Introduction: Global Intimacies 1

Notes

Introduction: Global Intimacies 1. See Chapter 2 for an extensive analysis of the novel’s critical reception. For a representative discussion of the novel’s combination of romance and politics as an aesthetic failure, see Gabriele Annan, “The Map of Love,” London Review of Books 21.14 (July 15, 1999): 28. On the novel’s loss of the Booker for its perceived anti-Semitism, see Asim Hamdan, “Zionist Denies Soueif the Booker Prize,” Arab View: The Internet Home of Independent Arab Opinions, http://www. arabview.com/article.asp?artID=39. May 25, 2003. Emma Richler echoes Hamdan’s argument in “The Booker ’99: J. M. Coetzee’s Disgrace an Honourable Choice,” The Ottawa Citizen (October 31, 1999): C12. 2. Judith Thurman, “Choosing a Place,” New Yorker (June 29, 1987): 89. 3. Geraldine Pratt and Victoria Rosner, “Introduction: The Global and the Intimate,” in The Global and the Intimate: Feminism in Our Time (New York: Columbia University Press, 2012), 1. 4. On science ﬁction, see the MELUS special issue “Alien/Asian” 33.4 (Winter 2008); Adilifu Nama, Black Space: Imagining Race in Sci- ence Fiction Film (Austin: University of Texas Press, 2008); and So Long Been Dreaming: Postcolonial Science Fiction and Fantasy,ed. Nalo Hopkinson and Uppinder Mehan (Vancouver, BC: Arsenal Pulp Press, 2004). On detective ﬁction, see Diversity and Detective Fiction, ed. Kathleen Gregory Klein (Madison: University of Wisconsin Press, 1999); Maureen T. Reddy’s Traces, Codes, and Clues: Reading Race in Crime Fiction (New Brunswick, NJ: Rutgers University Press, 2003); Stephen F. Soitos, The Blues Detective: A Study of African American Detective Fiction (Amherst: University of Massachusetts Press, 1996); The Post-Colonial Detective, ed. Ed Christian (New York: Palgrave, 2001); and Detective Fiction in a Postcolonial and Transnational World, ed. Nels Pearson and Marc Singer (Burlington, VT: Ashgate, 2009). 5. Wai Chee Dimock, “Introduction: Genres as Fields of Knowledge,” Remapping Genre, spec. iss. of PMLA, ed. Wai Chee Dimock and Bruce Robbins 122.5 (2007): 1382–3. 6. Ibid., 1385. 174 Notes

7. Vilashini Cooppan, Worlds Within: National Narratives and Global Connections in Postcolonial Writing (Stanford: Stanford University Press, 2009), 19. 8. Joseph Slaughter, Human Rights, Inc.: The World Novel, Narrative Form, and International Law (New York: Fordham University Press, 2007), 32. 9. Barbara Fuchs, Romance (New York: Routledge, 2004), 4. 10. Ibid., 43, 51–4. 11. Ibid., 23. See also B. E. Perry, The Ancient Romances: A Literary- Historical Account of their Origins (Berkeley: University of California Press, 1967). 12. Ibid., 24. 13. M. H. Abrams, A Glossary of Literary Terms, 7th ed. (New York: Harcourt Brace, 1999), 35. 14. Barbara Fuchs, Romance, 37. 15. Northrop Frye, The Secular Scripture: A Study of the Structure of Romance (1975). Rptd. in The Secular Scripture and Other Writ- ings on Critical Theory 1976–1991. Vol. 18 (Toronto: University of Toronto Press, 2006), 6, 14. 16. Waïl S. Hassan, “Agency and Translational Literature: Ahdaf Soueif’s The Map of Love,” PMLA 121 (May 2006): 753–68. 17. Michael McKeon, The Origins of the English Novel 1600–1740 (Baltimore, MD: Johns Hopkins University Press, 1987), 1–4. See also Ian Watt, The Rise of the Novel: Studies in Defoe, Richardson and Fielding. 1957 (Berkeley: University of California Press, 2001). 18. See Terry Lovell’s Consuming Fiction (London: Verso, 1987) and William Warner’s Licensing Entertainment: The Elevation of Novel Reading in Britain, 1684–1750 (Berkeley: University of California Press, 1998) for similar discussions of the ways in which early novel- reading was condemned as a market-driven form of entertainment corrupting its readership of primarily young women. 19. Warner, Licensing Entertainment, 291. 20. Fred Botting, Gothic Romanced: Consumption, Gender and Technology in Contemporary Fictions (New York: Routledge, 2008). 21. I borrow the characterization of sublime, potentially uncivilizable spaces such as the sea, the arctic, and the desert from Siobhan Carroll. 22. Fredric Jameson, “Romance and Reiﬁcation: Plot Construction and Ideological Closure in Joseph Conrad,” in The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca, NY: Cornell University Press, 1981), 206–80. 23. Frye, The Secular Scripture, 19. 24. See Janice Radway, Reading the Romance: Women, Patriarchy, and Popular Literature (Chapel Hill, NC: University of North Carolina Press, 1984, 1991); Judith Halberstam, Skin Shows: Gothic Horrors and the Technology of Monsters (Durham, NC: Duke University Press, 1995); and Laura Chrisman, Rereading the Imperial Romance: British Notes 175

