Pub Date : 2004-12-01DOI: 10.1177/0021989404050274
G. Stoneham
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Pub Date : 2004-12-01DOI: 10.1177/0021989404050282
S. Perera
Sri Lanka’s term as chair of the Commonwealth Writers Prize for Eurasia ended in the year under review. The judges were Walter Perera, University of Peradeniya (chair); Sanjukta Dasgupta, University of Calcutta; and Boyd Tonkin, Literary Editor of the Independent. Unlike the previous year, when all the events associated with the prize were held in Kandy, in 2003, readings by Commonwealth authors were held in Kandy while the announcement of the winners of the regional competition was made in Colombo. The announcement was preceded by a panel discussion on ‘The Role of the Commonwealth Writer in an Era of Globalisation’. Panellists included Boyd Tonkin, Neloufer de Mel, Sanjukta Dasgupta, and Rajiva Wijesinha. A unique feature of this CWP event was the participation of four High Commissioners from ‘Eurasia’ (the United Kingdom, India, Pakistan, the Maldives) and the High Commissioner for Australia. Each representative was briefly interviewed by the Director of the British Council about the way in which their lives had been influenced by Commonwealth Writing. In announcing the winners of the year’s competition (Michael Frayn, the Best Book award, for Spies, and Sarah Hall, the Best First Book award, for Haweswater), the chair noted that ‘Commonwealth’ novels had become unrecognisable from what they were when the term was first employed in the 1960s. Some of the entries for 2003 showed authors of, say, American and Russian extraction writing on topics like the Vietnam war and the Chernobyl disaster, respectively. The ‘age of migration’ had indubitably led to a new heterogeneity and dynamism in the fiction produced in the Commonwealth. He concluded that if the object of literature according to the old adage was to ‘richly reveal the commonplace’, the task of reading close upon two hundred books over two years had shown the panels how Sri Lanka 2003
斯里兰卡担任英联邦欧亚作家奖主席的任期在本年度结束。评委是佩拉德尼亚大学的Walter Perera(主席);Sanjukta Dasgupta，加尔各答大学;以及《独立报》文学编辑博伊德·汤金。与前一年所有颁奖活动都在康提举行不同的是，2003年英联邦作家的朗读会在康提举行，而地区竞赛的获奖者则在科伦坡宣布。在宣布这一消息之前，有一个关于“英联邦作家在全球化时代的角色”的小组讨论。小组成员包括Boyd Tonkin, Neloufer de Mel, Sanjukta Dasgupta和Rajiva Wijesinha。本次工作小组活动的一个独特之处在于，来自“欧亚大陆”(联合王国、印度、巴基斯坦、马尔代夫)的四名高级专员和澳大利亚事务高级专员参加了活动。每位代表都接受了英国文化协会主任的简短采访，了解他们的生活如何受到英联邦写作的影响。在宣布今年的获奖名单时(迈克尔·弗雷恩凭借《间谍》获得最佳图书奖，莎拉·霍尔凭借《豪斯沃特》获得最佳处女作奖)，主席指出，“联邦”小说与上世纪60年代首次使用这个词时相比，已经变得面面全非。2003年的一些条目显示，来自美国和俄罗斯的作者分别就越南战争和切尔诺贝利灾难等主题进行了写作。“移民时代”无疑给英联邦的小说带来了新的异质性和活力。他的结论是，如果文学的目标是根据古老的格言“丰富地揭示平凡”，那么在两年内阅读近200本书的任务已经向小组展示了斯里兰卡2003年的情况
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Pub Date : 2004-12-01DOI: 10.1177/0021989404050278
Ismail S. Talib
This is the first time that Malaysia is included in the Bibliographical issue of this journal after a gap of ten years. The annual bibliography for Malaysia until 1993 had always appeared together with that for Singapore. When I co-compiled the bibliography for Singapore literature for the years 1994–96 with Koh Tai Ann, we decided to exclude Malaysia. There were a few reasons for doing this. From my perspective, it had partly to do with the fact that I perceived Singapore literature in English as quite distinct from Malaysian literature in English. At the time that we compiled the bibliography, Singapore had been independent from Malaysia for over thirty years, and to an extent, its literature in English had gone on a different trajectory from that of Malaysian literature in the language. It would be disappointing if the two literatures were constantly packaged together, as there were connections with other literatures both in English and other languages. Looking at this bibliography alone, for example, we see the connections between Singapore and the United States of Chay Yew and Vyvyane Loh, between Malaysia and the United States of Shirley Lim, and between Singapore and the Australia of Simone Lazaroo. Another factor in any attempt to compile a bibliography that includes Malaysia is the fear that the entire Malaysian list will not be as substantial as that for Singapore, thus creating an imbalance. The present bibliography testifies to this to a certain extent, although the discrepancy does not apply across the board. However, there is nothing wrong with the imbalance if it is a faithful reflection of the output from both countries. I will return to this point again later, as it is not merely a matter of calculation, and does not only reflect on general trends in the respective development of literature in English of each country, which should not only be seen as a whole, but also on a more piecemeal comparative basis, in order to arrive at a more comprehensive picture. Malaysia and Singapore
