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works written with the intent of fitting into a specifically literary genre, in order to appeal to
readers and fans already familiar with that genre.[1]
Although genre fiction is generally distinguished from literary fiction, a number of major literary
figures have also written genre fiction, for example, John Banville, publishes crime novels as
Benjamin Black, and both Doris Lessing, and Margaret Atwood have written science
fiction. Georges Simenon, the creator of the Maigret detective novels, has been described
by André Gide as "the most novelistic of novelists in French literature".[2]
The main genres are crime, fantasy, romance, science fiction, western, inspirational, historical
fiction and horror. More commercially oriented genre fiction has been dismissed by literary critics
as poorly written or escapist.[3]
Contents
History of genres[edit]
See also: History of fantasy and History of science fiction
Genre began as an absolute classification system for ancient Greek literature. Poetry, prose,
and drama each had a specific and calculated style that related to the theme of the story. Among
the genres were the epic in poetry and tragedy and comedy for plays.[9] In later periods other
genres such as the chivalric romance, opera, and prose fictiondeveloped.
Though the novel is often seen as a modern genre, Ian Watt, in The Rise of the Novel (1957)
suggests that the novel first came into being in the early 18th century,[10] it has also been
described as possessing "a continuous and comprehensive history of about two thousand years",
from the time of both Classical Greece and Rome.[11]
The "romance" is a closely related long prose narrative. Walter Scott defined it as "a fictitious
narrative in prose or verse; the interest of which turns upon marvellous and uncommon
incidents", whereas in the novel "the events are accommodated to the ordinary train of human
events and the modern state of society".[12] However, many romances, including the historical
romances of Scott,[13] Emily Brontë's Wuthering Heights[14] and Herman Melville's Moby-
Dick,[15] are also frequently called novels, and Scott describes romance as a "kindred term".
Romance, as defined here, should not be confused with the genre fiction love romance
or romance novel. Other European languages do not distinguish between romance and novel: "a
novel is le roman, der Roman, il romanzo."[16]
Genre fiction developed from various subgenres of the novel (and its "romance" version) during
the nineteenth century, along with the growth of the mass-marketing of fiction in the twentieth
century: this includes the gothic novel, fantasy, science fiction, adventure novel, historical
romance, and the detective novel. Some scholars see precursors to the genre fiction romance
novels in literary fiction of the 18th and 19th centuries, including Samuel
Richardson's sentimental novel Pamela, or Virtue Rewarded (1740) and the novels of Jane
Austen such as Pride and Prejudice (1813).[17]
The genres[edit]
For a more comprehensive list, see List of literary genres.
The following are some of the main genres as they are used in contemporary publishing:
Crime[edit]
Main articles: Crime fiction and Detective fiction
Crime fiction is the literary genre that fictionalises crimes, their detection, criminals, and
their motives. It is usually distinguished from mainstream fiction and other genres such
as historical fiction or science fiction, but the boundaries are indistinct. Crime fiction has
multiple subgenres,[18] including detective fiction (such as the whodunit), courtroom drama, hard-
boiled fiction, mystery fiction, and legal thrillers. Suspense and mystery are key elements to the
genre.
Fantasy[edit]
Main articles: Fantasy, History of fantasy, and Fantasy literature
Fantasy is a genre of fiction that uses magic or other supernatural elements as a
main plot element, theme, or setting. Many works within the genre take place in imaginary
worlds where magic and magical creatures are common. Fantasy is generally distinguished from
the genres of science fiction and horror by the expectation that it steers clear of scientific and
macabre themes, respectively, though there is a great deal of overlap among the three, all of
which are subgenres of speculative fiction. Fantasy works frequently feature a medieval setting.
Romance[edit]
Main article: Romance novel
The romance novel or "romantic novel" primarily focuses on the relationship and romantic
love between two people, and must have an "emotionally satisfying and optimistic
ending."[19] There are many subgenres of the romance novel including fantasy, historical, science
fiction, same sex romantic fiction, and paranormal fiction.