Imperialism and South African Resistance in Haggard, Schreiner, and Plaatje (Oxford: Clarendon Press, 2000). 25. See Jameson, The Political Unconscious, 206–80; and Anne McClintock, “The Lay of the Land: Genealogies of Imperialism,” in Imperial Leather: Race, Gender and Sexuality in the Colonial Conquest (New York: Routledge, 1995), 21–74. 26. Jane Bryce and Karia Dako note a similar ambivalence with regard to Ama Ata Aidoo’s 1991 novel Changes: A Love Story. See Bryce and Dako, “Textual Deviancy and Cultural Syncretism: Roman- tic Fiction as a Subversive Strain in Black Women’s Writing,” in FonTomFrom: Contemporary Ghanaian Literature, Theatre and Film, ed. Kofi Anyidoho and James Gibbs (Amsterdam: Rodopi, 2000), 155–64. In Changes, Aidoo, known for her outspoken political views in Ghana, adopted a literary medium that made it difficult for publishers to categorize her work. According to Bryce and Dako, Aidoo’s novel is an ironic commentary on the disillusion that followed the degeneration of the physical fabric of Ghanaian society and the disappointment of those early hopes. The vehicle— the use of which is itself an ironic about-face on what she presents as an earlier, “revolutionary” position which precluded such frivolity—is that of the romance novel. This “despised” form is used self- consciously, both to subvert the dominant political and social discourse of Ghana today, and to expose the specific contradictions of gender and its power relationship. (157–8) Unable to find an African publisher, the novel was eventually published by the Feminist Press at CUNY (160). 27. Rosemary Hennessy, Profit and Pleasure: Sexual Identities in Late Capitalism (New York: Routledge, 2000), 225. Hennessy is drawing in this passage from insights in Lauren Berlant’s The Queen of America Goes to Washington City: Essays on Sex and Citizenship (Durham, NC: Duke University Press, 1997). 28. Rachel C. Lee, The Americas of Asian American Literature (Princeton, NJ: Princeton University Press, 1999), 84–5. 29. Lauren Berlant, “Intimacy: A Special Issue” in Intimacy, ed. Lauren Berlant (Chicago: University of Chicago Press, 2000), 2–3. 30. Ibid., 8. 31. Ibid., 5–6. 32. Ann Laura Stoler, Carnal Knowledge and Imperial Power: Race and the Intimate in Colonial Rule (Berkeley: University of California Press, 2002), 13. As I argue throughout this book, Stoler’s point about sentiment as the historical domain of literature only underscores the role literary studies can and must play in analyzing the affective force of global ideologies and imaginative responses to them. 33. Ann Laura Stoler, “Intimidations of Empire: Predicaments of the Tac- tile and Unseen,” in Haunted by Empire: Geographies of Intimacy in 176 Notes

North American History, ed. Ann Laura Stoler (Durham, NC: Duke University Press, 2006), 14. 34. Lisa Lowe, “The Intimacies of Four Continents,” in Haunted by Empire, ed. Ann Laura Stoler, 203. 35. Ibid. 36. For useful introductions to the most prominent thinkers in this emerging field, see Globalization: The Reader, ed. John Beynon and David Dunkerley (New York: Routledge, 2000); and Andrew Jones’s more recent Globalization: Key Thinkers (Cambridge: Polity, 2010). 37. Ulrich Beck, What Is Globalization? (Cambridge: Polity Press, 2000), 11. Originally published in German as Was ist Globalisierung? (Frankfurt: Surhkamp Verlag, 1997). 38. Ibid., 12–13. 39. For an example of the argument that globalization will lead to cultural homogenization, see John Tomlinson, Cultural Imperialism (London: Pinter, 1991). Ahmed Gurnah argues for a greater complexity of different local responses to Western media in his essay “Elvis in Zanzibar,” in The Limits of Globalization: Cases and Arguments,ed. Alan Scott (New York: Routledge, 1997), 116–42. 40. See, for example, Chris Barker, Global Television (London: Blackwell, 1997); Ann Cvetkovich and Douglas Kellner, eds. Articulating the Global and the Local: Globalization and Cultural Studies (New York: Westview Press, 1997); John Fiske, Media Matters: Everyday Culture and Political Change (Minneapolis: University of Minnesota Press, 1994); Rob Wilson and Wimal Dissanayake, eds. Global-Local: Cul- tural Production and the Trans-national Imaginary (Durham, NC: Duke University Press, 1996); Donatella della Porta, Massimiliano Andretta, Lorenzo Mosca, and Herbert Reiter, Globalization from Below: Transnational Activists and Protest Networks (Minneapolis: University of Minnesota, 2006); and Jan N. Pieterse, Globalization and Culture: Cultural Mélange, 2nd ed. (New York: Rowman & Littlefield, 2009). 41. Pratt and Rosner, “Introduction: The Global and the Intimate,” 12. 42. One of many examples here is the cynical deployment of the stock figure of the oppressed woman of Afghanistan in the lead-up to the US invasion in 2001. 43. See Fredric Jameson, The Political Unconscious; Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (Cambridge, MA: Harvard University Press, 1993); Arjun Appadurai, Modernity at Large: Cultural Dimensions of Globalization (Minneapolis: University of Minnesota Press, 1996); Saskia Sassen, The Global City: New York, London, Tokyo (Princeton, NJ: Princeton University Press, 1991). Chandra Mohanty’s most influential essays have been republished as Feminism Without Borders: Decolonizing Theory, Practicing Solidar- ity (Durham, NC: Duke University Press, 2003). On globalization and sexuality, see Arnoldo Cruz-Malavé and Martin Manalansan, Notes 177

