Abstract:In the Cold War-era "three worlds" model, the Second World was the socialist world, particularly the Soviet Bloc, that stood opposed to the capitalist West but—unlike the postcolonial Third World—was largely white. However, as the Soviet Union was collapsing, postcolonial critics briefly redeployed the term Second World to denote peripheral settler colonies like Australia. This essay examines the juxtaposition of these two uses of the term "Second World" through a discussion of Katharine Susannah Prichard's 1929 novel Coonardoo and the history of its misrepresentation of Australian Indigenous people. Though Prichard sought to be sympathetic to the Indigenous woman at the center of the novel's plot, Coonardoo, the teleological perspective of her authorial attitude towards the land precludes this sympathy. This essay examines how Prichard's teleological view is connected to socialist-realist attitudes and settler collectives; how Prichard's novel both continues and inflects settler ideology now in the neoliberal era; and how teleological settler histories of the land can no longer presume the continued solidity of the land in the wake of the Anthropocene.
{"title":"The Second World and Settler History: Settler Collectives, Land Fulfillment, and Katharine Susannah Prichard's Coonardoo","authors":"Nicholas Birns","doi":"10.1353/ari.2023.0012","DOIUrl":"https://doi.org/10.1353/ari.2023.0012","url":null,"abstract":"Abstract:In the Cold War-era \"three worlds\" model, the Second World was the socialist world, particularly the Soviet Bloc, that stood opposed to the capitalist West but—unlike the postcolonial Third World—was largely white. However, as the Soviet Union was collapsing, postcolonial critics briefly redeployed the term Second World to denote peripheral settler colonies like Australia. This essay examines the juxtaposition of these two uses of the term \"Second World\" through a discussion of Katharine Susannah Prichard's 1929 novel Coonardoo and the history of its misrepresentation of Australian Indigenous people. Though Prichard sought to be sympathetic to the Indigenous woman at the center of the novel's plot, Coonardoo, the teleological perspective of her authorial attitude towards the land precludes this sympathy. This essay examines how Prichard's teleological view is connected to socialist-realist attitudes and settler collectives; how Prichard's novel both continues and inflects settler ideology now in the neoliberal era; and how teleological settler histories of the land can no longer presume the continued solidity of the land in the wake of the Anthropocene.","PeriodicalId":51893,"journal":{"name":"ARIEL-A REVIEW OF INTERNATIONAL ENGLISH LITERATURE","volume":"54 1","pages":"25 - 52"},"PeriodicalIF":0.3,"publicationDate":"2023-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43589206","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
163 movements. Ghosh opens the chapter with a cursory mention of Gandhi but does not explain how he situates Gandhi’s politics in the tradition of vitalism (235). Similarly, in his discussions about recent court victories such as the verdict by the Inter-American Court of Human Rights that the government of Ecuador violated the Sarayaku people’s rights by “permitting an energy company to prospect for oil on their land without prior consultation” (237) and the granting of legal personhood to the Whanganui River (238), Ghosh does not analyze the relationship between vitalism and the courts, which he claims “are among the most redoubtable citadels of official modernity” (238). Is the extension of the legal rights of personhood a triumph of a vitalist politics, or is it proof that modernity is not monolithic but rather a complex structure comprising both mechanistic and vitalist worldviews? Such problematization might destabilize the dichotomy of modernity and vitalism that is the very foundation of the book. These are, however, minor issues that can be set aside for what is a timely intervention in contemporary discourses on climate change and its accelerating and widely growing socioeconomic effects. The book puts forward a new understanding of vitalism, which is well worth examining more closely. Ghosh writes in a jargon-free language that should be accessible to both academic scholars and curious readers interested in the subject. The book is written in Ghosh’s characteristically lively prose with narrative twists and turns that make it read more like a suspense thriller than elusive high theory. As a text that transgresses multiple genres, The Nutmeg’s Curse is both a stark warning against climate change denialism and a welcome addition to the ever-growing body of non-fiction about the present planetary crisis.