There is a literary fiction form of romance, which Walter Scott defined as "a fictitious narrative in
prose or verse; the interest of which turns upon marvellous and uncommon incidents".[20]
According to Romance Writers of America's data,[21] the most important subgenres
are: Contemporary series romance, Contemporary romance, Historical romance, Paranormal
romance, Romantic suspense, Inspirational romance, Romantic suspense (series).
Western[edit]
Main article: Western fiction
Western fiction is defined primarily by being set in the American West in the second half of the
19th century and, secondarily, by featuring heroes who are rugged, individualistic horsemen
(cowboys). Other genres, such as romance, have subgenres that make use of the Western
setting.
Inspirational[edit]
Main article: Inspirational fiction
Inspirational fiction is fictional works with faith-based themes. It may be targeted at a specific
demographic, such as Christians. Modern inspirational fiction has grown to encompass non-
traditional subgenres, such as inspirational thrillers.
Horror[edit]
Main article: Horror fiction
Horror fiction aims to frighten or disgust its readers. Although many horror novels feature
supernatural phenomena or monsters, it is not required. Early horror took much inspiration
from Romanticism and Gothic fiction. Modern horror, such as cosmic horror and splatterpunk,
tends to be less melodramatic and more explicit. Horror is often mixed with other genres.
Sir John Barrow's descriptive 1831 account of the Mutiny on the Bounty immortalised the Royal
Navy ship HMS Bounty and her people. The legend of Dick Turpin was popularised when the
18th-century English highwayman's exploits appeared in the novel Rookwood in 1834.
Although pre-dated by John Ruskin's The King of the Golden River in 1841, the history of the
modern fantasy genre is generally said to begin with George MacDonald, the influential author
of The Princess and the Goblin and Phantastes (1858). William Morris was a popular English
poet who also wrote several fantasy novels during the latter part of the nineteenth century. Wilkie
Collins' epistolary novel The Moonstone (1868), is generally considered the first detective
novel in the English language, while The Woman in White is regarded as one of the
finest sensation novels. H. G. Wells's (1866–1946) writing career began in the 1890s with
science fiction novels like The Time Machine (1895), and The War of the Worlds (1898) which
describes an invasion of late Victorian England by Martians, and Wells is seen, along with
Frenchman Jules Verne (1828–1905), as a major figure in the development of the science fiction
genre. He also wrote realistic fiction about the lower middle class in novels like Kipps (1905)
and The History of Mr Polly (1910).
Penny dreadful publications were an alternative to mainstream works, and were aimed at
working class adolescents, introducing the infamous Sweeney Todd. The premier ghost
story writer of the 19th century was the Irish writer Sheridan Le Fanu. His works include the
macabre mystery novel Uncle Silas 1865, and his Gothic novella Carmilla 1872, tells the story of
a young woman's susceptibility to the attentions of a female vampire. The vampire genre fiction
began with John William Polidori's "The Vampyre" (1819). This short story was inspired by the
life of Lord Byron and his poem The Giaour. An important later work is Varney the
Vampire (1845), where many standard vampire conventions originated: Varney has fangs, leaves
two puncture wounds on the neck of his victims, and has hypnotic powers and superhuman
strength. Varney was also the first example of the "sympathetic vampire", who loathes his
condition but is a slave to it.[39] Bram Stoker, yet another Irish writer, was the author of seminal
horror work Dracula and featured as its primary antagonist the vampire Count Dracula, with
the vampire hunter Abraham Van Helsing his arch-enemy. Dracula has been attributed to a
number of literary genres including vampire literature, horror fiction, gothic novel and invasion
literature.
Sir Arthur Conan Doyle was born in Scotland of Irish parents but his Sherlock Holmes stories have typified
a fog-filled London for readers worldwide
Sir Arthur Conan Doyle's Sherlock Holmes is a brilliant London-based "consulting detective",
famous for his intellectual prowess, skilful use of astute observation, deductive reasoning and
forensic skills to solve difficult cases. Holmes' archenemy Professor Moriarty, is widely
considered to be the first true example of a supervillain, while Sherlock Holmes has become a
by-word for a detective. Conan Doyle wrote four novels and fifty-six short stories featuring
Holmes, from 1880 up to 1907, with a final case in 1914. All but four Conan Doyle stories are
narrated by Holmes' friend, assistant, and biographer, Dr John H. Watson.
