Jibanananda Das (1899–1954) is widely revered as the preeminent poet of post-Tagore Bengali literature. His oeuvre is unremittingly autobiographical, narrating desultory journeys into a vulnerable yet stoic, companionless life. The poem that the paper analyses is one of his most well known. Two streaks of narrative run parallel in the poem: the protagonist’s act of suicide without any apparent reason and the ceaseless brutality of nature as a way of life. The poem has occasioned a large body of critical literature. As against the prevalent interpretation of the poem, which privileges self-consciousness and a dialectical scheme of interpretation, we set off a Foucauldian, archeo-genealogical reading. In our reading, the poem is a theater of many voices constituting a matrix of language, which, strictly speaking, is a nonlanguage—articulations that perfectly fold back against one another to implicate in a tautological bind the originary meaninglessness of living and of life’s constitutive cruelty. Here negation is uncontainable and illimitable, always spilling over, always open to possibilities of being otherwise, its trail running in negating—almost inevitably—negation itself and thus gesturing an aleatory renewal of a space for the political.

This article examines postcolonial representations of the jungle and the desert, focusing on two novels in particular: Étienne Goyémidé’s Le silence de la forêt (1984) and Tahar Djaout’s L’invention du désert (1987). Postcolonial literary representations of these “extreme” landscapes are layered with allusions and almost always engage in an intertextual conversation with the colonial genres that influenced readers’ conception of these spaces. The specificity of jungle and desert serves in contemporary postcolonial literature as a foil to homogenizing forces of both the past and the present, as seen in the stylistic techniques authors employ to depict these spaces. These stylistic techniques often work in two seemingly opposing directions: they “naturalize” landscapes that are often portrayed as inhuman and contrast them to the “unnatural” structures of colonial and postcolonial society, while at the same time embodying and claiming the distortion or disorientation inherent in those landscapes. These complex, multifaceted, geographically rooted descriptions, which incorporate and react to a variety of historical and cultural factors, take what I call an ecosystem approach, rather than continuing to rely on a false nature/culture division.

James Walvin has called the Zong case stemming from a 1781 incident in which the crew of an English slave ship willfully “destroyed” more than one-third of the “cargo” (i.e., slaves) aboard the vessel “[t]he most grotesquely bizarre of all slave cases heard in an English court.” While the judges locked themselves within the discourse of maritime law in evaluating the case’s merits, M. NourbeSe Philip unlocks the legal language in Zong! (2008), which limits itself to the words included in the official narrative but contrastingly uses experimental poetry to suggest a poignant counter-narrative. My article concentrates on the complex interplay between Zong! and its source, the appellate record in the Zong case; by comparing and contrasting the rhetorical and generic conventions in the two texts, I reveal how Philip’s poetry cycle testifies that language’s complicity with violence is an association elided at our peril.

This article explores Hélène Cixous’s and Jacques Derrida’s explicit revisiting of their Algerian memories, especially in their later work (mainly Reveries of the Wild Woman and Monolingualism of the Other). These texts offer a specifically deconstructive response to the colonial project in Algeria, attempting to think non-appropriative relations to otherness and processes of identification that exceed a self/other binary. Investigating the colonial principle that manifested itself in Algeria from the vantage point of their Judeo-Franco-Maghrebian situatedness, they derive from this position not accounts of cultural particularity, but analyses of (and alternatives to) colonial practices of identification: analyzing colonial and identity politics as harmful to a fundamental relationality to otherness and affirming a “spectral” zone without belonging that nonetheless carves out a life with, toward, and of the other, on the others’ sides, relational without being oblivious of antagonisms and violence.

Achebe’s two novels of colonization, Things Fall Apart and Arrow of God, one written just before and one just after independence, both begin with the threat of war between village groups. In the first, war is averted by the groups themselves, negotiating compensation on the basis of reciprocity. In the second, war is not avoided and leads directly to intervention by the British, who assert a monopoly on violence and justify it on the basis of the desirability of the rule of law that they impose. I read Achebe’s novels not as historical narratives but as parables of political philosophy. Reciprocity (the basis of vengeance but also of a gift economy) is opposed to the law (imposed by a sovereign and legitimized by its disinterested arbitration). The interest that Achebe expressed in models like reciprocity, which do without the state, disappeared after independence, when Nigerians had their own state. Nevertheless, both novels express a deep ambivalence about the law and the violence required to impose it.