eds. Queer Globalizations: Citizenship and the Afterlife of Colonialism (New York: NYU Press, 2002); Elizabeth Povinelli, The Empire of Love: Toward a Theory of Intimacy, Genealogy, and Carnality (Durham, NC: Duke University Press, 2006); and Jon Binnie, The Globalization of Sexuality (London: Sage, 2004). 44. John C. Hawley, “The Colonizing Impulse of Postcolonial Theory,” Modern Fiction Studies 56.4 (Winter 2010): 775. 45. Binyavanga Wainaina, “How to Write About Africa,” Granta 92 (2005), http://www.granta.com/Archive/92/How-to-Write- about-Africa/Page-1. 46. See James L. Machor and Philip Goldstein’s discussion in their edited collection Reception Study: From Literary Theory to Cultural Studies (New York: Routledge, 2001), xiii. 47. Ibid., xi–xii. 48. Ibid., 78. See, for example, Jane Tompkins’ essay, “Masterpiece The- ater: The Politics of Hawthorne’s Literary Reputation,” American Quarterly 36 (1984): 617–42. 49. Marxist scholars have been particularly attuned to postcolonialism as an industry. See Arif Dirlik, The Postcolonial Aura (Boulder, CO: Westview Press, 1997) and Aijaz Ahmad, “The Politics of Literary Postcoloniality,” Race and Class 36.3 (1995): 1–20. 50. Amal Amireh and Lisa Suhair Majaj, eds. Going Global: The Transnational Reception of Third World Women Writers (New York: Garland, 2000); Graham Huggan, The Post-Colonial Exotic: Mar- keting the Margins (New York: Routledge, 2001); Bishnupriya Ghosh, When Borne Across: Literary Cosmopolitics in the Contempo- rary Indian Novel (New Brunswick, NJ: Rutgers University Press, 2004). 51. Amireh and Majaj, Introduction to Going Global,2.Allfurther references to this work will be cited in the text. 52. Huggan, The Post-Colonial Exotic, vii. 53. Ghosh, When Borne Across,7–8. 54. Huggan, The Post-Colonial Exotic, xiii, xiv. 55. Sarah Brouillette, Postcolonial Writers in the Global Literary Market- place (New York: Palgrave Macmillan, 2007), 24. 56. Ibid., 25. 57. Doris Sommer uses the term national romance in her discussion of cross-class and cross-race love stories in revolutionary and newly independent Latin American states in Foundational Fictions: The National Romances of Latin America (Berkeley: University of California Press, 1991). John McClure adopts the phrase the romance of liberation to describe the utopian anti-imperialist rhetoric of twentieth-century political thinkers such as Che Guevara and Frantz Fanon, which drew heavily on ideas of love and sacriﬁce for one’s fellow revo- lutionaries. See Late Imperial Romance (New York: Verso, 1994), 33–8. 178 Notes

58. Issue 43.3 (2008) of The Journal of Commonwealth Literature includes two essays focusing on romance in local markets: Esther de Bruijn’s “ ‘What’s Love’ in an Interconnected World? Ghanaian Market Literature for Youth Responds” (3–24) and Tabish Khair’s “Indian Pulp Fiction in English: A Preliminary Overview from Dutt to Dé” (59–74). Hsu-Ming Teo works on contemporary orientalist romance. See, for example, “Orientalism and Mass Market Romance Novels in the Twentieth Century,” in Edward Said: The Legacy of a Public Intellectual, ed. Ned Curthoys and Debjani Ganguly (Victoria: University of Melbourne, 2007). On Caribbean gothic, see Lizabeth Paravisini-Gebert, “Colonial and Postcolonial Gothic: The Caribbean,” in The Cambridge Companion to Gothic Fiction,ed. Jerrold E. Hogle (New York: Cambridge, 2002), 229–57. 59. Joe Cleary, Literature, Partition and the Nation State: Culture and Conﬂict in Ireland, Israel and Palestine (New York: Cambridge, 2002); and David Damrosch, What is World Literature? (Princeton, NJ: Princeton University Press, 2003), 5.

Chapter 1 1. Frontline: The Long Walk of Nelson Mandela, dir. Katerina Monemvassitis (Story Street Productions and Films 2 People, 1999), videocassette. Sexwale later went on to become Premier of the Gauteng province (the most populous province, which includes Johannesburg) under Mandela’s government before retiring from politics and going into business. 2. I take the phrase directly from Brink’s title to his 1983 collection of essays, Mapmakers: Writing in a State of Siege (London: Faber & Faber). 3. As a black South African writer, Nkosi occupies a different position in relation to South African authorities as well as to an international reading public. Under considerably more risk of physical abuse and complete censorship than the white writers I discuss in this chapter, Nkosi lived in exile for 42 years, based at different points in the United States, Britain, Poland, and Zambia. While Coetzee, Brink, and Gordimer for the most part remained in South Africa, Nkosi only returned to visit Durban in 2001 and seems to have settled permanently in Switzerland. See Lindy Stiebel, “Looking at the Local/Locale: A Postcolonial Reading of Lewis Nkosi’s Mat- ing Birds,” Matatu: Journal for African Culture and Society 35 (2007): 135. 4. Further, black and white South African writers are positioned and frequently position themselves in different ways with regard to their ties to the Western novelistic tradition. In scholarship generated both from within and outside of South Africa, it is not a given that white and black South African writing constitute part of a common literary Notes 179

