By Sara Upstone
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Wilson Harris, time and again nominated for the Nobel Prize in Literature, is a British author of Guyanese beginning, probably the most unique novelists and critics of the 20th century, and possibly the 1st to take advantage of and interpret the aesthetically fruitful inspiration of cross-culturalism. Harris's insights into the profound symbiosis among heritage, tradition and creative expression have been at the start encouraged through his encounters with Amerindians within the Guyanese rainforest inside, the place he led many surveying expeditions.
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Extra info for British Asian Fiction: Twenty-first Century Voices
Exclusions such as these offer an image of Kureishi as a far more didactic writer than critics often suggest. Once these exclusions are established, it is possible to identify in Kureishi’s work a notable ideological positioning. Exclusion of religious commitment from Kureishi’s postethnic world makes the application of Hollinger’s framework problematic. 21 Kureishi’s objection is not to Islam per se, however, but to religion itself. ’22 In his non-fiction and interviews Kureishi’s critique of Islam is interwoven with critiques of Christianity, and religion in general: There are all kinds of things in Islam which are clearly not compatible with liberalism … There’s a lot of stuff in there that you wouldn’t want around now.
It is to the next generation that we must turn, however, for the completion of such experiences. Discussion • • • How do the narrative voices employed by Rushdie and/or Naipaul lay claim to the British landscape? How, and with what level of success, do Rushdie’s and/or Naipaul’s central protagonists ‘change’ Britishness? Both Naipaul and Rushdie have been criticised for their representation of the developing world. How do the potentially problematic aspects of their fiction reflect on them as ‘British authors’?
29 The movement from posed-ethnicity to post-ethnicity only heightens this connection. In his comments on his screenplay for The Mother, a post-ethnic tale questioning conventional ideas of gender and ageing, Kureishi opposes the family with the rights of the individual. The film ends with ‘the mother’ striding out alone, abandoning the judgements of her family and their reliance on convention. An ideal family for Kureishi is not about connection, but about the right to be disconnected: It seems to me that this is a pretty good family and the fact that there is a good deal of indifference in the family to the welfare of the other people probably seems to me to be quite a good thing as well.
British Asian Fiction: Twenty-first Century Voices by Sara Upstone