This paper examines the representation of Osu slavery in Chinua Achebe’s No Longer at Ease. Whereas critics read the references to Osu as a minor subplot in the novel, this author suggests the dissipation of the Osu marriage plot illustrates the crisis of abolition within the context of anticolonial struggles. By situating Achebe’s novel alongside midcentury discourses on abolition, freedom, and marriage rights, the author argues that the novel’s form responds to the impasses between the abolitionist agendas of international law, the administrative mandate of colonial law, and indigenous Igbo agitations for and against the eradication of the Osu system. Key to this reading is the novel’s cursory reference to the 1956 bride price laws of eastern Nigeria. By narrativizing the failure of the 1956 legislation, Achebe reflects upon African implication in slavery as well as on the divergences between midcentury anticolonial internationalism and on-ground interpretations and improvisations of freedom.

This article assesses the African American dancer and intellectual Katherine Dunham’s vision and legacy for a performative history of the Black Atlantic by examining two of her early choreographic works, L’Agya and Little Black Sambo. From little-known archival materials and her published writings, I reconstruct the genesis of these works in her fieldwork in the French Caribbean as well as in the phantasm of the Plantation. Through the emotional relationships between Africa, “Africa,” and African diasporic expressive life that emerge, I excavate a hidden history for the modern subject as formed through not only the displacements generated by colonialism and slavery, but also unexpected new regimes of pleasure that were their historical consequences. The resulting imaginative and kinetic expressions that conflate colonial and postcolonial temporalities enable me to posit the limits and possibilities of “trans(post)colonial collaborations” within Dunham’s repertoire as well as for the horizon of the present.

Although most all contemporary studies of China and Africa focus on current economic or foreign policy concerns, this article provides a preliminary mapping of Africa-China cultural exchanges during the Cold War. Growing out of the Africa-Asia Conference of Bandung, Indonesia, in 1955, the Afro-Asian Writers Bureau forged third world solidarities via an alternative conception of postcolonialism based on the transnationalism of global South cultural struggle. By analyzing the cultural exchanges of the bureau, and in particular their definition of world literature, this article seeks to move beyond postcolonial scholarship that focuses exclusively on a vertical relationship between the colonizer and colonized. In so doing, it both reinterprets the Cold War from outside of an American and Soviet dichotomy and provides a critical cultural historicization to China’s current, and often controversial, presence in Africa.

The South African Constitution is widely regarded as one of the world’s most progressive, and this essays looks to a series of novels concerned with the nation’s transition beyond apartheid in order to examine the challenges of transformative constitutionalism. Through readings of Nadine Gordimer’s None to Accompany Me, Zakes Mda’s Ways of Dying, and Ivan Vladislavic’s The Folly,1 it explores the prevalence of the language and imagery of architecture in describing national rebuilding and South African constitutional jurisprudence alike. The essay ultimately argues, however, that the architectural metaphor casts post-apartheid recovery as a success story that belies political and economic reality.

Since the 1990s, survivors of forced labor have been authoring first-person narratives that consciously and unconsciously reiterate the tropes and conventions of the nineteenth-century American slave narrative. These “new slave narratives” typically conform to the generic tendencies of the traditional slave narratives and serve similar activist purposes. Some of the most popular of the narratives have taken a particular political turn in the post-9/11 context, however, as neoliberal political agendas and anti-Muslim sentiments come to dominate the form and content of many of the African narratives that have been produced. This paper identifies a “blackface abolitionist” trend, in which the first-person testimonies of formerly enslaved Africans is co-opted by some politically motivated white American abolitionists to play a black masquerade, in which they adorn themselves with the suffering of enslaved Africans to thinly veil the self-exonerating and self-defensive crusade politics that motivate their engagement in anti-slavery work.

A crucial theoretical question in world literature studies concerns the dual trajectories of extroversion and introversion, and how they relate to or even are predicated on each other. By discussing the examples of Tayeb Salih and, in particular, Sol Plaatje, this article tries to demonstrate that although the current turn toward more “introverted” literary studies can be seen as justifiably critical of single-system modes of world literature theory, an attentiveness to the combined and contradictory trajectories of extroversion and introversion will enable a more situated and localized form of world literature studies that nonetheless evades the risk of reifying national or linguistic provenance. This also requires a stronger conception of reception history not as a transparent vessel for the literary object, but as an active agent in rendering specific texts or authorships readable as introverted or extroverted.