这是马来西亚时隔十年后第一次被列入《参考书目》。1993年以前，马来西亚的年度参考书目总是与新加坡的年度参考书目一起出版。当我与高大安(Koh Tai Ann)合编1994-96年新加坡文学参考书目时，我们决定将马来西亚排除在外。这样做有几个原因。从我的角度来看，部分原因是我认为新加坡英语文学与马来西亚英语文学截然不同。在我们编纂参考书目的时候，新加坡已经从马来西亚独立了三十多年，在某种程度上，新加坡的英语文学与马来西亚的英语文学走的是一条不同的轨道。如果这两种文献总是被包装在一起，那将是令人失望的，因为英语和其他语言的其他文献都有联系。例如，单看这一参考书目，我们就可以看到新加坡与美国之间的联系(蔡耀和陆维扬)，马来西亚与美国之间的联系(林秀兰)，新加坡与澳大利亚之间的联系(西蒙·拉扎鲁)。另一个因素是，人们担心马来西亚的书目不会像新加坡那样丰富，从而造成不平衡。目前的参考书目在一定程度上证明了这一点，尽管这种差异并不全面适用。然而，如果这种失衡是两国产出的真实反映，那就没有错。我将在稍后再回到这一点，因为这不仅仅是一个计算问题，也不仅仅反映了每个国家英语文学各自发展的总体趋势，这不仅应该被视为一个整体，而且应该在更零碎的比较基础上，以便得出一个更全面的图景。马来西亚和新加坡
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Pub Date : 2004-12-01DOI: 10.1177/0021989404050280
C. Warren
2003 was a good year for South African literature, particularly for fiction. Many well-written books appeared and South African authors were nominated for many international awards. The most visible was J.M. Coetzee who received the Nobel prize for literature. In addition, three South African authors were long-listed for the Booker Prize, and both of the Africa region prizes of the Commonwealth Writers Prize went to South Africans. Two early South African novels were turned into films, Olive Schreiner’s The Story of an African Farm and Rider Haggard’s King Solomon’s Mines. A notable feature of the fiction published was the blurring of boundaries between fiction and non-fiction, particularly evident in the many autobiographical novels appearing, and between adult and teenage fiction. Authors continue to explore aspects of identity, for individuals and for the country. This year sees less emphasis on the Truth and Reconciliation Commission and on accounts of anti-apartheid struggle, although these do still appear. There is instead increasing interest in novels exploring transition, as individuals and communities face change and must come to terms with the New South Africa. This can also be seen in the many books using young protagonists. Many other authors turn to the past, with a number of historical novels. Another interesting feature is the upsurge of debut novels, particularly by women writers. When J.M. Coetzee’s latest book, Elizabeth Costello, was nominated for the Booker Prize it prompted speculation that he might become the South Africa
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Pub Date : 2004-12-01DOI: 10.1177/0021989404050275
Van Ikin, D. Jorgensen
Following the success of his Booker Prize winning True History of the Kelly Gang, Peter Carey has turned his pen to another Australian myth. This time, and from a distant home in New York, Carey turns to the socalled ‘Ern Malley Affair’. One of the most talked about literary scandals in Australia, Malley has become central to an understanding of literary modernism in the country. His poetry was hailed as a literary sensation by the avant-garde art group of the time, the ‘Angry Penguins’. Yet in 1944 their author was exposed as a fake; the Angry Penguins had been subject to a hoax. James McAuley and Harold Stewart wanted to expose the pretensions of modernist writing. Yet even after such an embarrassing controversy, editor Max Harris continued to claim that Malley was one of the greatest poets of the day, real or not. The poetry even went to trial, as Harris was charged with publishing obscenity and was forced to defend the material designed to embarrass him! The issue had great impact in a young country still insecure about the place of its art in the modern world. By defending the imitation, Harris symbolically defended the right of the periphery to make true objects of art in styles that were determined by the centre. Carey’s new novel, My Life as a Fake, condenses the hoaxers McAuley and Stewart into the one person of Christopher Chubb. What follows is a complex narrative set in the jungles and alleys of Malaysia, in which the editor Sarah attempts to track down the real author of the verse that Chubb has given her. This author then comes to life in a stroke of Carey-style magical realism. The blustering Bob McCorkle rampages on stage and the novel is never quite the same again. Carey quotes Mary Shelley in the novel, and evokes the creator and monster of Frankenstein in the duo of Chubb and McCorkle. Australia
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Pub Date : 2004-12-01DOI: 10.1177/0021989404050279