corpus. The argument is frequently made that they are in fact two distinct literary traditions and thus should be examined separately. I reject this model for three reasons: First, arguing for a degree of racial purity of origins in white or black South African writing runs the risk of replicating apartheid’s argument for cultural separation. Second, international reception, though it might perceive black and white writers differently, still tends to group them within a framework (however unstable) of “South African ﬁction.” Finally, these authors share considerable overlap in content, and the tensions and continu- ities within their work are a productive site for critical inquiry. Sue Kossew’s solution to these debates is to categorize white South African writing as “Second World literature” as deﬁned by Stephen Slemon, arguing that the ambivalence so central to settler writing is a useful theoretical model for approaching questions of postcoloniality. In contrast, I argue that late-twentieth-century postcolonial texts produced to circulate internationally (as so much writing by black and white South Africans is) already fall through the cracks of a Three Worlds model. See Sue Kossew, “ ‘White’ South African Writing and the Politics of Resistance,” Anglophonia: The French Journal of English Studies 7 (2000): 180. Slemon lays out his concept of “Second World literatures” in “Unsettling the Empire: Resistance Theory for the Second World,” World Literature Written in English 30.2 (1990): 30–41. 5. Ngugi wa Thiong’o, Decolonising the Mind: The Politics of Language in African Literature (Portsmith, NH: Heinemann, 1986). Ngugi’s primary concern in this collection is language, but the psychological nature of the process of decolonization is relevant here. 6. Gender was a component of resistance to apartheid from the begin- ning, as is clear from the women’s pass protests of the 1950s, as well as their participation in the armed struggle as members of Umkhonto we Sizwe, the armed wing of the ANC. However, women’s actual participation and the rhetoric framing revolutionary struggle in South Africa and elsewhere are often two very different things. For example, Partha Chatterjee discusses the alignment of women with a spiri- tualized private sphere during the anticolonial struggle in India in “The Nationalist Resolution to the Woman Question,” in Recasting Women: Essays in Colonial History, ed. Kumkum Sangari and Sudesh Vaid (New Delhi: Kali for Women, 1989), 233–54. For an analysis of the tendency of revolutionary rhetoric to constrain women to a symbolic rather than an active role within the South African anti- apartheid struggle, see Anne McClintock, “No Longer in a Future Heaven: Nationalism, Gender, and Race,” in Imperial Leather: Race, Gender, and Sexuality in the Colonial Conquest (New York: Routledge, 1995), 352–90. For an analysis of the diversity of women’s roles in revolutionary nationalist struggles, see Women, States and National- ism: At Home in the Nation? Ed. Sita Ranchod-Nilsson and Mary Ann Tetreault (New York: Routledge, 2000). 180 Notes

7. Robert Ross, A Concise History of South Africa (Cambridge: Cambridge University Press, 1999), 75. 8. Ibid., 115. 9. Ibid., 116. 10. Ibid., 116–21. 11. Not surprisingly, the hysteria around the possibility of unions between white women and black men remained more fantasy than reality. As Albie Sachs points out, of the prosecutions under the Immorality Act in the 1950s through the 1960s, nearly 100 percent of the cases involved the familiar colonial dyad of the white man and the woman of color (approximately half the charges were brought against the white men and half against the women of color). Sachs concludes that “con- trary to the racial assumptions of those in power non-white women have more need to fear the lust of white men than white women the lust of non-white men.” Sachs, South Africa: The Violence of Apartheid (London: International Defence and Aid Fund and Christian Action Publications, Ltd., 1970), 14. 12. Sachs, South Africa, 13. 13. On allegory, see Teresa Dovey, “Waiting for the Barbarians: Allegory of Allegories,” in Critical Perspectives on J.M. Coetzee, ed. Graham Huggan and Stephen Watson (New York: St. Martin’s, 1996), 138–51. 14. On history in Coetzee, see David Attwell, “The Problem of History in the Fiction of J. M. Coetzee,” in Rendering Things Visible: Essays on South African Literary Culture, ed. Martin Trump (Athens: Ohio University Press, 1991), 94–133. 15. Parry and Attridge reach conﬂicting conclusions on this issue. While Parry claims that Coetzee ultimately re-silences the other even as he deconstructs the discourses that initially serve to silence (see Benita Parry, “Speech and Silence in the Fictions of J. M. Coetzee,” in Crit- ical Perspectives on J. M. Coetzee, ed. Graham Huggan and Stephan Watson, 37–65), Attridge argues that the silent ﬁgures in Coetzee’s works evidence “a new apprehension of the claims of otherness,of that which cannot be expressed in the discourse ordinarily available to us, not because of an essential ineffability but because it has been simultaneously constituted and excluded by that discourse in the very process of that discourse’s self-constitution.” See Attridge, “Liter- ary Form and the Demands of Politics: Otherness in J.M. Coetzee’s Age of Iron,” in Ideology and Aesthetics, ed. George Levine (New Brunswick, NJ: Rutgers University Press, 1994). Quoted in Parry, “Speech and Silence,” 41. I tend to agree with Parry that at least for the magistrate, the other is ultimately only useful as an appro- priative position from which to claim an otherness for the masochistic, emasculated white male subject rather than a position of its own per se. Notes 181

