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This book investigates literary representations and self-representations of people with cosmopolitan identities arising from mobile global childhoods which transcend categories of migrancy and diaspora. Part I focuses on the ways in which cosmopolitan characters are represented in selected novels, from the debauched Anthony Blanche in Evelyn Waugh’s classic Brideshead Revisited, to the victimized Ila in Amitav Ghosh’s The Shadow Lines, to John le Carré’s undefinable spies. Part II focuses on self-representations of people with a cosmopolitan upbringing, in the form of autobiographical narratives by well-known authors such as Barack Obama and Edward Said, along with lesser-known writers, all of whom “write back” to the ways in which they have at times been stereotyped and othered in literary fiction and public discourse.
Volume Editors: Gene M. Moore and John G. Peters
The relationship between Conrad’s Malay fiction and colonialism is a prominent subject of commentary now, and has been for some time. Most scholars would point to Chinua Achebe’s important article “An Image of Africa” as the initiation into the interest in Conrad and colonialism, but if fact decades previously, Florence Clemens had begun this conversation in her ground-breaking commentary on Conrad’s Malay fiction. At the time Florence Clemens was writing, almost nothing had been written on the Conrad’s colonial world, and for many years her work thus was relatively unknown and relatively difficult to obtain. However, Clemens’ work is significant, and its appearance in Brill’s Conrad Studies series now makes this important study readily available to scholars.
Postcolonial Literatures of Climate Change investigates the evolving nature of postcolonial literary criticism in response to global, regional, and local environmental transformations brought about by climate change. It builds upon, and extends, previous studies in postcolonial ecocriticism to demonstrate how the growing awareness of human-caused global warming has begun to permeate literary consciousness, praxis and analysis. The breadth of the volume’s coverage – the diversity of its focal locations, cultures, genres and texts – serves as a salient reminder that, while climate change is global, its impacts vary, effecting peoples from place to place unequally, and often in accordance with their particular historical experience of colonialism and neo-colonialism, as well as their ongoing marginalisations.

“Demonstrating the urgency of invoking novel epistemological approaches combining the scientific and the imaginative, this book is a “must read” for those concerned about the present and potential impacts of climate change on formerly colonised areas of the world. The comprehensive and illuminating Introduction offers a crucial history and current state of postcolonial ecocriticism as it has been and is addressing climate crises.”
- Helen Tiffin, University of Wollongong

“The broad focus on the polar regions, the Pacific and the Caribbean – with added essays on environmental justice/activism in India and Egypt – opens up rich terrain for examination under the rubric of postcolonial and ecocritical analysis, not only expanding recent studies in this field but also enabling new comparisons and conceptual linkages.” - Helen Gilbert, Royal Holloway, University of London

“The subject is topical and vital and will become even more so as the problem of how to reconcile the demands of climate change with the effects on regions and individual nations already damaged by the economic effects of colonisation and the subsequent inequalities resulting from neo-colonialism continues to grow.” - Gareth Griffiths, Em. Prof. University of Western Australia

A Postcolonial Re-envisioning
The Yeats -Tagore friendship and the eventual curious fallout between the two remain a mystery; the focus of this volume is a postcolonial reading of the two writers’ friendship, the critical reception of Tagore in 1912 England, and Tagore’s erasure from Western literary discourse. The essays in this volume take a decolonial turn to critically analyze the two writers in the discourse of power that is a part of their larger story.

The nuances that appear in the pages of this illuminating book explore the meaning of "the politics of friendship" and the sense of intercultural relationship marred by colonialism. The volume re-envisions what the "postcolonial" can mean, be, and do. We can learn from the two major figures and their work and create a new vision of that problematic preposition "post.<
- Professor Mieke Bal, ASCA (Amsterdam School of Cultural Analysis).

This volume offers a magnificent illustration of how to retell the story of a cross-cultural literary relationship from a decolonial perspective. Ghosh and Redwine’s edited collection exemplifies the need of the hour: to reassess the value of literary traditions, institutions, and relationships while illuminating the politics of colonialism and racism that compromises them.
- Deepika Bahri, Professor of English, Emory University; Author of Postcolonial Biology.
In: Tagore and Yeats


Much can be learned about the connection between Tagore and Yeats if we move beyond a consideration of their direct influence on one another and of their discursive utterances alone. An exploration of their personal and theatrical performances, and of their place within a larger global network of artists and art critics, is instructive. It illustrates how Tagore and Yeats had very similar hopes for a cosmopolitan hybridity in which people appreciate and assimilate features of other cultures while retaining their unique national identities. In the years immediately before World War members of a global art network often facilitated the interaction between the poets, made it clear that their ideas were shared widely, and gave them confidence to pursue cosmopolitanism in both their political statements and aesthetic practices.

In: Tagore and Yeats
In: Tagore and Yeats


This chapter investigates the ways that Yeats and Tagore performed identities as well as the receptions of these self-fashionings. Beginning with Yeats’ efforts to bring his poetry to the British public through performance as a young, wild Celt in an image of tableau and ending with Tagore’s travels to Sweden and 1921, the chapter argues that Yeats’ 1887 performance of cultural identity has been ignored while Tagore’s 1912 dinner attendance has been overplayed; in fact, Tagore’s cultural exchange at that dinner table continued a centuries-old family pattern. Yeats, in 1887, performed in an image accompanying his poem, fashioning himself in a way that would bring British attention to him as an emerging poet, ensuring that his persona would be intriguingly other to the public on the other side of the sea.

In: Tagore and Yeats
Author: Gregory B. Lee


Tagore’s Nobel Prize came just after the 1911 Chinese Revolution and coincided with young Chinese poets’ crafting a new vernacular language. Tagore inspired them. Guo Moruo, an aspiring poet translated Tagore’s ‘Crescent Moon’ into modern Chinese. Another major romantic poet, Xu Zhimo, served as Tagore’s interpreter during his 1924 China visit and established a Chinese poetry journal called Crescent Moon. Yeats was introduced to the Chinese public by China’s Short Story Magazine, which in 1923 published his Preface to Gitanjali. Chinese intellectuals looked to Yeats as a poet and champion of anti-colonial Irishness. But Yeats, unlike Tagore, seemed disinterested in the Chinese social reality, China remaining bound up with his Anglophone, bourgeois, Orientalist vision of the East. Tagore, however, engaged with poets and others who were about imagining a new Asian culture.

In: Tagore and Yeats
Author: Amrita Ghosh


This chapter looks at both Tagore’s and Yeats’ influence on the arts and the larger impact their artistic visions had in rethinking Eurocentric modernism. The chapter is divided into two parts; the first part explores major Indian art movements to frame Tagore’s radical and modernist art that critiques colonial and patriarchal structures through them. The second section focuses on Yeats’s collaboration with Japanese artist Michio Ito that creates alternate modalities of being and the beginnings of an intermedial modernism in dance and theatre. The essay’s focus on Tagore’s and Yeats’s artistic visions situates itself in larger debates on ‘modernisms’ and how to place the two artists’ visual and performative arts in a re-engaged discussion of ‘geo’ and intermedial modernist trends.

In: Tagore and Yeats