Literary Criticism

This edited volume critically assesses different aspects of five literary genres – novels, poetry, short-stories, drama, and non-fictional prose – contributed to by the Indian diasporic writers settled principally in North America and Europe. Films made by or on members of the Indian diaspora have been also checked out. The predominant approach in the anthology is not only a feminist one, although special emphasis is given on assessing the writings by females.

The emphasis of the anthology is on: (a) critical analyses of themes, styles, diction, and relevance of the writings; (b) assessment of the research potentialities of these writings; (c) examining how literary theories could be used for explaining and assessing the writings; (d) proper contextualization of the writings; and (e) finding out the historical roots and suggesting the future ‘prospects’ of such writings.

The essays included in the book re-read Indian diasporic writings for their appreciable points as well as those which need development. The collection fills in lacuna of critical approaches to Indian diasporic writings presently available in the market. In fact, there is scarcely any book presently available that covers critical approaches to all the five literary genres of Indian diasporic writings.

Entanglements: Envisioning World Literature from the Global South scrutinizes current debates to bring historical and contemporary South-South entanglements to the fore and to develop a new understanding of world literature in a multipolar world of globalized modernity. The volume challenges established ideas of world literature by rethinking the concept along the notion of “entanglements”: as a field of variously criss-crossing relations of literary activity beyond the confines of literary canons, cultural containers, or national borders. This lens sharpens our view for (re-)envisionings of world literature from a range of Global-South perspectives and new transnational imaginaries emerging from these literatures.
The collection presents individual case studies from a variety of language traditions that focus on particular literary relationships and practices across Africa, the Americas, Asia, and Europe as well as new fictional, poetical, and theoretical conceptions of world literature in order to broaden our understanding of the multilateral entanglements within a widening communicative network that shape our globalized world.

Martina Napolitano explores the poetics of one of the most significant Russian authors of the 20th century. Sasha Sokolov’s oeuvre represents a milestone in the development of Russian literature; his legacy can be traced in most prose and poetry appearing in post-Soviet Russia. Taking as point of departure the studies and analyses written so far and considering the new suggestions contained in Sokolov’s last published book Triptych (2011), Napolitano further examines the keystones and the theoretical framework that arise from a close reading of Sokolov’s works, trying to systematize the findings into what can be considered as a structured authorial theory of literary creation.

The study demonstrates how Sokolov’s oeuvre cannot be fully understood but within the widened perspective of inter-artistic creation: In fact, the writer, a “failed composer”, as he admits, in his literary work has tried to draw natural and spontaneous connecting lines between the artificially categorized realms of art (word, sound, painting, performance).

Finally, the book sets forth the first solid analysis of Sokolov’s concept of proeziia, not merely a genre nor style of his own invention, but a more significant theoretical reflection of the writer about the role and value of literature, art, creation, and finally beauty.

This is the first monograph to analyse Beckett’s use of the visual arts, music, and broadcasting media through a transdisciplinary approach. It considers how Beckett’s complex and varied use of art, music, and media in a selection of his novels, radio plays, teleplays, and later short prose informs his creative process.

Investigating specific instances where Beckett’s writing adopts musical or visual structures, Lucy Jeffery identifies instances of Beckett’s transdisciplinarity and considers how this approach to writing facilitates ways of expressing familiar Beckettian themes of abstraction, ambiguity, longing, and endlessness. With case studies spanning forty years, she evaluates Beckett’s stylistic shifts in relation to the cultural context, particularly the technological advancements and artistic movements, during which they were written.

With new examples from Beckett’s notebooks, critical essays, and letters, Transdisciplinary Beckett evidences how the drastic changes that took place in the visual arts and in musical composition influenced Beckett and, in turn, were influenced by him. Transdisciplinary Beckett situates Beckett as a key figure not just in the literary marketplace but also in the fields of music, art, and broadcasting.

This volume offers a selection of critical essays on texts that can be broadly categorized as popular literature. The essays are inclined to question the idea of ‘the Canon’ and re-consider the divide between the canonical and the popular. As such, besides engaging in a serious critical reading of typical popular literary texts like The Jungle Book and The Hound of the Baskervilles, the book also considers populist tendencies in literary classics like Jane Eyre and Frankenstein. It will be of interest to young scholars and readers of popular literature, science fiction, detective fiction, genre studies, and culture studies.

