Modernist bricolage, postcolonial hybridity

Modernism - Modernity

Volumn 13, Issue 3, 2006, Pages 445-463

  Ramazani, Jahan ^a  

^a UNIVERSITY OF VIRGINIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61249742891     PISSN: 10716068     EISSN: 10806601     Source Type: Journal    
DOI: 10.1353/mod.2006.0072     Document Type: Review

References (69)

1. Lorna Goodison, "Country, Sligoville," Turn Thanks (Urbana and Chicago: University of Illinois Press, 1999), 47.
2. Edouard Glissant, Caribbean Discourse: Selected Essays, trans. J. Michael Dash (Charlottesville: University Press of Virginia, 1989), xii, 134-44.
3. Simon Gikandi, Writing in Limbo: Modernism and Caribbean Literature (Ithaca, N.Y.: Cornell University Press, 1992), 4-5.
4. In subsequent work, Gikandi has seen more continuity between modernism and postcolonialism; see his Maps of Englishness: Writing Identity in the Culture of Colonialism (New York: Columbia University Press, 1996), 158-62.
5. Chinweizu, Onwuchekwa Jemie, Ihechukwu Madubuike, Toward the Decolonization of African Literature (1980; Washington, D.C.: Howard University Press, 1983), 2-3; on the necessity of freeing African poetry from Euromodernism, see chapter 3, 163-238.
6. Bill Ashcroft and John Salter, "Modernism's Empire: Australia and the Cultural Imperialism of Style," in Modernism and Empire, ed. Howard J. Booth and Nigel Rigby (Manchester: Manchester University Press, 2000), 293.
7. Kamau Brathwaite, History of the Voice (London: New Beacon, 1984)
8. as rpt. and slightly altered in Roots (Ann Arbor: University of Michigan Press, 1993), 286-7.
9. Discussions of Brathwaite's statement include Gikandi, Maps of Englishness, 158
10. and Charles Bernstein, "Poetics of the Americas," Modernism/Modernity 3.3 (1996): 7-11.
11. Charles Olson, "Projective Verse," Collected Prose, ed. Donald Allen and Benjamin Friedlander (Berkeley: University of California Press, 1997), 248.
12. As Xiaomei Chen argues in another context-that of post-Mao China-Occidentalist affiliations can "sometimes be used as a locally marginal or peripheral discourse against the centrality of the internal dominant power." See her Occidentalism: A Theory of Counter-Discourse in Post-Mao China (New York: Oxford University Press, 1995), 8-9.
13. Derek Walcott, "Prelude," Collected Poems, 1948-1984 (New York: Farrar, Straus and Giroux, 1986), 3-4.
14. On modernism's continuities with postcolonialism, see Gikandi, Maps of Englishness, 158-62;
15. Elleke Boehmer, Empire, the National, and the Postcolonial, 1890-1920 (New York: Oxford University Press, 2002), 169-77
16. and her Colonial and Postcolonial Literature (New York: Oxford University Press, 1995), 123-33, 144-7;
17. and Reed Way Dasenbrock, "Why the Post in Post-Colonial Is Not the Post in Post-Modern: Homer-Dante-Pound-Walcott," in Ezra Pound and African American Modernism, ed. Michael Coyle (Orono, Maine: The National Poetry Foundation, 2001), 111-22.
18. Two recent books on Caribbean poetry further explore the continuities: Charles W. Pollard, New World Modernisms: T. S. Eliot, Derek Walcott, and Kamau Brathwaite (Charlottesville: University of Virginia Press, 2004) and
19. Lee M. Jenkins, The Language of Caribbean Poetry: Boundaries of Expression (Gainesville: University of Florida Press, 2004) .
20. Brathwaite, History of the Voice, 263-4, 297.
21. Dasenbrock, 115; in other respects, I agree with Dasenbrock's excellent piece.
22. James Clifford, Routes (Cambridge: Harvard University Press, 1997), 36.
23. Claude Lévi-Strauss, The Savage Mind, trans. Geoge Weidenfeld and Nicolson Ltd (London: Weidenfeld and Nicolson, 1972), 17.
24. A. K. Ramanujan, The Collected Poems of A. K. Ramanujan (Delhi: Oxford University Press, 1995), 186.
25. A. K. Ramanujan, "Afterword," Poems of Love and War, trans. Ramanujan (New York: Columbia University Press, 1984), 246, 287.
26. Ezra Pound, Gaudier-Brzeska: A Memoir (1916; New York: New Directions, 1970), 89. Pound layers Mount Taishan and a Pisan mountain near the Disciplinary Training Center in The Pisan Cantos.
27. Salman Rushdie, "In Good Faith," Imaginary Homelands (New York: Granta-Penguin, 1991), 394. As migrants, the Euromodernists traversed lesser inequities of power or differences of culture in the Northern hemisphere.
28. Marjory Whitelaw, "Interview with Christopher Okigbo" (1965/1970), rpt. in Critical Essays on Christopher Okigbo, ed. Uzoma Esonwanne (New York: G. K. Hall, 2000), 55.
29. Christopher Okigbo, "Lament of the Masks," in W. B. Yeats: Centenary Essays on the Art of W. B. Yeats, ed. D. E. S. Maxwell and S. B. Bushrui (Ibadan: Ibadan University Press, 1965), xiii-xv; hereafter abbreviated "LM."
