Maintains that the writersâ engagement with the regional and transnational poetics of the Caribbean underscores symbolic bridges between cultural worlds conventionally set apart - the Africanized and Indianized - and distinguishes between cultural worlds assumed to be the same - indenture and South Asian Indianness.
Maintains that the writersâ engagement with the regional and transnational poetics of the Caribbean underscores symbolic bridges between cultural worlds conventionally set apart - the Africanized and Indianized - and distinguishes between cultural worlds assumed to be the same - indenture and South Asian Indianness.
ATREYEE PHUKAN is an associate professor of English at the University of San Diego in California. She is the co-editor of South Asia and Its Others: Reading the Exotic, and co-editor of Home and the World: South Asia in Transition.
Inhaltsangabe
Introduction: Indenture, Creolization, and Literary Imaginary 1. Passage and Poetics in Totaram Sanadhya and LalBihari Sharma 2. Repatriation and the “Indian Problem” in Ismith Khan’s The Jumbie Bird (1960) 3. The Trope of the Ricefield in Harold Sonny Ladoo’s No pain like this body (1972) 4. (En)Gendering Indenture in Shani Mootoo’s Cereus Blooms at Night (1992) Conclusion
Introduction: Indenture, Creolization, and Literary Imaginary 1. Passage and Poetics in Totaram Sanadhya and LalBihari Sharma 2. Repatriation and the “Indian Problem” in Ismith Khan’s The Jumbie Bird (1960) 3. The Trope of the Ricefield in Harold Sonny Ladoo’s No pain like this body (1972) 4. (En)Gendering Indenture in Shani Mootoo’s Cereus Blooms at Night (1992) Conclusion
Acknowledgements Bibliography Index
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