{"title":"Tongues: On Longing and Belonging through Language ed. by Eufemia Fantetti, Leonarda Carranza, and Ayelet Tsabari (review)","authors":"Marc Lynch","doi":"10.1353/ari.2023.0019","DOIUrl":"https://doi.org/10.1353/ari.2023.0019","url":null,"abstract":"163 movements. Ghosh opens the chapter with a cursory mention of Gandhi but does not explain how he situates Gandhi’s politics in the tradition of vitalism (235). Similarly, in his discussions about recent court victories such as the verdict by the Inter-American Court of Human Rights that the government of Ecuador violated the Sarayaku people’s rights by “permitting an energy company to prospect for oil on their land without prior consultation” (237) and the granting of legal personhood to the Whanganui River (238), Ghosh does not analyze the relationship between vitalism and the courts, which he claims “are among the most redoubtable citadels of official modernity” (238). Is the extension of the legal rights of personhood a triumph of a vitalist politics, or is it proof that modernity is not monolithic but rather a complex structure comprising both mechanistic and vitalist worldviews? Such problematization might destabilize the dichotomy of modernity and vitalism that is the very foundation of the book. These are, however, minor issues that can be set aside for what is a timely intervention in contemporary discourses on climate change and its accelerating and widely growing socioeconomic effects. The book puts forward a new understanding of vitalism, which is well worth examining more closely. Ghosh writes in a jargon-free language that should be accessible to both academic scholars and curious readers interested in the subject. The book is written in Ghosh’s characteristically lively prose with narrative twists and turns that make it read more like a suspense thriller than elusive high theory. As a text that transgresses multiple genres, The Nutmeg’s Curse is both a stark warning against climate change denialism and a welcome addition to the ever-growing body of non-fiction about the present planetary crisis.","PeriodicalId":51893,"journal":{"name":"ARIEL-A REVIEW OF INTERNATIONAL ENGLISH LITERATURE","volume":"54 1","pages":"163 - 166"},"PeriodicalIF":0.3,"publicationDate":"2023-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43412888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Debt, Law, Realism: Nigerian Writers Imagine the State at Independence by Neil ten Kortenaar (review)","authors":"Uchechukwu P. Umezurike","doi":"10.1353/ari.2023.0017","DOIUrl":"https://doi.org/10.1353/ari.2023.0017","url":null,"abstract":"","PeriodicalId":51893,"journal":{"name":"ARIEL-A REVIEW OF INTERNATIONAL ENGLISH LITERATURE","volume":"54 1","pages":"157 - 160"},"PeriodicalIF":0.3,"publicationDate":"2023-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43470115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article postulates that Deborah Ellis' The Breadwinner (2000) offers a feminist intervention into global social justice by building solidarity between North American and Afghan women resisting gendered oppression. The Breadwinner, written for young adult audiences, is frequently employed in North American multicultural curricula. Drawing on anthropological research, I argue that Ellis' imperfect and sometimes contradictory representations of the burqa and the chador initiate a dialogue about religious and cultural practices that models non-paternalistic feminist intervention into global women's oppression. Ellis' engagement with Afghan women's struggles avoids the two extremes—silence and paternalism—often present in western feminist reactions to global social justice issues. In analyzing the novel's representations of Muslim veiling practices, I demonstrate that Ellis productively grapples with her own western feminist presumptions in order to respectfully portray Afghan women as agential rather than implying that they need western women to save them. As such, The Breadwinner is a fruitful site for pedagogical and feminist discussions about global activism. Ultimately, I argue that feminism-in-action requires repeated attempts to understand global counterparts as a necessary impetus for political and social change.