16. Of the few examples, most focus on Disgrace. See Elizabeth Swanstrom Goldberg’s chapter “Rape: The Division of Spheres,” in Beyond Terror: Gender, Narrative, and Human Rights (New Brunswick, NJ: Rutgers University Press, 2007); Elleke Boehmer, “Not Saying Sorry, Not Speaking Pain: Gender Implications in Dis- grace,” Interventions: International Journal of Postcolonial Studies 4.3 (2002): 342–51; and Pamela Cooper, “Metamorphosis and Sexual- ity: Reading the Strange Passions of Disgrace,” Research in African Literatures 36.4 (2005): 22–39. 17. Jennifer Wenzel, “Keys to the Labyrinth: Writing, Torture, and Coetzee’s Barbarian Girl,” Tulsa Studies in Women’s Literature 15.1 (1996): 61, 65. 18. J. M. Coetzee, Waiting for the Barbarians (New York: Penguin, 1980), 8. All further references to the novel will be cited in the text. 19. McClintock, Imperial Leather,4–5. 20. The magistrate dismisses Joll’s glasses as “the paltry theatrical mystery of dark shields hiding healthy eyes” (4). 21. See Ann Laura Stoler, Carnal Knowledge and Imperial Power: Race and the Intimate in Colonial Rule (Berkeley: University of California Press, 2002). 22. I use “woman of color” here, for lack of a better term, to signify the racialization of the woman as Other within the novel. Given the ambiguous setting and description of this character, I ﬁnd it problematic in this instance to identify her simply as “black.” 23. I would argue that this helps to account for the glaring silence of nearly all of the women in the novel. 24. The colonel’s story about the old man’s death echoes nearly exactly the apartheid government’s attempt to convince the public that Steve Biko’s death in prison was an accident rather than a murder. 25. The sexualized torture of prisoners by members of the US military at Abu Ghraib prison near Baghdad certainly demonstrates the centrality of gender in acts of racialized violence. 26. The novel is based on a real-life slave revolt at a farm named Houd- den-Bek in 1825. See Patricia van der Spuy, “Making Himself Master: Galant’s Rebellion Revisited,” South African Historical Journal 34.1 (1996): 1–28. Hermann Buhr Giliomee argues that the 1825 revolt at Houd-den-Bek became an important part of a larger paranoid narrative in the Afrikaner farming community about the violence and chaos that would be unleashed should the British abolish slavery in the Cape Colony (which they did in 1834). See Giliomee, The Afrikaners: Biog- raphy of a People (Charlottesville: University of Virginia Press, 2002), 111–12. 27. Frantz Fanon, “Concerning Violence,” in The Wretched of the Earth (New York: Grove, 1963), 35–106. All further references to this essay willbecitedinthetext. 182 Notes

28. André Brink, A Chain of Voices (London: Minerva, 1982), 135. All further references to the novel will be cited in the text. 29. Brink’s Galant, like the historical figure on whom he is based, is aware of the debates in the Cape Colony about abolishing slavery, which would make Galant’s son a free man eligible to own property. 30. Ania Loomba, Colonialism/Postcolonialism (New York: Routledge, 1998), 163. 31. Eve Kosofsky Sedgwick, Between Men: English Literature and Male Homosocial Desire (New York: Columbia University Press, 1985), 25–7. 32. Rosemary Jane Jolly presents a persuasive reading of the sado- masochistic interpersonal relationships in the novel, following Sedgwick’s arguments about triangulation by claiming that in Brink’s text, “women gain their recognition through their service to men. Their ...differentiation as characters is ultimately dependent on their allegiances to the men of both races whose action determines the central conflict of the novel.” Jolly, “Violence, Afrikaner Liberalism, and the Fiction of André Brink,” in Colonization, Violence, and Narration in White South African Writing: André Brink, Breyten Breytenbach, andJ.M.Coetzee(Athens: Ohio University Press, 1996), 49. 33. Lewis Nkosi, Mating Birds: A Novel (New York: Harper & Row, 1986). All further references to the novel will be cited in the text. 34. I follow André Brink’s dating of the novel according to its reference to “Dr Vorster” in “An Ornithology of Sexual Politics: Lewis Nkosi’s Mating Birds,” English in Africa 19.l (May 1992): 16. 35. Lewis Nkosi, Mating Birds: A Novel (New York: Harper & Row, 1986), 70. All further references to the novel will be cited in the text. 36. On the banning of works by Nkosi and other exiled black South African writers during the apartheid era, see Nadine Gordimer, “The Measure of Freedom,” Index on Censorship 25.2 (1996): 116. 37. Fanon, Black Skin, White Masks (New York: Grove, 1967), 118–21. 38. Fanon, The Wretched of the Earth (New York: Grove, 1963), 309. 39. His father and white authorities do concur in their belief that white education will make him forget his true place. Denied the white Christian intellectual world of the university and cut off from the Zulu village life of his youth, Sibiya describes himself as “doubly lost. Unlike my father, I believe in nothing, neither in Christian immortality nor in the ultimate fellowship with the ancestral spirits. I have no faith in the hereafter. ...This lack of faith is my loss. It is also my strength” (47–8). As Sibiya indicates, the fact that he has nothing to lose enables him to perceive the limitations of the conflicting options he has been offered. 40. Lynne Hanley makes a similar point: “Though Nkosi’s text chal- lenges certain apartheid representations of the black man’s desire, Notes 183

it indulges others, and it mounts its challenge to apartheid at the expense of women.” Hanley, “Writing across the Color Bar: Apartheid and Desire,” The Massachusetts Review 32.4 (Winter 1991): 504. 41. Brink, “An Ornithology of Sexual Politics,” 9. Albeit in a less vitriolic tone, Neil Lazarus also acknowledges that “Mating Birds is,infact, positively undermined by an insistent inner failure of vision, which takes the form of a virulent and structuring sexism.” See Lazarus, “Measure and Unmeasure: The Antimonies of Lewis Nkosi,” The Southern Review 23.1 (Winter 1987): 116. 42. Nadine Gordimer, A Sport of Nature (London: Penguin, 1987), 160. All further references to the novel will be cited in the text. 43. Hillela’s refusal to view sexuality as a bourgeois diversion from the political finds support in pro-sex feminist theory and queer theory, from earlier key texts such as Herbert Marcuse’s Eros and Civilization and Foucault’s History of Sexuality, Volume I to the 1992 collection Pleasure and Danger: Exploring Female Sexuality,ed.CarolS.Vance (London: Pandora); and Jonathan Dollimore’s Sexual Dissidence: Augustine to Wilde, Freud to Foucault (Oxford: Oxford University Press, 1991). For an important materialist attempt to situate pleasure as an affect produced within capitalist culture, see Rosemary Hennessy, Profit and Pleasure: Sexual Identities in Late Capitalism (New York: Routledge, 2000). 44. Rudyard Kipling, Kim (New York: Penguin, 1987). Originally published 1901. 45. While interested in the ways in which Hillela’s performative, nomadic identity fits her nicely into feminist discussions of fragmented sub- jectivity, Martine Watson Brownley is also critical of her complete abandonment of her personal and cultural history and her lack of loy- alty to close friends and other women in general. Brownley, Deferrals of Domain: Contemporary Women Novelists and the State (New York: St. Martin’s, 2000), 130–1. 46. Walter Clemons, “South African Countdown: Gordimer’s Angry Vision,” Newsweek (May 4, 1987): 78. 47. Thomas Knipp, “Going All the Way: Eros and Polis in the Novels of Nadine Gordimer,” Research in African Literatures 24.1 (1993): 39–40. 48. Albert Memmi, The Colonizer and the Colonized (Boston: Beacon, 1967), 19. 49. Stuart Weir, “Books of the Year: II,” New Statesman (December 4, 1987): 30. 50. Paul Gray, “A Sport of Nature,” Time (April 6, 1987): 76. 51. Jennifer Krauss, “Activism 101: A Sport of Nature,” The New Republic (May 18, 1987): 34. 52. Judith Thurman, “Choosing a Place,” 89. 184 Notes