The volume’s contributors are: Anisha Ghosh, Arnab Dasgupta, Goutam Karmakar, Jaya Sarkar, Jaydip Sarkar, Madhuparna Mitra Guha, Mandika Sinha, Mitarik Barma, Pinaki Roy, Puja Chakraborty, Rajadipta Roy, Rupayan Mukherjee, Shirsendu Mondal, Shubham Dey.

Every major socio-political change starts with some discarding. Suffice it to think about the heaps of rubbish consisting of old furniture, cars, busts of famous communist leaders, badges, and books on the streets of Eastern Europe in the fall/winter of 1989/1990. Among the institutions which have the greatest amount of experience with discarding are libraries: Counterintuitive as it may seem, libraries (but also museums and archives) regularly discard books as part of their job. In the wake of the collapse of communism in Europe, stock revision was needed in libraries, but did it unfold in a ‘business as usual’ fashion or was it a “bibliocide” (as it was labelled by some media in Croatia) or even “the biggest destruction of books in the post-war period” (as it was characterized by a German journalist)?

When does a standard library practice start attracting public attention? What makes the Croatian case stand out?


This book approaches the issue on at least three levels (phenomenological, discursive, and theoretical) and from three angles (from the point of view of librarians, non-professionals, and, metaphorically, discarded books themselves). The aim is to offer an innovative and original interpretation of post-socialist transition and post-Yugoslav memory while at the same time providing an empirically founded case study of the inconsistencies and lack of implementation of regulations in the field of librarianship in Croatia as opposed to a seemingly more synchronized environment in Slovenia.

The history of the monarchy in Romania and of its four kings would be incomplete without the story of the queen consorts, who seem to have been even more fascinating personalities than the kings were. Especially the first two queen consorts, Elisabeth (Carmen Sylva) and Marie of Romania, became famous as writers during their lifetime. They both wrote in their mother tongues, Elisabeth in German and Marie in English, and published many of their books, not only in Romania, but also abroad, thus reaching a widespread readership, worldwide publicity, and literary recognition.

This affectionately collected, critically edited volume comprises the most precious tales and essays by the queen consorts, either translated into English (Carmen Sylva) or in the original English version (Marie of Romania).

South Asian diasporic writing—poetry, fiction, literary theory, and drama by writers from India, Pakistan, and Sri Lanka now living in the UK, Canada, Australia, New Zealand, and the USA—is one of the most vibrant areas of contemporary world literature. In this volume, eighteen acclaimed writers from this tradition are interviewed by experts in the field about their political, thematic, and personal concerns as well as their working methods and the publishing scene. The book also includes an authoritative introduction to the field, and essays on each writer and interviewer.

The interviewers and interviewees are: Rukhsana Ahmad, Maryam Mirza, Michelle Cahill, Chris Ringrose, Shankari Chandran, Birte Heidemann, Amit Chaudhuri, Pavan Kumar Malreddy, R. Cheran, Aparna Halpé, Suneeta Peres da Costa, Reshmi Lahiri-Roy, Sulari Gentill, Angela Savage, Romesh Gunesekera, Susheila Nasta, Kaiser Haq, Mohammad A. Quayum, Tabish Khair, Mridula Koshy, Neel Mukherjee, Anjali Joseph, Karthika Naïr, Laetitia Zecchini, Mariam Pirbhai, Sehba Sarwar, Rajith Savanadasa, Alexandra Watkins, Sungchuk Kyi, Ruth Gamble, Samrat Upadhyay, and Prakash Subedi.

Forming a pair with the voice, the gaze is a central structuring element of Samuel Beckett’s creation. And yet it takes the form of a strangely impersonal visual dimension testifying to the absence of an original exchange of gazes capable of founding personal identity and opening up the world to desire. The collapse of conventional reality and the highlighting of seeing devices—eyes, mirrors, windows—point to the absence of a unified representation. While masks and closed spaces show the visible to be opaque and devoid of any beyond, light and darkness, spectres—manifestations without origin—reveal a realm beyond the confines of identity, where nothing provides a mediation with the seen, or sets it within perspective. Finally, Beckett’s use of the audio-visual media deepens his exploration of the irreducibly real part of existence that escapes seeing.