The Lost World literary genre was inspired by real stories of archaeological discoveries by
imperial adventurers. H. Rider Haggard wrote one of the earliest examples, King Solomon's
Mines in 1885. Contemporary European politics and diplomatic manoeuvrings informed Anthony
Hope's swashbuckling Ruritanian adventure novels The Prisoner of Zenda 1894, and Rupert of
Hentzau, 1898.
F. Anstey's comic novel Vice Versa 1882, sees a father and son magically switch bodies.
Satirist Jerome K. Jerome's Three Men in a Boat 1889, is a humorous account of a boating
holiday on the river Thames. Grossmith brothers George & Weedon's Diary of a Nobody 1892, is
also considered a classic work of humour.
Early 20-century[edit]
Erskine Childers' The Riddle of the Sands (1903), defined the spy novel and Follett has also
called it "the first modern thriller".[40]
Emma Orczy's The Scarlet Pimpernel (1903) was originally a highly successful play, when
staged in London in 1905. The novel The Scarlet Pimpernel was published soon after the play
opened and was an immediate success. Orczy gained a following of readers in Britain and
throughout the world. The popularity of the novel, which recounted the adventures of a member
of the English gentry in the French Revolutionary period, encouraged her to write a number of
sequels for her "reckless daredevil" over the next 35 years. The play was performed to great
acclaim in France, Italy, Germany and Spain, while the novel was translated into 16 languages.
Subsequently, the story has been adapted for television, film, a musical and other media.
Baroness Orczy's character The Old Man in the Corner (1908) was among the earliest armchair
detectives to be created. Her short stories about Lady Molly of Scotland Yard (1910) were an
early example of a female detective as main character.
John Buchan wrote the adventure novels on Prester John (1910) and four novels telling the
adventures of Richard Hannay, of which the first, The Thirty-Nine Steps (1915) is the best
known. Novels featuring a gentleman adventurer were popular in the interwar period, exemplified
by the series of H. C. McNeile with Bulldog Drummond (1920), and Leslie Charteris, whose many
books chronicled the adventures of Simon Templar, alias The Saint.
Agatha Christie
The medievalist scholar M. R. James wrote highly regarded ghost stories (1904–1928) in
contemporary settings.
This was called the Golden Age of Detective Fiction. Agatha Christie, a writer of crime novels,
short stories and plays, is best remembered for her 80 detective novels and her successful West
End theatre plays. Christie's works, particularly those featuring the detectives Hercule
Poirot or Miss Marple, made her one of the most important and innovative writers in the
development of the genre. Her most influential novels include The Murder of Roger
Ackroyd (1926); one of her most controversial novels, its innovative twist ending had a significant
impact on the genre), Murder on the Orient Express (1934), Death on the Nile (1937) and And
Then There Were None (1939). Other female writers dubbed "Queens of crime" include Dorothy
L. Sayers (gentleman detective, Lord Peter Wimsey), Margery Allingham (Albert Campion,
supposedly created as a parody of Sayers' Wimsey,[41]) and New Zealander Ngaio
Marsh (Roderick Alleyn). Georgette Heyer recreated the historical romance genre since 1921,
and also wrote detective fiction (1932–1953).
J. R. R. Tolkien
A major work of science fiction, from the early 20th century, is A Voyage to Arcturus by Scottish
writer David Lindsay, first published in 1920. It combines fantasy, philosophy, and science fiction
in an exploration of the nature of good and evil and their relationship with existence. It has been
described by critic and philosopher Colin Wilson as the "greatest novel of the twentieth
century",[42] and was a central influence on C. S. Lewis's Space Trilogy.[43] Also J. R. R.
Tolkien said he read the book "with avidity", and praised it as a work of philosophy, religion, and
morality.[44] It was made widely available in paperback form when published as one of the
precursor volumes to the Ballantine Adult Fantasy series in 1968.