53. For a persuasive account of the cultural capital of South African literature among self-proclaimed liberals in the United States during the apartheid period, see Andrew van der Vlies, “South Africa in the Global Imaginary,” in The Cambridge History of South African Liter- ature, ed. David Attwell and Derek Attridge (New York: Cambridge University Press, 2011), 697–716. 54. See my discussion of the reception of Hagedorn’s Dogeaters in Chapter 3. 55. Though I have chosen to work with Huggan’s term strategic exoticism in my discussion here, I would argue that José Muñoz’s important concept of disidentification is a close relative. Because his term emerges from a particular discussion of queer strategies for engag- ing with popular representation, to use it here would be to disengage it from its political context. See José E. Muñoz, Disidentifications: Queers of Color and the Performance of Politics (Minneapolis: Univer- sity of Minnesota Press, 1999). 56. Janice Harris, “On Tradition, Madness, and South Africa: An Interview with Lewis Nkosi,” Weber Studies: An Interdisciplinary Humanities Journal 11.2 (1994): 25–37. 57. Henry Louis Gates, Jr., “The Power of Her Sex, the Power of Her Race,” New York Times (May 18, 1986): 3. Quoted in Lucy Graham, “ ‘Bathing Area—For Whites Only’: Reading Prohibitive Signs and ‘Black Peril’ in Lewis Nkosi’s Mating Birds,” in Still Beating the Drum: Critical Perspectives on Lewis Nkosi, ed. Lindy Stiebel and Liz Gunner (New York: Rodopi, 2005), 147. 58. Graham, “ ‘Bathing Area—For Whites Only,’ ” 148. 59. Ibid. 60. As I mention in Chapter 4, the film poster for Dirty Pretty Things similarly misrepresents the relationship between Okwe and Senay by positioning him threateningly behind her. 61. See Hans Robert Jauss, “The Identity of the Poetic Text in the Chang- ing Horizon of Understanding,” in Literary Theory Today, ed. Peter Colliler and Helga Geyer-Ryan (Cambridge, England: Polity Press, 1990), 53–73. My understanding of Jauss draws upon Machor and Goldstein’s discussion in Reception Study,1–2. 62. In a 2007 essay in the New York Times, Rachel Donadio offers a useful summary of the harsh responses to Coetzee’s book in South Africa. The ANC denounced the book as racist during public hearings concerning the media convened by the governmental Human Rights Commission. Nadine Gordimer also took offense at the novel’s representation of its black characters, commenting in a 2006 interview that “[i]n the novel Disgrace there is not one black person who is a real human being.” In the same interview, she dismisses praise about the novel’s brilliant insight into contemporary South African social rela- tions, saying simply, “If that’s the only truth he could find in the Notes 185

post-apartheid South Africa, I regretted this very much for him.” Donadio, “Out of South Africa,” New York Times (December 16, 2007).

Chapter 2 1. It is worth noting that the two novels reverse the traditional trope of the white man romancing the colonized woman by presenting a white woman wooed by a colonized man. 2. See, for example, Anne McClintock, “Introduction: Postcolonialism and the Angel of Progress,” in Imperial Leather: Race, Gender, and Sexuality in the Colonial Conquest (New York: Routledge, 1995): 1–17; and Laura Chrisman, Rereading the Imperial Romance: British Imperialism and South African Resistance in Haggard, Schreiner, and Plaatje (Oxford and New York: Clarendon, 2000). 3. Doris Sommer, Foundational Fictions: The National Romances of Latin America (Berkeley and Los Angeles: University of California Press, 1991), 12. 4. Ibid., 15. 5. Ibid., 29. 6. Jyotika Virdi, Cinematic ImagiNation: Indian Popular Films as Social History (New Brunswick, New Jersey: Rutgers University Press, 2003), 7. 7. Ahdaf Soueif, The Map of Love (New York: Anchor Books, 1999). All subsequent references will be cited parenthetically. 8. Barbara D. Metcalf and Thomas R. Metcalf, A Concise History of India (Cambridge: Cambridge University Press, 2000), 100–2. The British Parliament passed the Government of India Act on August 2, 1858, placing all assets formerly controlled by the East India Company under official authority of the British Crown (102). 9. Sydney Nettleton Fisher and William Ochsenwald, The Middle East: A History, vol. II (New York: McGraw-Hill, 1997), 349. Dane Kennedy notes that the campaign in Sudan also coincided with the beginnings of modern war correspondence and a resulting increase in the political influence of British public opinion on imperial policy. It was public concern that prompted the party sent to retrieve Gordon in the first place, and Kitchener’s force was designed to retake Sudan in order to reassure the British public that everything was under control. However, the escalating conflict in South Africa proved a public opinion disaster, undermining the sense of order the British strove to create with the mission in Sudan. See Kennedy, Britain and Empire: 1880–1945 (London: Longman, 2002), 10, 13, 19. 10. It is worth noting that Gandhi’s program of satyagraha, or passive resistance, had been developed during his nearly 20 years working with the South Asian population in South Africa. It was Gandhi’s 186 Notes