This study systematically examines these essential aspects of the visual in Beckett’s creation. The theoretical elaborations of Jacques Lacan—in relation with corresponding developments in the history and philosophy of the visual arts—offer an indispensible framework to understand the imaginary not as representation, but as rooted in the fundamental opacity of existence.

Will the Russian and Jewish nations ever achieve true reconciliation? Why is there such disparity in the interpretations of Russo-Jewish history? Nobel Laureate Aleksandr Solzhenitsyn has focused on these and other thorny questions surrounding Russia's Jewish Question for the last ten years, culminating in a two-volume historical essay that is among his final literary offerings: Two Hundred Years Together. In this essay, Solzhenitsyn seeks to elucidate Judeo-Russian relations while also promoting mutual healing between the two nationalities, but the polarized reception of Solzhenitsyn's work reflects the passionate sentiments of Jews and Russians alike.

Aleksandr Solzhenitsyn and the Modern Russo-Jewish Question puts Two Hundred Years Together within the context of anti-Semitism, nationalism, Russian literature, and Aleksandr Solzhenitsyn's prolific, influential life. Nathan Larson argues that as a writer, political thinker, and religious voice, Solzhenitsyn symbolizes Russia's historically ambivalent relationship vis-à-vis the Jewish nation.

Zitovás literary analysis starts at the interface of Czech and German literature in the first half of the twentieth century. Thomas Mann's novel Joseph and His Brothers is set in comparative relation to Ivan Olbracht's prose texts Nikola Šuhaj loupežník and Golet v údolí. Olbracht translated three volumes of Mann's Joseph's tetralogy parallel to the composition of his own prose works. Zitová examines the influence of Olbracht's translation work on his own work.

Zitovás literaturwissenschaftliche Analyse setzt an einer Schnittstelle der tschechischen und deutschen Literatur in der ersten Hälfte des zwanzigsten Jahrhunderts an. Thomas Manns Roman Joseph und seine Brüder wird vergleichend in Beziehung gesetzt zu Ivan Olbrachts in den dreißiger Jahren entstandenen Prosatexten Nikola Šuhaj loupežník und Golet v údolí. Olbracht übersetzte parallel zur Abfassung seiner Prosawerke insgesamt drei Bände aus Manns umfangreicher Josephs-Tetralogie. Diese Übersetzertätigkeit blieb, wie Zitová aufzeigt, nicht ohne Einfluss auf sein eigenes Schaffen. Das Buch knüpft an eine von Jirí Opelík geschriebene Studie Olbrachts reife Schaffensperiode sub specie seiner Übersetzungen aus Thomas Mann und Lion Feuchtwanger (1967) an, in der dieser tschechische Literaturwissenschaftler das Thema eröffnete. Mit Zitovás Tiefenanalyse schließt sich diese germanobohemistische Forschungslücke.

"Beckett criticism has been greatly enhanced, and sometimes chastened, by genetic scholarship, as this anthology... attests."—Andre Furlani, Modernism/Modernity

"This collection of essays... represents the most comprehensive analysis of Beckett's relationship to philosophy in print, how philosophical issues, conundrums, and themes play out amid narrative intricacies. The volume is thus both an astonishingly comprehensive overview and a series of detailed readings of the intersection between philosophical texts and Samuel Beckett's oeuvre, offered by a plurality of voices and bookended by an historical introduction and a thematic conclusion."—S. E. Gontarski, Journal of Beckett Studies

"Helps us to consider not only how Beckett made use of philosophy but how his own thought might be understood philosophically."—Anthony Uhlmann, University of Western Sydney

