By Judith L. Tabron
How will we learn literatures from different cultures? The metaphors of fractal geometry might help us take into consideration the complexity of the cultural scenario of a textual content or an writer. Postcolonial Literature from 3 Continents identifies 4 fundamental subject matters universal to postcolonial texts-technology, reminiscence, language, and geography-and examines them in courting to 4 texts from Nigeria, the U.S., and Australia in order that we see either the colonized and colonizing positions of those works. The quartet of texts are Amos Tutuola’s The Palm-Wine Drinkard, H. D.’s Helen in Egypt, Ralph Ellison’s Invisible guy, and Patrick White’s Voss.
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Extra resources for Postcolonial Literature from Three Continents: Tutuola, H.D., Ellison, and White (Comparative Cultures and Literatures, Vol. 15)
Example text
How is the American critic to have access to them, I) not knowing who they are, but 2) restricted by the market determinations of publishing in different regions of the world? And yet, in the midst of this indeterminacyBhabha lucidly demands: how much faith can we put in liberalism "abroad"l3 when it cannot support itself at home? Even discounting Bhabha's muddy slide from accusing liberalism of being a salvage mission to accusing it of having messianic delusions of grandeur, he is right to point out the warts of Western liberalism.
2 0 Rey Chow, "In the Name of Comparative Literature" Comparative Literature in the Age of Multiculturalism, ed. Charles Bernheimer (Baltimore:Johns Hopkins University Press, 1995). N. Obiechinal I: Interleaving identity Amos Tutuola's first published novel was The Palm-Wine Drinkard and his Deadpalm-Wine Tapster in the Deads'Town. It was published in 1952 in London by Faber & Faber; it is still in print; the Grove Press edition I have was produced in 1994. It has had its critical ups and downs but the general consensus of critics, however qualified and tentative it might be, is that it is not a particularly great book.
In Bhabha we also find an insistence on the "local" that I find very useful in articulating what I mean by thick description as it ought to apply to literary analyses. As I use the term, I do not mean that there is a unit of society that one can assume to be homogenous and that cultural analyses should simply be launched from one or another of these "local"viewpoints. I use the word to refer to groupings above but more especially below the national level that constitute a temporary "identity" for a writer or the persona she creates.