experience of racism in South Africa, where he was forbidden from traveling in a ﬁrst-class train car because he was an Indian, that mobi- lized him into action for the Indian community in South Africa. See Leonard Thompson, A History of South Africa (New Haven, CT: Yale University Press, 1990), 113. 11. See Metcalf and Metcalf, A Concise History of India, 203–4, 209. 12. Roland Oliver and Anthony Atmore, Africa Since 1800,rev.ed. (Cambridge: Cambridge University Press, 2003), 14. 13. Fisher, The Middle East, 292–3. 14. Ibid., 341. 15. Kennedy, Britain and Empire, 53. 16. Fisher, The Middle East, 539, 542–3. 17. For the foundational study of orientalism as a cultural and political project, see Edward W. Said, Orientalism (New York: Vintage, 1994). Originally published in 1978 by Random House. 18. Ann Laura Stoler, Carnal Knowledge and Imperial Power: Race and the Intimate in Colonial Rule (Berkeley and Los Angeles: University of California Press, 2002), 57. 19. Ibid., 47. 20. Ibid., 51–3. 21. For a discussion of the fear of the ideological danger posed by mixed- race children in the colonies, see Stoler, “Sexual Affronts and Racial Frontiers: Cultural Competence and the Dangers of Métissage,” Chapter 4, Carnal Knowledge and Imperial Power, 79–111. 22. Vron Ware, Beyond the Pale: White Women, Racism, and History (London: Verso, 1992), 234. 23. Jenny Sharpe, Allegories of Empire: The Figure of Woman in the Colonial Text (Minneapolis: University of Minnesota Press, 1993), 128. 24. Ibid., 2. 25. On the imperialist deployment of feminist rhetoric in the Arab world in the era of British colonialism, see Leila Ahmed, Women and Gender in Islam: Historical Roots of a Modern Debate (New Haven: Yale Uni- versity Press, 1992), esp. 144–68. Ahmed discusses Cromer’s policies on girls’ education and his antipathy to British feminism on pg. 153. 26. Jane Haggis, “Gendering Colonialism or Colonising Gender?” Women’s Studies International Forum 13.1–2 (1990): 105. Qtd. in Kumari Jaywardena, The White Woman’s Other Burden: Western Women and South Asia During British Colonial Rule (New York: Routledge, 1995), 4. 27. Jayawardena, The White Woman’s Other Burden,3–4. 28. Ibid., 8–9. 29. Ibid., 4. 30. Ibid., 6. Some prominent examples of these friendships included Indian activist Swami Vivekananda and Irishwoman Margaret Noble Notes 187

as well as South African writer and ANC founder Sol Plaatje and South African expatriate Oliver Schreiner, On the friendship between Sol Plaatje and Olive Schreiner, see Laura Chrisman, Rereading the Imperial Romance: British Imperialism and South African Resistance in Haggard, Schreiner, and Plaatje (Oxford: Clarendon Press, 2000). Plaatje named his daughter Olive after Schreiner (20). 31. Ahdaf Soueif, “Talking About The Map of Love,” interview with Paula Burnett, EnterText 1.3 (London, February 28, 2000): 102. www.brunel.ac.uk/faculty/arts/EnterText/1_3_pdfs/soueif_1. pdf. See Ahdaf Soueif, In the Eye of the Sun (London: Bloomsbury, 1992). 32. Ibid., 102–3. 33. Margaret Strobel refutes what she calls the “myth of the destructive female” in colonialist rhetoric in her essay “Gender and Race in the Nineteenth- and Twentieth-Century British Empire,” in Becoming Visible: Women in European History, 2d. ed., ed. Renate Bridenthal, Claudia Koonz, and Susan Stuart (Boston: Houghton Mifﬂin, 1987), 378–9. Qtd. in Stoler, Carnal Knowledge and Imperial Power, 56. 34. See, for example, Ahdaf Soueif, “Our Poor, Our Weak, Our Hungry,” The Guardian (September 15, 2001); and “After September 11: Nile Blues,” The Guardian (November 6, 2001). Both articles available via the Guardian Online Archives, www.guardian.co.uk. 35. Ahdaf Soueif, Aisha (London: Jonathan Cape, 1983). 36. Mona Fayad, “Reinscribing Identity: Nation and Community in Arab Women’s Writing,” College Literature 22.1 (1996): 154. 37. Elbendary, “Gathering One More Time,” Al-Ahram Weekly Online 611 (November 7–13, 2002), http://weekly.ahram.org.eg/2002/ 611/cu5.htm. May 25, 2003. 38. Amin Malak, “Arab-Muslim Feminism and the Narrative of Hybridity: The Fiction of Ahdaf Soueif,” Alif: Journal of Comparative Poetics 20, special issue: The Hybrid Literary Text: Arab Creative Authors Writing in Foreign Languages/al-Nas al-Ibdai Dhu al-Hawiyah al-Muzdawijah: Mubdiuna Arab Yaktubuna Bi-Lughat Ajnabiyah (2000): 141. 39. Qasim Amin, The Liberation of Women and The New Woman: Two Documents in the History of Egyptian Feminism, trans. Samiha Sidhom Peterson (Cairo: The American University in Cairo Press, 2000). As Margot Badran and Miriam Cooke point out, the celebration of Amin as the groundbreaking feminist of the early twentieth century Arab world fails to recognize that “Arab women had been writing ‘feminist’ or gender liberationist poems, essays, tales, and stories before the distinguished male judge had put pen to paper to write his famous book” (Badran and Cooke, eds. Opening the Gates: An Anthology of Arab Feminist Writing, 2d ed. Bloomington: Indiana University 188 Notes