Aleksandr Prokhanov (born 1938) is a prize-winning novelist and also, as editor of the weekly newspaper Zavtra, a leading figure in Russian ‘imperial patriotism’. Ever since 1991, when he signed (and reputedly wrote) the manifesto for the failed putsch against Mikhail Gorbachev, he has been an influential voice in Russian political culture—helping to turn the ‘irreconcilable opposition’ of the 1990s towards Empire, grappling with whether to endorse Vladimir Putin as a savior or expose him as a fraud, and promulgating a bewildering series of ‘conspiracy theories’ in which Russian and international affairs are explained in the most extravagant terms. He has also been a remarkably prolific writer; and the best of his novels are real works of literature, at once muckraking and lyrical, interweaving Moscow scandal so tightly with the mystical yearnings of ‘cosmism’ that the reader can hardly prize them apart. The same themes flow backwards and forwards between Prokhanov’s fiction and his non-fiction. World conspiracies, space exploration, the resurrection of the dead, Stalin as a supernatural redeemer—these and other preoccupations recur again and again, in his leading articles as well as in his novels.

This book, the first on Prokhanov, offers an account of his writing and of the ‘red-brown’ esotericism he expounds. It will be of interest to anyone concerned with modern Russian literature or politics, and also to students of ‘conspiracy theories’, esoteric belief systems, or the conspiracy novel.

Combining phenomenological analysis with dance and performance analysis and affect theory, A Theatre of Affect: The Corporeal Turn in Samuel Beckett's Drama takes stock of the various ways in which the body in Samuel Beckett's drama participates in the affective ecology of performance. Affect is here located in the materiality of the body and discussed in relation to the symbolic significance of, for instance, the effort, direction, speed, or duration of a posture, movement, or gesture. Although the meaning of the body in Beckett's stage-images cannot be mapped onto conventional discursive meanings, the significance of the body's formal modulations is affective in the sense that the import of such changes is immediately recognized and felt as significant by spectators. Beckett's theater of affect therefore is predicated on the infinitesimal stirrings of subliminal meaning-making that continuously shape and create the world in experience.

In this fascinating book, Johanna Emeney examines the global proliferation of new poetry related to illness and medical treatment from the perspective of doctors, patients, and carers in light of the growing popularity of the medical humanities. She provides a close analysis of poetry from New Zealand, the U.S., and the U.K. that deals with sociological and philosophical aspects of sickness, ailment, medical treatment, care, and recuperation.

Vasily Yan (Vassily Grigoryevich Yanchevetsky, 1874–1954) was a writer of historical novels whose popularity survives the test of time. He was widely read throughout the Soviet era and continues to be popular in the post-Soviet era. This book is not just a biographical sketch of an important Russian/Soviet writer basically unknown to the Western public. The focus on Yan and his work also demonstrates the role of ideology in a totalitarian society. Shlapentokh shows that ideology and cultural and intellectual life in totalitarian regimes are more complex than is often assumed. Intellectuals often engaged in stressful, but—in its literary outcome—captivating "cat and mouse" games with censors, the powerful, and the government.

Beckett's Late Stage reexamines the Nobel laureate's postwar prose and drama in the light of contemporary trauma theory. Through a series of sustained close readings, the study demonstrates how the comings and goings of Beckett's prose unsettles the Western philosophical tradition; it reveals how Beckett's live theatrical productions are haunted by the rehearsal of traumatic repetition, and asks what his ghostly radio recordings might signal for twentieth-century modernity. Drawing from psychoanalytic and poststructuralist traditions, Beckett's Late Stage explores how the traumatic symptom allows us to rethink the relationship between language, meaning, and identity after 1945.

Critical discussions on Jhumpa Lahiri’s works are rampant, but they are confined to her short stories and fictional writings. This book offers a fresh perspective by showing how she gradually shifts her identity from a fiction writer to a non-fiction writer. And, more importantly, her adherence to the ‘Italian phase’ in academia has not previously been the subject of such a thorough critical investigation. There is a sudden change in her writing and her choice of language; she prefers Italy and the Italian language to English and Bengali. Such spatial as well as linguistic dislocation leads her towards a new space in which she anticipates her freedom of choice, confronts difficulties, and often gets confused, too: to be in Italy or not to be.

What this book seeks to touch upon is how Lahiri’s fictional as well as nonfictional writings bring out her and her fictional characters’ translational and transnational existence reinforcing her literary motto ‘I translate, therefore I am’.

