Immigrant Fictions: Contemporary Literature in an Age of by Rebecca Walkowitz

By Rebecca Walkowitz

Immigrant Fictions is a groundbreaking assortment that brings jointly reviews of worldwide literature, e-book heritage, narrative thought, and the modern novel to problem tools of severe examining according to nationwide versions of literary tradition. individuals recommend that modern novels by means of immigrant writers have to be learn throughout a number of geographies of creation, circulate, and translation. interpreting paintings by means of David Peace, George Lamming, Caryl Phillips, Iva Pekarkova, Yan Geling, Theresa Hak Kyung Cha, Anchee Min, and Monica Ali, those essays soak up a number serious issues, together with the transnational publication and the migrant author, the comparative reception heritage of postcolonial fiction, transnational feedback and Asian-American literature within the U. S., mobility and feminism in translation, linguistic mediation and immigrating fictions, migration and the politics of narrative form.

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I don’t actually think it is “obscene” for you to compare your experience of “the Troubles” to that of a kid growing up in Northern Ireland. They are simply different. But this, I think, may also be one of the root causes of what you could call the abdication of modern English fiction from tackling certain subjects—this obsession, even in fiction, with the “real,” this notion that, somehow, unless you “own” a place, a time, a memory, or are “from” a particular ethnic group, “of” a certain sexuality, etcetera, you cannot, or should not, write about it.

This was initially while I was still living in Ossett, where I was born, but also then in Manchester, where I studied at the Polytechnic and was then unemployed. This book was rejected by every single British publisher in 1992. I then rapidly wrote a play, three screenplays, and another novel. Once again, all were eventually rejected. Following these rejections, the collapse of a relationship, and John Major’s 1992 reelection, I fled to Istanbul and, for the first time since I was eight, I wrote nothing for the eighteen months I was there.

However for GB84 and The Damned Utd, during my summer holidays back in West Yorkshire, I also used the local library in Wakefield for the Yorkshire Post. With GB84, I also spoke to/interviewed four people who had been involved in the strike itself, one of whom was a union official. During this phase, I am trying to place my own “memories” against what actually happened according to the papers—and it’s not only the news and the politics but every single detail from the weather, to the TV, to the gold mine that you can find in the classified adverts and personal columns.

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