Stephen Hamilton
My first year in the role of bibliographer of New Zealand (and South Pacific) literature for the Journal of Commonwealth Literature has been something of a revelation; certainly it has given me a greater appreciation of both the continued growth of my subject and its wide range of genre. New Zealand authors have long excelled in the genre of romantic fiction. Dorothy Eden and Essie Summers were the most prolific from the midtwentieth century, writing to the required formula stories which could often often have been set in any western society. Their descendents are more inclined to use distinctly New Zealand locations. The stories credited below to Robyn Donald, one of Mills & Boon’s most translated authors, boast the uniquely New Zealand titles of The Temptress Of Tarika Bay and One Night At Parenga, indicative of the same sort of pride-of-place that lies behind the recent film adaptation of Witi Ihimaera’s novel Whale Rider. Concerned on the whole with a more local market, the university presses continue to be major producers of good poetry and fiction, particularly Auckland (AUP) and Victoria (VUP). Cliff Fell, Anne Kennedy, Sarah Quigley, Kapka Kassabova, and Graham Lindsay are among the most successful of their poets. Fell’s The Adulterer’s Bible (VUP) draws inspiration from the 1631 edition of the holy book, banned for its misprint ‘Thou shalt commit adultery’. Suitably, his poems are alternatively erotic and playful, toying with the ambiguity of language. Elizabeth Knox retains her place as the most celebrated of the university press fiction writers with her new novel Daylight (VUP). And daylight has indeed dawned after the dark convolutions of Black Oxen, with New Zealand (with the South Pacific Islands)
我在《英联邦文学杂志》(Journal of Commonwealth literature)担任新西兰(和南太平洋)文学书目编纂者的第一年，对我来说是一种启示;当然，它让我对我的主题的持续增长和它的广泛类型有了更大的欣赏。长期以来，新西兰作家在浪漫小说这一流派中表现出色。多萝西·伊登和艾西·萨默斯是二十世纪中叶最多产的作家，她们按照要求写的故事通常可以在任何西方社会发生。他们的后代更倾向于使用新西兰特有的地点。以下的故事出自米尔斯和布恩翻译最多的作家之一罗宾·唐纳德之手，他的《塔里卡湾的诱惑女郎》和《帕伦加的一夜》都是新西兰特有的书名，这表明了最近改编自威蒂·伊希玛拉的小说《鲸鱼骑士》的电影背后同样存在的自豪感。从整体上看，由于更多的地方市场，大学出版社仍然是优秀诗歌和小说的主要生产者，尤其是奥克兰(AUP)和维多利亚(VUP)。克里夫·费尔、安妮·肯尼迪、萨拉·奎格利、卡普卡·卡萨波娃和格雷厄姆·林赛都是他们最成功的诗人。费尔的《通奸者圣经》(VUP)的灵感来自1631年版的《圣经》，该书因印刷错误“你应通奸”而被禁。适当地，他的诗是色情和俏皮的交替，玩弄语言的模糊性。伊丽莎白·诺克斯凭借她的新小说《日光》(VUP)保持了她作为最著名的大学新闻小说作家的地位。在与新西兰(与南太平洋岛屿)的黑牛(Black cattle)的黑暗漩涡之后，白昼确实破晓了。
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Pub Date : 2004-12-01DOI: 10.1177/0021989404050277
S. Rai
The Indian literary terrain is criss-crossed with narratives that interrogate dislocations and relocations in personal and political terms, from diasporic, regional and gender positions, constructing the unresolved dilemmas of ‘identities’ and ‘home’. Pre and post-independence histories are reinterpreted, in many works, to problematise a desired secular and pluralistic present of the Indian nation. Several anthologies of poetry on the Indian English scene engage with personal experience, oblique perspectives on truth and the journey of understanding of a concerned persona. A few volumes bind the reader through the honesty of the speaking voice, displaying control over poetic form, resisting commonplace statements of meaning. The Oxford India Ramanujan, edited by his wife, Molly Daniels Ramanujan, is an anthology of the writings of the late A.K. Ramanujan (1929–1993), poet, translator and folklorist, who brought a linguist’s precision and rigorous scholarship to his work, and evoking his own expatriate distance from family and roots, in laconic and spare phrases in his poetry. The volume is a comprehensive collection of his collected and uncollected poems, his translations from ancient Tamil and Kannada poetry and his own notes and essays. The anthology has been rated as the the Best Translation in the Contemporary Poetry Review awards of 2003. Yeti Books (the first international imprint from Calicut, Kerala), a recently founded publishing house, which also hopes to redress the marginalisation and neglect of the publication of poetry in India, has brought out Dom Moraes’s Typed with One Finger. In this collection we listen to a more approachable poetic voice, when compared with his early collections of verse. Connected by the theme of travel, poems in this India
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Pub Date : 2004-12-01DOI: 10.1177/0021989404050821
S. Perera
