements of literary translingualism.

Though it might seem as modern as Samuel Beckett, Joseph Conrad, and Vladimir Nabokov, translingual writing - texts by authors using more than one language or a language other than their primary one - has an ancient pedigree. The Routledge Handbook of Literary Translingualism aims to provide a comprehensive overview of translingual literature in a wide variety of languages throughout the world, from ancient to modern times. The volume includes sections on: translingual genres - with chapters on memoir, poetry, fiction, drama, and cinema ancient, medieval, and modern translingualism global perspectives - chapters overseeing European, African, and Asian languages Combining chapters from lead specialists in the field, this volume will be of interest to scholars, graduate students, and advanced undergraduates interested in investigating the vibrant area of translingual literature. Attracting scholars from a variety of disciplines, this interdisciplinary and pioneering Handbook will advance current scholarship of the permutations of languages among authors throughout time.

Winner of the AAAL Book Award 2015 Winner of the Modern Language Association's Thirty-Third Mina P. Shaughnessy Prize Winner of the BAAL Book Prize 2014 Translingual Practice: Global Englishes and Cosmopolitan Relations introduces a new way of looking at the use of English within a global context. Challenging traditional approaches in second language acquisition and English language teaching, this book incorporates recent advances in multilingual studies, sociolinguistics, and new literacy studies to articulate a new perspective on this area. Canagarajah argues that multilinguals merge their own languages and values into English, which opens up various negotiation strategies that help them decode other unique varieties of English and construct new norms. Incisive and groundbreaking, this will be essential reading for anyone interested in multilingualism, world Englishes and intercultural communication.

Do bi- and multilinguals perceive themselves differently in their respective languages? Do they experience different emotions? How do they express emotions and do they have a favourite language for emotional expression? How are emotion words and concepts represented in the bi- and multilingual lexicons? This ground-breaking book opens up a new field of study, bilingualism and emotions, and provides intriguing answers to these and many related questions.

Uniting a sense of the political dimensions of language appropriation with a serious, yet accessible linguistic terminology, The African Palimpsest examines the strategies of ‘indigenization’ whereby West African writers have made their literary English or French distinctively ‘African’. Through the apt metaphor of the palimpsest – a surface that has been written on, written over, partially erased and written over again – the book examines such well-known West African writers as Achebe, Armah, Ekwensi, Kourouma, Okara, Saro–Wiwa, Soyinka and Tutuola as well as lesser-known writers from francophone and anglophone Africa. Providing a great variety of case-studies in Nigerian Pidgin, Akan, Igbo, Maninka, Yoruba, Wolof and other African languages, the book also clarifies the vital interface between Europhone African writing and the new outlets for African artistic expression in (auto-)translation, broadcast television, radio and film.

Monolingualism-the idea that having just one language is the norm is only a recent invention, dating to late-eighteenth-century Europe. Yet it has become a dominant, if overlooked, structuring principle of modernity. According to this monolingual paradigm, individuals are imagined to be able to think and feel properly only in one language, while multiple languages are seen as a threat to the cohesion of individuals and communities, institutions and disciplines. As a result of this view, writing in anything but one's "mother tongue" has come to be seen as an aberration.