{"title":"Fabric Matters: Feminist Dialogue and Muslim Veiling","authors":"Kimberly Clough","doi":"10.1353/ari.2023.0014","DOIUrl":"https://doi.org/10.1353/ari.2023.0014","url":null,"abstract":"Abstract:This article postulates that Deborah Ellis' The Breadwinner (2000) offers a feminist intervention into global social justice by building solidarity between North American and Afghan women resisting gendered oppression. The Breadwinner, written for young adult audiences, is frequently employed in North American multicultural curricula. Drawing on anthropological research, I argue that Ellis' imperfect and sometimes contradictory representations of the burqa and the chador initiate a dialogue about religious and cultural practices that models non-paternalistic feminist intervention into global women's oppression. Ellis' engagement with Afghan women's struggles avoids the two extremes—silence and paternalism—often present in western feminist reactions to global social justice issues. In analyzing the novel's representations of Muslim veiling practices, I demonstrate that Ellis productively grapples with her own western feminist presumptions in order to respectfully portray Afghan women as agential rather than implying that they need western women to save them. As such, The Breadwinner is a fruitful site for pedagogical and feminist discussions about global activism. Ultimately, I argue that feminism-in-action requires repeated attempts to understand global counterparts as a necessary impetus for political and social change.","PeriodicalId":51893,"journal":{"name":"ARIEL-A REVIEW OF INTERNATIONAL ENGLISH LITERATURE","volume":"54 1","pages":"109 - 81"},"PeriodicalIF":0.3,"publicationDate":"2023-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45869870","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Henrietta Rose-Innes' novel Green Lion illuminates how art participates in human-animal relationships and impacts the lives and deaths of animals. As it narrates the demise of the Cape lion, the novel reveals the continuing influence of settler-capitalist ideologies and practices of preservation on representations of and responses to lions. This essay explores Rose-Innes' turn to taxidermy as inspiration for both the form and content of her novel, arguing that she crafts a work that resonates with new taxidermy in visual arts as she deploys narrative strategies that expose the consequences of images that neglect nonhuman life worlds and conceal death to offer consoling illusions of perpetual presence. Rather than recovering stories of lost animal worlds, Green Lion repositions animal images within histories of multispecies entanglements, exemplifying how literary texts can reframe animal lives and deaths to confront feelings of grief and guilt and reckon with legacies of settler-capitalism that have been obscured by images of timeless nature.
摘要：Henrietta Rose Innes的小说《绿狮》阐明了艺术如何参与人与动物的关系，并影响动物的生死。小说讲述了开普角狮子的死亡，揭示了定居者资本主义意识形态和保护实践对狮子的表现和反应的持续影响。这篇文章探讨了Rose Innes转向动物标本制作，以此作为她小说形式和内容的灵感来源，认为她创作的作品与视觉艺术中的新动物标本制作产生了共鸣，因为她采用了叙事策略，揭露了忽视非人类生活世界和隐藏死亡的图像的后果，以提供永久存在的安慰幻觉。绿狮并没有恢复失去的动物世界的故事，而是在多物种纠缠的历史中重新定位动物形象，举例说明文学文本如何重新定义动物的生死，以面对悲伤和内疚的感觉，并考虑到被永恒自然的图像所掩盖的定居者资本主义的遗产。
{"title":"Unsettling Arts of Extinction in Henrietta Rose-Innes' Green Lion","authors":"Laura A. White","doi":"10.1353/ari.2023.0013","DOIUrl":"https://doi.org/10.1353/ari.2023.0013","url":null,"abstract":"Abstract:Henrietta Rose-Innes' novel Green Lion illuminates how art participates in human-animal relationships and impacts the lives and deaths of animals. As it narrates the demise of the Cape lion, the novel reveals the continuing influence of settler-capitalist ideologies and practices of preservation on representations of and responses to lions. This essay explores Rose-Innes' turn to taxidermy as inspiration for both the form and content of her novel, arguing that she crafts a work that resonates with new taxidermy in visual arts as she deploys narrative strategies that expose the consequences of images that neglect nonhuman life worlds and conceal death to offer consoling illusions of perpetual presence. Rather than recovering stories of lost animal worlds, Green Lion repositions animal images within histories of multispecies entanglements, exemplifying how literary texts can reframe animal lives and deaths to confront feelings of grief and guilt and reckon with legacies of settler-capitalism that have been obscured by images of timeless nature.","PeriodicalId":51893,"journal":{"name":"ARIEL-A REVIEW OF INTERNATIONAL ENGLISH LITERATURE","volume":"54 1","pages":"53 - 79"},"PeriodicalIF":0.3,"publicationDate":"2023-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41852265","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In this article, I look afresh at the novelist Andrea Levy's work from two points of view. First, the political message that is present in all her writing. By looking at the various adaptations of her novels for stage and screen I track the slippage that can occur between her political intent and her sometimes more simplified reception amongst white British audiences. Is her work polemical, conciliatory, or both? I also highlight the changes in attitude that have occurred amongst the professionals involved in the different adaptations of her novels and what this can tell us about shifts in wider British society around issues of race and Britain's colonial history. Second, I look at Andrea's literary style. By exploring the issues of child abandonment and adoption that occur in several of her works I try to clarify her motives and intentions around the use of these plot lines. I argue that there is no overt symbolism intended in those works or in any of her writing, but that these events grow out of her essentially realistic use of fiction to document events and attitudes that were commonplace in the times and places she was writing about. My approach in writing this article is unique in the sense that it is personal rather than academic. As Andrea's husband, I witnessed the creation of all her works. My approach is part memoir and part insight based on my close knowledge of Andrea. In my opinion, her background and ancestry are key to understanding her work and I explain something of what we know of them. My aim is to provide an informed contribution to the existing scholarship around her work.