From the early 1930s to late 1940s, an informal literary discussion group associated with the
English faculty at the University of Oxford, were the "Inklings". Its leading members were the
major fantasy novelists; C. S. Lewis and J. R. R. Tolkien. Lewis is known for The Screwtape
Letters (1942), The Chronicles of Narnia (1950–1956) and The Space Trilogy (1938–1945), while
Tolkien is best known as the author of The Hobbit (1937), The Lord of the Rings (1954–1955),
and The Silmarillion (1977).
Later 20th-century[edit]
In thriller writing, Ian Fleming created the character James Bond 007 in January 1952, while on
holiday at his Jamaican estate, Goldeneye. Fleming chronicled Bond's adventures in twelve
novels, including Casino Royale (1953), Live and Let Die (1954), Dr.
No (1958), Goldfinger (1959), Thunderball (1961), The Spy Who Loved Me (1962), and nine
short story works.
In contrast to the larger-than-life spy capers of Bond, John le Carré was an author of spy
novels who depicted a shadowy world of espionage and counter-espionage, and his best known
novel The Spy Who Came in from the Cold (1963), is often regarded as one of the greatest in the
genre. Frederick Forsyth writes thriller novels, including The Day of the Jackal (1971), The
Odessa File (1972), The Dogs of War (1974) and The Fourth Protocol (1984). Ken Follett writes
spy thrillers, his first success being Eye of the Needle (1978), followed by The Key to
Rebecca (1980), as well as historical novels, notably The Pillars of the Earth (1989), and its
sequel World Without End (2007). Elleston Trevor is remembered for his 1964 adventure
story The Flight of the Phoenix, while the thriller novelist Philip Nicholson is best known for Man
on Fire. Peter George's Red Alert (1958), is a Cold War thriller.
War novels include Alistair MacLean thriller's The Guns of Navarone (1957), Where Eagles
Dare (1968), and Jack Higgins' The Eagle Has Landed (1975). Patrick
O'Brian's nautical historical novels feature the Aubrey–Maturin series set in the Royal Navy, the
first being Master and Commander (1969).
Ronald Welch's Carnegie Medal winning novel Knight Crusader is set in the 12th century and
gives a depiction of the Third Crusade, featuring the Christian leader and King of
England Richard the Lionheart.
In crime fiction, the murder mysteries of Ruth Rendell and P. D. James are popular.
Nigel Tranter wrote historical novels of celebrated Scottish warriors; Robert the Bruce in The
Bruce Trilogy, and William Wallace in The Wallace (1975), works noted by academics for their
accuracy.
Science fiction[edit]
Arthur C. Clarke
John Wyndham wrote post-apocalyptic science fiction, his most notable works being The Day of
the Triffids (1951), and The Midwich Cuckoos (1957). George Langelaan's The Fly (1957), is a
science fiction short story. Science fiction novelist Arthur C. Clarke's 2001: A Space
Odyssey (1968), is based on his various short stories, particularly The Sentinel (1951). His other
major novels include Rendezvous with Rama (1972), and The Fountains of
Paradise (1979). Brian Aldiss is Clarke's contemporary.
Michael Moorcock (born 1939) is a writer, primarily of science fiction and fantasy, who has also
published a number of literary novels. He was involved with the 'New Wave' of science fiction
writers "part of whose aim was to invest the genre with literary merit"[45] Similarly J. G.
Ballard (born 1930) "became known in the 1960s as the most prominent of the 'New Wave'
science fiction writers".[46] A later major figure in science fiction was Iain M. Banks who created a
fictional anarchist, socialist, and utopian society named "The Culture". The novels that feature in
it include Excession (1996), and Inversions (1998). He also published mainstream novels,
including the highly controversial The Wasp Factory in 1984. Nobel prize winner Doris
Lessing also published a sequence of five science fiction novels the Canopus in Argos:
Archives between 1979 and 1983.
Fantasy[edit]
Terry Pratchett
Terry Pratchett is best known for his Discworld series of comic fantasy novels, that begins
with The Colour of Magic (1983), and includes Mort (1987), Hogfather (1996), and Night
Watch (2002). Pratchett's other most notable work is the 1990 novel Good Omens.