It is of special interest to students as well as scholars of Diaspora and Migration studies.

Nationalism and Indigenousness in Select Commonwealth Writings and Films: A Postcolonial Rereading—the first publication the new book-series Studies in Commonwealth Writings—collects 24 essays written by scholars, critics, and writers from all over the world, which, in the postcolonial perspective, analyze select literary writings and films from the so-called ‘Commonwealth countries’ (especially those belonging to Asia, Africa, Australia, and the Caribbeans) to explore how the concerned writers and filmmakers have depicted issues of nationalism and indigeneity.
Though there are controversies regarding the acceptability and relevance of the term ‘Commonwealth’, the present literary and cultural world is – identifiably – being dominated by publications and works of these ‘Commonwealth’ litterateurs and filmmakers. Ranging from analyses of Canadian writings to Indian films and novels, and from Australian writings to African publications and cinema, this anthology of critical writings—to be used by academicians and researchers alike from the disciplines of literature and film studies—seeks to fill in the (perceptible) lacuna that still exists in the field of critical approaches to Commonwealth literature, films, and culture.

The volume’s contributors are:

• Bhaduri, Irona
• Bhagira, Tanmoy
• Chakraborty, Rituparna
• Dutta, Rishav, and Neha Arora
• Farahmandfar, Masoud
• Ghosh, Debottama
• Guttman, Anna
• Jahan, Israt
• Karmakar, Tushar Kanti
• Kavitha, T.S., and Mahesh Sharma
• Khan, Bodhisattwa
• Khan, Khatija B.B.
• Mark, Tekena Gasper, and Taiwo Afolabi
• Modak, Poulomi
• Mukherjee, Ananya
• Mukherjee, Ananya
• Raj, Sony Jalarajan, and Adith K., Suresh
• Ray, Sumit
• Roy, Kaushik
• Roy, Satyajit
• Saikia, Meghali
• Swarnakar Neha
• Wayal, Amar, And Anupama A.P.
• Yadav, Ram Bhawan

Ever since the Second World War, the movement of refugees as well as of those seeking better opportunities for work, for education, or a functional democracy, has dominated headlines, influenced political debates, and shaped elections and referenda. Growing nationalist sentiments and policies are increasingly defined against, and clash with, the free movement of people.

In light of these worldwide tensions, this volume explores aggressive and brutal dimensions of migration through literature, documentary films, feature films, and theater productions. Uncovering deep societal forces behind migratory violence, the contributions reveal that instances of structural and cultural violence are rooted in hidden, yet highly influential and destructive, ideologies.

The authors also provide revelatory glimpses into how artistic productions and scholarly works might be themselves subverting or deconstructing structural and cultural violence against migrants.

Offering a critical yet compassionate examination of our culture heavily influenced by borders, exclusion, terrorism, and resilience, the book primarily serves literary and cultural studies scholars with new perspectives on the intersections of art with structuralist and deconstructivist approaches to migration-related violence but also offers a fresh look at borders and migration-related phenomena for those active in the social and political sciences.

The Editors:

Zénó Vernyik is assistant professor and head of the English Department at the Technical University of Liberec, Czech Republic, where he co-founded the university’s Borders and Migration Research Group and was the recipient of two grants for projects focusing on the teaching and research of the cultural representation of migration. So far, he has authored a monograph, edited four further volumes, and published a number of articles on urban literature, crime fiction, and comparative literature. At present, he is working on a monograph on Arthur Koestler’s fiction.

Sándor Klapcsik is assistant professor at the Technical University of Liberec in the Czech Republic and a cross-border commuter living in Poland. With support from European exchange programs and the research grant Migration: Sociopsychological and Cultural Factors, his recent work has focused on liminality and acculturation in ethnic and migrant cinema. He has been a Fulbright-Zoltai Fellow at the University of Minnesota (USA) and has conducted research at the University of Tromsø (Norway), the University of Łódź (Poland), and the University of Liverpool (UK). His monograph Liminality in Fantastic Fiction: A Poststructuralist Approach was published in 2012. He is currently working on a volume on European migrant cinema.