In this part, the implications of negativism are interrogated, especially as they lead to a deliberate negligence on the part of some nahḍah scholars to overlook significant and in fact groundbreaking contributions to the theories of translation as laid down by al-Jāḥiẓ, for example. Counter readings by other nahḍah scholars and translators balance and should have corrected the view of $T{\hskip-5.6pt\vskip1.9pt.}\,$ āhā Ḥusayn, whose alignment with the Enlightenment prevented him from exploring even the most salient features of a past tradition. The medieval as a powerful dynamic in the makeup of historical understanding can be traced in writings by Mudawwar, Sulaymān Khaṭṭar al-Bustānī, and others, but these draw on a Golden past (the Abbasid) as an imaginary that sustains another lineage that takes translation from a Greco-Roman tradition as an invigorating enterprise in an otherwise lively Abbasid (750–978; and then until 1258) culture that was already triumphant. In other words this reclamation of the Golden past was not meant to disparage the Middle Ages, that is, the Mamluk period (1250–1517), but to obliquely criticize cultural dependency on Europe. Hence, prominent journals and publishers did not shy away from picking their designations and names from the Mamluk parlance and architectural sites. These two trends in lexical activity, translation, and historicization attest to a differentiated nahḍah space where the proclaimed epistemic discontinuity with the immediate past was balanced by the setup of a schema for translation as a schema for the nation, a premise that was also applied to the lexicon as a pan-Arab cauldron.

This essay examines the movement of Arab national and cultural revival known as nahdah (meaning renaissance or awakening) as a speech act and a performance involving a nuhūd (rising) and an uncertain practice of civilization (tamaddun) that seek to bring about a culture of knowledge. Contesting its treatment as a homogeneous project of modernity that rose and fell and as a historical period with clear epistemic breaks, it argues that nahdah civilizational practices could not be reduced to notions of civilization associated with Orientalism as system of othering and cultural superiority. This approach frees up nahdah texts from the dominant narrative of rise and decline, and from their intertextual and ideological dependency on European modernity as a model to be borrowed or resisted.

The debate over the impact of British colonialism and “colonial modernity” in India has hinged around questions of epistemic and aesthetic rupture. Whether in modern poetry, art, music, in practically every language and region intellectuals struggled with the artistic traditions they had inherited and condemned them as decadent and artificial. But this is only part of the story. If we widen the lens a little and consider print culture and orature more broadly, then vibrant regional print and performance cultures in a variety of Indian languages, and the publishing of earlier knowledge and aesthetic traditions belie the notion that English made India into a province of Europe, peripheral to London as the center of world literature. Yet nothing of this new fervor of journals, associations, literary debates, of new genres or theater and popular publishing, transpires in Anglo-Indian and English journals of the period, whose occlusion of the Indian-language stories produced ignorance, distaste, indifference—those “technologies of recognition” (Shu-Mei Shih) that produce “the West” as the agent of recognition and “the rest” as the object of recognition, in representation.

This article presents the complex pedagogical challenges and triumphs of an experience of teaching “postcolonial film.” It contains a template for teaching undergraduate students both film studies skills and critical skills to tackle postcolonial artistic creation in its widest respective theoretical and historical context. It also suggests ways for nonfilm studies specialists to integrate close study of a film within a course otherwise using text-based materials. An explication de texte is the most basic exercise that yields complex analyses of any sutured “text” and provides opportunities for sustained dialogue between the student and material. The highly sophisticated, creative, meticulous, and generative readings that students have produced in my experience of beginning every class curriculum with this most basic method of the French tradition has convinced me of its value for insightful reading and clear writing at all levels. I offer this example of explication, taken from my method of presenting and discussing a film, for instructors to modify for their purposes and, more specifically, to adapt film meaningfully into their courses.1

In responding to Muhsin al-Musawi’s two-part essay on the Arabic Republic of Letters, this essay proposes a rethinking of the world systems model in global literary studies in terms of a polysystems framework. Rather than trying to fit literary worlds—ancient, premodern, modern—within a single Euro-chronological frame culminating in a world capitalist systems model—where the non-European worlds appear as invariably inferior—it is worthwhile to see them as several polysystems with variable valences within a heterotemporal planetary literary space. This approach offers a comparative reading of the emergence of three language worlds—Sanskrit, Persian, and Arabic—and urges us to rethink the totality of the world literary space as a diachronic field that generates overlapping, multiscalar, comparative histories of literary polysystems.

My argument in the two-part essay focuses on the dilemma of nahḍah as an unfinished mission; a transition as Țāhā Ḥusayn calls it. I join many scholars who are trying to see through its problematic nature, but I see it also in relation to the immediate past with which it has maintained an uneasy relationship. The recent premodern or medieval past, I argue, could have been read and approached differently to build up a better link with the masses that the nahḍah intellectual bypasses or disparages. The past as a significant period of constellations and knowledge construction could have helped the search for new paths that could also accommodate European knowledge. Other models, alluded to by my insightful respondents and interlocutors, confirm the validity of this proposal, despite the fact that the medieval Islamic republic of letters—as a blanket term for multidimensional efforts—offers more venues in knowledge construction that challenge Casanova’s one single model.