Philip Pullman's fantasy trilogy His Dark Materials comprises Northern Lights (1995), The Subtle
Knife (1997), and The Amber Spyglass (2000). It follows the coming-of-age of two children as
they wander through a series of parallel universes against a backdrop of epic events.
Neil Gaiman is a writer of science fiction, fantasy short stories and novels, whose notable works
include Stardust (1998), Coraline (2002), The Graveyard Book (2009), and The Sandman series.
Alan Moore's works include Watchmen, V for Vendetta set in a dystopian future UK, The League
of Extraordinary Gentlemen, and From Hell, speculating on the identity and motives of Jack the
Ripper.
Douglas Adams wrote the five-volume science fiction comedy series The Hitchhiker's Guide to
the Galaxy, and also wrote the humorous fantasy detective novel Dirk Gently's Holistic Detective
Agency.
Horror[edit]
Clive Barker horror novels include The Hellbound Heart (1986), and works in
fantasy, Weaveworld (1987), Imajica and Abarat (2002).
Age categories[edit]
Most genres of fiction may also be segmented by the age of the intended reader:
Children's fiction
Young adult fiction
Adult fiction
Just about every story (including the one you may be writing now)
may be grouped with others that share similar traits, which is
how genres are identified.
Genres are a useful short-cut for readers. Once you find a story
you like, looking for others in the same genre is often the
easiest way to find your next great read.
When people ask, "What is genre fiction?" they usually mean "What
makes genre fiction different from Literary Fiction or mainstream
fiction (which is fiction that doesn't seem to belong in any of
the major genres). What makes it different from the books I
studied in English class?"
But the term "genre fiction" does get used a lot, so let's consider what the term means in common
usage...
The other trait most popular genres share is that they have all been looked down upon by Literary
Fiction readers at one time or another. But something similar happens in all art forms. Taste is
individual, and with rare exceptions, those who consider themselves connoisseurs tend to have little
regard for what is popular.
Q. What is Genre Fiction?
A. Plot-driven or formulaic fiction.
Another common assertion is that genre fiction tends to be overly
plot-driven, or that genre fiction readers value tight and
intricate plots over depth and authenticity of characterization.
This definition depends a lot on which genres you are looking at.
Plot certainly matters in Adventure, Thriller, and similar genres
whose readers appreciate the strong narrative drive that makes a
book a "page turner."
The challenge for a writer is to use the approaches that work for
one's readership, but to use them in a way that strikes readers
as fresh and not obvious. Like the framing of a house, good
structure is invisible.
We know monsters and magic are not real. The laws of physics are
fixed. There are no portals that can take us into other realities
(at least not with current technology). The future remains to be
determined. But Speculative Fiction invites us to imagine what
could happen if things could be different.
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So you picked up a book at the bookstore the other day and now you sit down with a cup of
coffee or tea or a glass of kombucha and begin to read. Halfway through page two, you set the
book in your lap and wonder where the story went. Sort of like the old Wendy's commercial?
Remember? "Where's the beef?" the old lady growled. "Where's the story?" you growl. The story
might have gone something like this.
There are two basic styles of fiction. The first kind of fiction tells a story from beginning to end
with very few detours or side stories. It is plot-driven, meaning that the main gist of the story is
front and center at all times, as is the protagonist.
The second style of fiction does not follow the same rigid pattern as the first. It is not bound to the
plot very much at all, but it is deeply character driven. Often these stories seem to be ethereal
and esoteric in nature, a double whammy to the more pragmatic among us who are left in the
dark with both feet on the ground.
The common names for these two divergent types of fiction are literary
fiction and popular or genre fiction. Literary fiction is the form that tends to wander in the telling of
a story as the author explores the emotions and motives of a character. Popular or genre fiction
makes a beeline from the opening paragraph to the final scene.
Here are a few familiar titles which, according to Goodreads, fall into the category of literary
fiction.
To Kill A Mockingbird
Source
See if your favorite author is on Amazon's list of most popular literary fiction authors (Including
their most popular book).