{"title":"Speaking from Memory: Thoughts and Recollections from a Life with Andrea Levy","authors":"Bill Mayblin","doi":"10.1353/ari.2023.0006","DOIUrl":"https://doi.org/10.1353/ari.2023.0006","url":null,"abstract":"Abstract:In this article, I look afresh at the novelist Andrea Levy's work from two points of view. First, the political message that is present in all her writing. By looking at the various adaptations of her novels for stage and screen I track the slippage that can occur between her political intent and her sometimes more simplified reception amongst white British audiences. Is her work polemical, conciliatory, or both? I also highlight the changes in attitude that have occurred amongst the professionals involved in the different adaptations of her novels and what this can tell us about shifts in wider British society around issues of race and Britain's colonial history. Second, I look at Andrea's literary style. By exploring the issues of child abandonment and adoption that occur in several of her works I try to clarify her motives and intentions around the use of these plot lines. I argue that there is no overt symbolism intended in those works or in any of her writing, but that these events grow out of her essentially realistic use of fiction to document events and attitudes that were commonplace in the times and places she was writing about. My approach in writing this article is unique in the sense that it is personal rather than academic. As Andrea's husband, I witnessed the creation of all her works. My approach is part memoir and part insight based on my close knowledge of Andrea. In my opinion, her background and ancestry are key to understanding her work and I explain something of what we know of them. My aim is to provide an informed contribution to the existing scholarship around her work.","PeriodicalId":51893,"journal":{"name":"ARIEL-A REVIEW OF INTERNATIONAL ENGLISH LITERATURE","volume":"54 1","pages":"135 - 158"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48273103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Riff: The Shake Keane Story by Philip Nanton (review)","authors":"Veronica Austen","doi":"10.1353/ari.2023.0009","DOIUrl":"https://doi.org/10.1353/ari.2023.0009","url":null,"abstract":"","PeriodicalId":51893,"journal":{"name":"ARIEL-A REVIEW OF INTERNATIONAL ENGLISH LITERATURE","volume":"54 1","pages":"166 - 169"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45499347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Death of an Author","authors":"Henghameh Saroukhani, S. Welsh, Michael Perfect","doi":"10.1353/ari.2023.0005","DOIUrl":"https://doi.org/10.1353/ari.2023.0005","url":null,"abstract":"","PeriodicalId":51893,"journal":{"name":"ARIEL-A REVIEW OF INTERNATIONAL ENGLISH LITERATURE","volume":"54 1","pages":"131 - 134"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45668048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Amitav Ghosh's novel The Shadow Lines (1988) is a prominent example of South Asian postcolonial writing in English and features in curricula and criticism as a nuanced instance of the intricacies and traumas of borders and histories in the Indian subcontinent. Nevertheless, both the novel and its critical analysis display a discernible lack of focus on the issue of sexual violation. In this essay, I undertake a close reading and feminist analysis of one character, May Price. I examine how Ghosh represents her in the novel and argue that critics have read her reductively, if at all. When she is discussed, critics either ignore her identity as a foreign woman who is sexually violated by the Indian protagonists (Tridib and the narrator) or problematically couch the incidents of sexual violation in the vocabulary of romantic love and consent. The narrative, focalized through its patriarchal narrator, whose perspective is obviously created through authorial choices, allows the character no agency to protest these violations and no space for redressal or any sustained reactive expression of opposition. Rather, May's hasty resolutions, absolute forgiveness, and belated consent seemingly turn these violations into seductions, exonerating the assaulters entirely. I highlight that The Shadow Lines and attendant critical reflections often choose to examine questions of nation, identity, and memory, which are unquestionably significant, at the expense of the representation and agency of women. In order to address this gap, gendered power dynamics need to be made central and not peripheral to postcolonial scholarship and discussion.