Sri Lanka was given the regional chair of the Commonwealth Writers Prize for the time in 2002. Judith Palmer, a freelance journalist from London, and Namita Gokhale, a novelist and critic from New Delhi, joined the chairperson Walter Perera at the Suisse Hotel in Kandy to deliberate on more than 90 submissions from the United Kingdom and the Indian sub-continent. The announcement of the winners (Ian MacEwan in the best book category and William Muir in the best first published book category) was made at a gala function at the Mahaweli Reach Hotel in Kandy after talks on postcolonial literature by the judges and an exhibition of books on Commonwealth Literature. An interview with the three judges and the event itself was given substantial coverage on the BBC World Service’s Meridian Writing programme. During the last few years, the Gratiaen Award has been shared by two authors. 2002 marked a change in the trend with Vijitha Fernando winning the prize for Out of the Darkness which is a translation of Gunadasa Amarasekera’s Premayé Kathawak and Sathya Kathawak. It is not possible to say too much about the translation because it is still in manuscript form. But Fernando’s winning the prize led to another debate on the advisability of accepting translations for the award. Since the object of the prize is to promote creative writing in English, it was argued that the trustees of the award were not really focussing on ‘original’ writing by making translations eligible. Then again, it was posited that translators had an unfair advantage since they choose a work of fiction, drama, or poetry that had been already produced while others had to create their own. The British Council continued its recent practice of sponsoring major literary events by organising a conference entitled ‘Creation and Sri Lanka 2002
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Pub Date : 2004-09-01DOI: 10.1177/0021989404047047
J. Attridge
What flies past flies past, it can’t be helped, but with all our devotion to our role an uneasy feeling grows on us that we have traveled past our goal or got on a wrong track. Then one day the violent need is there: Get off the train! Jump clear! A homesickness, a longing to be stopped, to cease evolving, to stay put, to return to the point before the thrown switch put us on the wrong track. And in the good old days when the Austrian Empire still existed, one could in such a case get off the train, get on an ordinary train of an ordinary railroad, and travel back to one’s home.2
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Pub Date : 2004-09-01DOI: 10.1177/0021989404047044
I. Raja
It is now a commonplace of postcolonial theory that the nation is always embodied and that the idealized body within any nationalistic discourse is always gendered. The trope of gendering the nation, which entails a denial of subjectivity and agency to the woman except insofar as she upholds the idea of nation, has been the subject of numerous critiques in the past two decades.1 Historians of colonial India in particular have devoted a great deal of attention to ways in which the colonized nation has been allegorized as the female figure.2 The main intellectual inheritance of the last two decades which has paved the way for such critiques has been the challenge to the essential categories of identity formation, most notably gender, but also race, class, ethnicity and sexuality. Under the sign of postmodernism and through a discourse of hybridity, these categories have been disrupted within critiques of various forms of social and political organization, such as the nation and the family. There is, however, another essential category which is as complex, fragmented, dispersed, multiple, contested and conflictual as any of the above, and which is, moreover, as important to the formation of the nation and the family, but which has not been subjected to the same scrutiny: the category of age. Using Partha Chatterjee’s division between the inner and the outer spheres as a paradigm for the way in which the nation is imagined within the nationalist discourse, I argue that in post-Independence India the middle-class woman as the representative of the inner sphere becomes Signifying the Nation
现在在后殖民理论中，一个老生常谈的说法是，国家总是被具体化的，在任何民族主义话语中，理想化的身体总是被性别化的。在过去的二十年里，性别化国家的比喻一直是众多批评的主题，因为性别化意味着否认女性的主体性和能动性，除非她坚持国家的观念研究殖民时期印度的历史学家尤其关注这个被殖民国家是如何被寓言化为女性形象的过去二十年来，为这种批评铺平道路的主要知识遗产是对身份形成的基本类别的挑战，最明显的是性别，但也包括种族、阶级、民族和性。在后现代主义的标志下，通过混合话语，这些类别在对各种形式的社会和政治组织(如国家和家庭)的批评中被打破。然而，还有一个重要的类别，它与上述任何类别一样复杂、支离破碎、分散、多元、有争议和冲突，而且，它对国家和家庭的形成同样重要，但却没有受到同样的审查:年龄类别。我将帕塔·查特吉(Partha Chatterjee)的内部领域和外部领域的划分作为民族主义话语中对国家想象方式的范例，认为在独立后的印度，作为内部领域代表的中产阶级妇女成为了“象征国家”(Signifying the nation)
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