Or is your favorite among Amazon's most popular Genre writers? And no, it is not your
imagination when you see some of the literary writers from the lists above, in the following list.
George Orwell
Source
Margaret Atwood
Source
Postcolonialism
Works of literature that are defined as postcolonial often record racism or a history of
genocide, including slavery, apartheid, and the mass extinction of peoples, such as the
Aborigines in Australia. Critical response to these texts is often seen as an important way to
articulate and negotiate communication between writers who define themselves as
postcolonial and critics who are not part of that experience. In her introduction to Post-
Colonial and African American Women's Writing, published in 2000, Gina Wisker notes that
the indictment present in many postcolonial texts tends to produce guilt or feelings of
inherited complicity in many readers. Also, although writing about these texts may raise the
level of awareness of both the texts and their writers, some postcolonial writers see reflected
in this activity an arrogant assumption about the need for noncolonial cultures to recognize
postcolonial writers. Similarly, other critics have noted that critical response that focuses
entirely on the essential nature of black or Asian writers may also serve to marginalize their
writing by supposing their experiences as largely a product of being “other” than European.
Postcolonialism includes a vast array of writers and subjects. In fact, the very different
geographical, historical, social, religious, and economic concerns of the different ex-colonies
dictate a wide variety in the nature and subject of most postcolonial writing. Wisker has noted
in her book that it is even simplistic to theorize that all postcolonial writing is resistance
writing. In fact, many postcolonial writers themselves will argue that their countries are still
very much colonial countries, both in terms of their values and behaviors, and that these
issues are reflected in their work. In her essay on postcolonialism, Deepika Bahri agrees,
noting that while the definition of postcolonialism may be fairly boundaried, the actual use of
the term is very subjective, allowing for a yoking together of a very diverse range of
experiences, cultures, and problems. This diversity of definitions exists, notes Bahri, because
the term postcolonialism is used both as a literal description of formerly colonial societies
and as a description of global conditions after a period of colonialism. In this regard,
according to Bahri, the notion of the “postcolonial” as a literary genre and an academic
construct may have meanings that are completely separate from a historical moment or time
period.
Some women colonial writers draw a relationship between postcolonialism and feminism.
For many of these writers, who live in strong patriarchal cultures, language and the ability to
write and communicate represent power. Some of these writers, for example, have noted that
since the language of British-ruled colonies is English, literature written in English has often
been used to marginalize and constrain female points of view. In the postcolonial period,
however, language, and the ability to speak, write, and publish, has become an enabling tool
for postcolonial authors.
Representative Works
(TWENTIETH-CENTURY LITERARY CRITICISM)
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Chinua Achebe
A Man of the People (novel) 1962
J. M. Coetzee
Dusklands (novel) 1974
In the Heart of the Country (novel) 1977
Anita Desai
The Clear Light of Day (novel) 1980
In Custody (novel) 1984
Baumgartner's Bombay (novel) 1988
Jamaica Kincaid
Annie John (novel) 1985
N. Scott Momaday
House Made of Dawn (novel) 1968
The Ancient Child (novel) 1989
Bharati Mukerjee
The Tiger's Daughter (novel) 1972
Wife (novel) 1979
Salman Rushdie
Midnight's Children (novel) 1980
Shame (novel) 1984
The Satanic Verses (novel) 1989
Imaginary Homelands: Essays and Criticism, 1981-1991 (nonfiction) 1991
Wole Soyinka
Season of Anomy (novel) 1973
Poems of Black Africa (poetry) 1975
N'gugi wa Thiong'o
Weep Not, Child (novel) 1964
I Will Marry When I Want (novel) 1982
Lettie Viljoen
Klaaglied vir Koos [Lament for Koos] (novel) 1984
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SOURCE: “Once More with Feeling: What Is Postcolonialism?” in Ariel, Vol. 26, No. 1,
January, 1995, pp. 51-82.
[In the following essay, Bahri provides an overview of the concept of postcolonialism,
including a brief survey of various definitions of the subject.]