30. See Molara Ogundipe-Leslie, "The Poetry of Christopher Okigbo: Its Evolution and Significance" (1973), rpt. in Critical Essays on Christopher Okigbo, 185-86.
31. Okigbo is echoing Canto 8 in "Limits 3," Labyrinths with "Path of Thunder" (New York: Africana Publishing Corporation, 1971), 25-6.
32. See Romanus Egudu, "Ezra Pound in African Poetry: Chistopher Okigbo," Critical Perspectives on Christopher Okigbo, ed. Donatus Ibe Nwoga (Washington, D.C.: Three Continents Press, 1984), 337-48.
33. M. M. Bakhtin, The Dialogic Imagination: Four Essays, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (Austin: University of Texas Press, 1981), 258-62. Bakhtin associates all artistic hybridization with the "intentional" mode.
34. Derek Walcott, Omeros (New York: Farrar, Straus and Giroux, 1990), 1.9.3, 51-4.
35. T. S. Eliot, "Ulysses, Order and Myth," Selected Prose, ed. Frank Kermode (New York: Farrar, Straus and Giroux, 1975), 177-8.
36. Agha Shahid Ali, "Ghazal," The Country without a Post Office (New York: Norton, 1997), 40.
37. Agha Shahid Ali, T. S. Eliot as Editor (Ann Arbor: University of Michigan Press, 1986), 1.
38. T. S. Eliot, The Waste Land: A Norton Critical Edition, ed. Michael North (New York: Norton, 2001), line 430.
39. Ali discusses the ghazal as a form in his introduction to Ravishing DisUnities, ed. Ali (Hanover: Wesleyan University Press, 2000), 1-14.
40. Michael North, The Dialect of Modernism (Oxford: Oxford University Press, 1994), 77-99.
41. Edward [Kamau] Brathwaite, "Calypso," The Arrivants (New York: Oxford University Press, 1973), 48-50;
42. Eliot, The Waste Land, lines 200-1.
43. Eliot, The Waste Land, line 308.
44. Edward Kamau Brathwaite, "Dies Irie," X/Self (New York: Oxford University Press, 1987), 37-9;
45. "Irae," Middle Passages (Newcastle upon Tyne: Bloodaxe Books Ltd., 1992), 90.
46. See also Keith Tuma, Fishing by Obstinate Isles (Evanston, Ill.: Northwestern University Press, 1998), 256-8.
47. Brathwaite, "Irae," 90.
48. Okigbo, "Come Thunder," Labyrinths, 66. Ellipsis in original.
49. Stephen Spender, The Thirties and After (New York: Random House, 1978), 13.
50. See Gikandi's analysis of Picasso's abstraction of real Africans in "Picasso, Africa, and the Schemata of Difference," Modernism/Modernity 10 (2003): 455-80.
51. Neil Lazarus, "'Unsystematic Fingers at the Conditions of the Times': Afropop and the Paradoxes of Imperialism," in Recasting the World: Writing after Colonialism, ed. Jonathan White (Baltimore, Md.: Johns Hopkins University Press, 1993), 137-60.
52. Paul Douglass, "Reading the Wreckage: De-Encrypting Eliot's Aesthetics of Empire," Twentieth Century Literature 43, no. 1 (1997), 1-26.
53. Harish Trivedi, "'Ganga Was Sunken': T. S. Eliot's Use of India," The Fire and the Rose: New Essays on T. S. Eliot, ed. Vinod Sena and Rajiva Verma (Delhi: Oxford University Press, 1992), 44-62.
54. W. B. Yeats, The Poems, rev. ed., ed. Richard J. Finneran (New York: Macmillan, 1989), 295.
55. Edward Said, Orientalism (New York: Vintage-Random House, 1978), 3.
56. W. B. Yeats, Letters on Poetry from W. B. Yeats to Dorothy Wellesley (New York: Oxford University Press, 1940), 8-9.
57. Ezra Pound, Lustra (1916; New York: A. A. Knopf, 1917), 53.
58. Pound, Gaudier-Brzeska, 89.
59. Among recent books on the impact of East Asian culture on modernism, see Zhaoming Qian, The Modernist Response to Chinese Art (Charlottesville: University of Virginia Press, 2003)
60. Orientalism and Modernism (Durham, N.C.: Duke University Press, 1995)
61. and his edited collection Ezra Pound and China (Ann Arbor: University of Michigan Press, 2003);
62. Yunte Huang, Transpacific Displacement (Berkeley: University of California Press, 2002);
63. Ming Xie, Ezra Pound and the Appropriation of Chinese Poetry (New York: Garland, 1999);
64. and Robert Kern, Orientalism, Modernism, and the American Poem (Cambridge: Cambridge University Press, 1996).
65. See also Eric Hayot's useful overview in "Critical Dreams: Orientalism, Modernism, and the Meaning of Pound's China," Twentieth-Century Literature 45 (1999): 511-33.
66. On the poem and haiku, see Jyan-Lung Lin, "Pound's 'In A Station of the Metro' As A Yugen Haiku," Paideuma 21; nos. 1-2 (1992): 175-83.
67. W. H. Auden, "In Memory of W. B. Yeats," Selected Poems: New Edition, ed. Edward Mendelson (New York: Random House, 1979), 81.
68. Marjorie Perloff, 21st-century Modernism (Oxford: Blackwell, 2002), 1-14, 154-200.
69. A. K. Ramanujan, "Where Mirrors Are Windows: Towards an Anthology of Reflections" (1989), in The Collected Essays of A. K. Ramanujan, ed. Vinay Dharwadker (New Delhi: Oxford University Press, 1999), 8-9.