42. MAKING SPACE: Henry Handel Richardson, Patrick White, David Malouf, Peter Carey, Christina Stead, Robertson Davies, Margaret Atwood, Michael Ondaatje, Maurice Shadbolt, Janet Frame, Keri Hulme, Anita Desai, Salman Rushdie, Earl Lovelace

The Novel ◽  
2014 ◽  
pp. 990-1016
Author(s):  
Coral Ann Howells

This chapter discusses the works of three Canadian novelists best known internationally: Robertson Davies, Margaret Atwood, and Michael Ondaatje. The careers of Davies, Atwood, and Ondaatje, although overlapping chronologically, represent distinctive stages in Canada's evolving cultural traditions and publishing practices since the 1950s. Davies's novels signal the first stage in a transition from colonial to postcolonial identity in post-war Canada. Atwood in the 1970s provided the script for a Canadian cultural and literary identity separate from British and American in what Carol Shields called ‘a period of explosive patriotism’. Ondaatje's novels and family memoir epitomize the ‘refocusing and defocusing’ of Canadian literature since the 1980s, coinciding with the nation's shifts into multiculturalism and transnationalism. The chapter first provides a background on Davies, Atwood, and Ondaatje's careers before considering some of their works, including the Deptford trilogy (Davies), The Handmaid's Tale (Atwood), and The English Patient (Ondaatje).


2020 ◽  

Kanadische Literatur der Gegenwart ist Weltliteratur – Literatur von globalem Format und Wirkung, prestigeträchtig ausgezeichnet (Nobelpreis für Alice Munro, Booker­Prize und Friedenspreis für Margaret Atwood), hochaktuell und kontrovers. In der Tat liegt der Erfolg der kanadischen Literatur im 21. Jahrhundert nicht zuletzt in ihrer transnationalen und multikulturellen Ausrichtung. Die kanadischen Autor*innen, deren Werke in diesem Band vorgestellt werden, zeichnen sich immer wieder durch das Überschreiten von Grenzen aus. Das können geografische Grenzen sein, wie im Fall der von ghanaischen Einwanderern abstammenden Esi Edugayan oder des singhalesisch­holländisch­stämmigen Michael Ondaatje, deren Figuren zwischen Kanada, den Vereinigten Staaten, Deutschland und Afrika angesiedelt sind. Es handelt sich aber auch um Gattungsgrenzen, etwa die noch immer misstrauisch beargwöhnte Frontlinie zwischen Autobiografie und Fiktion, auf der Sheila Heti zum Grenzgänger wird, oder sogar die zwischen Literatur und Popmusik, wie sich in der erstaunlichen Karriere von Leonard Cohen zeigt. Der vorliegende Band gibt einen Einblick in die Vielfalt der Literatur Kanadas, vom modernen Klassiker bis zur spannenden Neuentdeckung.


2021 ◽  
pp. 263-276
Author(s):  
Sonya Surabhi Gupta ◽  
Shad Naved

South Asian interest in Gabriel García Márquez and his works has been intense and diverse, and mapping its multiple trajectories offers a historical field of enquiry for assessing the reception of this Latin American writer in the subcontinent. This article uncovers various strands of the conceptual armature at work in the South Asian critical readings of García Márquez and magical realism. These range from approaches that privilege the “Third World” provenance of the genre; to the poststructuralist critique of such Third World nationalism; to the discomfort with an intermediating Euro-American critical apparatus, as also with decolonial readings of García Márquez’s magical realism as a transformative mode charged with a political dimension. The deployment of the “non-mimetic” realist mode in the works of diasporic South Asian writers such as Salman Rushdie or Michael Ondaatje has been noted by critics and is central to positing magical realism as the literary language of postcolonial writers. This article additionally explores the mode’s sturdiness in the works of some of their counterparts in the bhashas, that is, writers of the so-called vernacular languages of the subcontinent. It is in these languages with robust literary traditions such as Bengali, Malayalam, Sinhalese, Tamil, Kannada, Hindi, and Urdu that García Márquez’s works have been intercepted through translations for the vast majority of readers in India, Pakistan, Bangladesh, and Sri Lanka, who do not read them in metropolitan languages. The article critically maps these diverse modes of accessing García Márquez in the “lettered cities” of South Asia.


2014 ◽  
Vol 2 (8) ◽  
Author(s):  
Dr.Rajib Bhaumik

Postcolonial transnational counter-textuality began by affirming the contestation between estrangement and search for identity. The counter-textual mood of anti-colonial or nationalist writing finds its resources in the transcultural restlessness of writers such as Salman Rushdie, Ben Okri, Michael Ondaatje and Bharati Mukherjee. However, Mukherjee’s position is different from that of other writers of Diaspora. In the language of Jasbir Jain, ‘Diasporic writers have worked variously with their material. Ondaatje moved from culture to culture, several others have accepted the Janus-faced hyphenated self, choosing to locate themselves in hyphen, yet others like Bharati Mukherjee have shed their pasts, if not as material, at least as professions about it.


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