{"title":"Recovering May Price: A Longitudinal Reading of Amitav Ghosh's The Shadow Lines","authors":"Pooja Sancheti","doi":"10.1353/ari.2023.0004","DOIUrl":"https://doi.org/10.1353/ari.2023.0004","url":null,"abstract":"Abstract:Amitav Ghosh's novel The Shadow Lines (1988) is a prominent example of South Asian postcolonial writing in English and features in curricula and criticism as a nuanced instance of the intricacies and traumas of borders and histories in the Indian subcontinent. Nevertheless, both the novel and its critical analysis display a discernible lack of focus on the issue of sexual violation. In this essay, I undertake a close reading and feminist analysis of one character, May Price. I examine how Ghosh represents her in the novel and argue that critics have read her reductively, if at all. When she is discussed, critics either ignore her identity as a foreign woman who is sexually violated by the Indian protagonists (Tridib and the narrator) or problematically couch the incidents of sexual violation in the vocabulary of romantic love and consent. The narrative, focalized through its patriarchal narrator, whose perspective is obviously created through authorial choices, allows the character no agency to protest these violations and no space for redressal or any sustained reactive expression of opposition. Rather, May's hasty resolutions, absolute forgiveness, and belated consent seemingly turn these violations into seductions, exonerating the assaulters entirely. I highlight that The Shadow Lines and attendant critical reflections often choose to examine questions of nation, identity, and memory, which are unquestionably significant, at the expense of the representation and agency of women. In order to address this gap, gendered power dynamics need to be made central and not peripheral to postcolonial scholarship and discussion.","PeriodicalId":51893,"journal":{"name":"ARIEL-A REVIEW OF INTERNATIONAL ENGLISH LITERATURE","volume":"54 1","pages":"103 - 129"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43154500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay responds to the dearth of analysis of young adult literature in postcolonial scholarship by placing Kacen Callender's LGBTQ+ middle-grade novel Hurricane Child (2018) adjacent to Jamaica Kincaid's Annie John (1987), a foundational text of contemporary Caribbean literature. I employ Homi Bhabha's reformulation of Sigmund Freud's unheimlich, or "unhomely," to interrogate how both novels complicate ideas of literal home and island home as places of fun, comfort, and safety. Just as the nostalgic image of the adoring mother discombobulates Kincaid's Annie, the figure of the physically absent mother plagues Callender's Caroline. Both characters live in symbolically haunted houses. Additionally, shame lurks in the corners of Caroline's psyche as she comes to recognize her budding same-sex desires, which put her at risk of being ghosted, or erased, as a valued member of her community. Extending the psychic trauma from the narrators to the histories of their islands, and relying on critical work on the Gothic by Avery F. Gordon, Maisha Wester, and others, this essay excavates politically charged depictions of landscapes for signs of literal spirits and evidence of haunting by slavery, colonialism, and the neocolonial systems of the late twentieth and early twenty-first centuries.
{"title":"Haunted Houses and Ghostly Homes: Kacen Callender's Hurricane Child as a Rewriting of Jamaica Kincaid's Annie John","authors":"G. Anatol","doi":"10.1353/ari.2023.0003","DOIUrl":"https://doi.org/10.1353/ari.2023.0003","url":null,"abstract":"Abstract:This essay responds to the dearth of analysis of young adult literature in postcolonial scholarship by placing Kacen Callender's LGBTQ+ middle-grade novel Hurricane Child (2018) adjacent to Jamaica Kincaid's Annie John (1987), a foundational text of contemporary Caribbean literature. I employ Homi Bhabha's reformulation of Sigmund Freud's unheimlich, or \"unhomely,\" to interrogate how both novels complicate ideas of literal home and island home as places of fun, comfort, and safety. Just as the nostalgic image of the adoring mother discombobulates Kincaid's Annie, the figure of the physically absent mother plagues Callender's Caroline. Both characters live in symbolically haunted houses. Additionally, shame lurks in the corners of Caroline's psyche as she comes to recognize her budding same-sex desires, which put her at risk of being ghosted, or erased, as a valued member of her community. Extending the psychic trauma from the narrators to the histories of their islands, and relying on critical work on the Gothic by Avery F. Gordon, Maisha Wester, and others, this essay excavates politically charged depictions of landscapes for signs of literal spirits and evidence of haunting by slavery, colonialism, and the neocolonial systems of the late twentieth and early twenty-first centuries.","PeriodicalId":51893,"journal":{"name":"ARIEL-A REVIEW OF INTERNATIONAL ENGLISH LITERATURE","volume":"54 1","pages":"101 - 73"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41425501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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