Defining the parameters and boundaries of the postcolonial territory is a task not without its
challenges. Much of the work done under the label “postcolonial” is content to assume a
general understanding of its limits and possibilities. A sufficiently thoughtful definitional and
conceptual framework, however, continues to elude us. As Gayatri Chakravorty Spivak
writes, in postcoloniality, “every...
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Shaobo Xie (essay date 1997)
(TWENTIETH-CENTURY LITERARY CRITICISM)
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SOURCE: “Rethinking the Problem of Postcolonialism,” in New Literary History, Vol. 28,
No. 1, 1997, pp. 7-19.
[In the following essay, Xie presents a review of theories surrounding postcolonialism,
making a distinction between postcolonial literatures and Third World writing.]
Like all other “post”-marked terms, “postcolonialism” has caused no end of debate among its
protagonists and antagonists. While the authors of The Empire Writes Back champion a loose
use of the term “postcolonial” in expanding it to the literatures of Canada, Australia, and the
United States, Simon During defines “postcolonialism” as “the need, in nations or groups...
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[In the following essay, Na'Allah examines the themes permeating African postcolonial
writing, noting that in addition to its continued focus on issues of protest on maintaining
African values, recent African postcolonial literature also indicts native people perceived as
perpetrators of African's own imperialism.]
What the [African] writers see around them as they survive their political and social
environment since independence is a recurring cycle of misrule,...
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[In the following essay, Barnett discusses critical reception of South African literature in the
context of novelist J. M. Coetzee's works, noting that South African writing has often been
reviewed with an abstract and moralized understanding of the nature of apartheid.]
I sometimes wonder if it isn't simply that vast and wholly ideological superstructure
constituted by publishing, reviewing and criticism that is forcing on me the fate of being a
‘South African...
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[In the following essay, Sumida examines the emergence of Hawaii's literatures as a
postcolonial and cultural phenomenon.]
When I was drafting this chapter, I had the opportunity to discuss with Davianna Pomaika‘i
McGregor, a historian of Native Hawaiian and ethnic studies, my questions about examining
the emergence of Hawaii's literatures as a postcolonial historical and cultural phenomenon.
“Post-colonial?” she said. Her...
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SOURCE: “Mythologies of Migrancy: Postcolonialism, Postmodernism and the Politics of
(Dis)Location,” in Ariel, Vol. 26, No. 1, January, 1995, pp. 125-46.
[In the following essay, Krishnaswamy traces the ideological lineage of postcolonial theory,
noting that postcolonial celebratory novels that focused on nationalism have given way to
works of delegitimation.]
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[In the following essay, originally published in 1996, Krupat presents an overview of literary
theory defining postcolonialism, placing Native American writing in this context.]
In the current climate of literary studies, it is tempting to think of contemporary Native
American literatures as among the postcolonial literatures of the world. Certainly they share
with other postcolonial texts the fact of having, in the words of...
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SOURCE: “Is There History after Eurocentrism: Globalism, Postcolonialism, and the
Disavowal of History,” Cultural Critique, Vol. 42, Spring, 1999, pp. 1-34.
[In the following essay, Dirlik discusses Eurocentrism as a modern historical phenomenon
that has influenced many postmodern movements, including postcolonialism.]
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[In the following essay, Viljoen theorizes that postcolonial literature produced by Afrikaans
women has evolved to address issues of apartheid as well as those of class and gender.]
Although cynical words have been spoken about the current popularity and academic
marketability of postcolonial theory, it cannot be denied that it has provided valuable new
perspectives on the world's so-called marginal literatures. One's...
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[ T]here exists among the women of the Caribbean a need for a naming of experience and a
need for communal support in that process. In the past silence has surrounded this
experience.
Further Reading
(TWENTIETH-CENTURY LITERARY CRITICISM)
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CRITICISM
Adam, Ian, and Helen Tiffin. Past the Last Post: Theorizing Post-Colonialism and Post-
Modernism. Calgary: University of Calgary Press, 1990, 214 p.
Baker, Charles. William Faulkner's Postcolonial South. New York: Peter Lang, 2000, 156 p.
An analysis of postcolonial literature of the United States, focusing on the works of William
Faulkner in particular.