Press, 2004, xvii). Examples include the Syrian writer Hind Nawfal and the Lebanese writer Zainab Fawwaz, both of whom were active in the 1890s (xxxvii). 40. Amin Malak, among others, notes the resemblance to Said. See Malak, “Arab-Muslim Feminism and the Narrative of Hybridity,” 155. 41. These are simply a few of many resemblances Omar bears to Said. Like Omar, Said also resigned from the Palestine National Council in protest over the Oslo provisions (See Tony Judt, “The Rootless Cosmopolitan,” The Nation (July 19, 2004), http://www.thenation. com/doc/20040719/judt/2). In addition, though not a profes- sional conductor like Omar, Said was an accomplished pianist and close friend of the Israeli conductor Daniel Barenboim. The two organized a series of controversial collaborative concerts in Jerusalem and Birzeit involving Palestinian and Israeli musicians that are echoed by Omar’s concert in the West Bank in Soueif’s novel (See Tania Tamari, “No Ordinary Concert,” Al-Ahram Weekly Online 654 (September 4–10, 2003), http://weekly.ahram.org.eg/2003/654/feature.htm). 42. Fredric Jameson lays out his argument about the allegorical structure of “third world literature” in his essay “Third World Literature in the Era of Multinational Capitalism,” Social Text 15 (Fall 1986): 65–88. I am not the first to call attention to the potential shortcom- ings of Jameson’s argument. For one of the more famous critiques of Jameson’s model, see Aijaz Ahmad, “Jameson’s Rhetoric of Otherness and the ‘National Allegory,’ ” Social Text 17 (Fall 1987): 3–25. 43. Stoler, Carnal Knowledge and Imperial Power,7. 44. Sommer, Foundational Fictions, 49. 45. Ibid. 46. The Denshwai incident occurred in 1906, when British soldiers ille- gally hunting pigeons in close proximity to a village shot several villagers, resulting in a riot in the village against the British. The incident itself, and the unjust and vindictive punishments imposed on villagers involved (four were publicly hanged, two sentenced to life imprisonment, several others sentenced to 50 lashes, and 1–15 years’ imprisonment) sparked a national outcry for the end of the British occupation and became a foundational moment for the nationalist movement. Most immediately, the horrific incident led to the res- ignation of Lord Cromer, who had served as the autocratic British consul general since 1883. See Fisher, The Middle East, 342, 350–3; and Jamal Mohammed Ahmed, The Intellectual Origins of Egyptian Nationalism (London: Oxford University Press, 1960), 62–3en. 47. We see the ongoing reverberations of this fragmentation in the Egyptian military’s brutal crackdown against pro-Morsi activists after his removal from office in July 2013. 48. Although the novel provides male love interests for both Amal and Isabel at times, the fact that they decide to live together and raise Notes 189

Isabel and Omar’s son as a family certainly leaves open the possibility for a new family organized around same-sex desire. 49. Susan Muaddi Darraj also describes Amal as a modern-day Scheherazade. See Darraj, “Narrating England and Egypt: The Hybrid Fiction of Ahdaf Soueif,” Studies in the Humanities 30.1 (2003): 102, 106. Waïl S. Hassan claims that The Map of Love is an example of what he terms “translational literature,” which places “special emphasis on translation as an essential component of cross- cultural contact.” See Hassan, “Agency and Translational Literature: Ahdaf Soueif’s The Map of Love,” PMLA (May 2006), 754. 50. Urabi was sent to exile in Sri Lanka. See Fisher, The Middle East, 341. 51. Fayad, “Reinscribing Identity,” 155. 52. Gayatri Spivak, “Learning to Learn,” Keynote Address, The Subaltern- Popular 2: Re-Visioning Analytic Frames (October 21, 2005); Santa Barbara, CA. Of course, her most famous articulation of the question of subalterneity can be found in “Can the Subaltern Speak?” in Marxism and the Interpretation of Culture, ed. Cary Nelson and Lawrence Grossberg (Urbana: University of Illinois Press, 1988). 53. The combination of the local and the transnational embodied by Amal’s in-person organizing and Isabel’s Internet organizing proved powerful indeed in February 2011, as Egypt’s Internet-savvy youth, among others, used Facebook to help coordinate the mass protests that brought down Mubarak’s regime while artists and intellectuals, including Soueif, also spoke directly to the crowds of protesters in Tahrir Square. 54. Janet Powers offers a slightly different interpretation of the multiple points of view in the novel, arguing that in addition to the ﬁrst-person point of view ascribed to Sonali, the other chapters presented by a third-person omniscient narrator also represent Sonali’s consciousness. In my view this fails to acknowledge that each of these chapters, though presented in third person, primarily focuses on the mem- ories and perspectives of Rose. See Powers, “Polyphonic Voices in Nayantara Sahgal’s Rich Like Us,” South Asian Review 24.2 (2003): 106–19. 55. See Metcalf and Metcalf, A Concise History of India, 251. The problem of population control also appears in The Map of Love via the peasant woman Tahiyya, the wife of the doorman in Amal’s apartment building in Cairo. When she brings Amal the X-ray she has received from the doctor and asks Amal to interpret it for her, they discuss her pregnancy. Tahiyya has not wanted another child, but has had to stop using an IUD due to irregular bleeding. Amal wants to encourage Tahiyya and the women in Tawasi to use birth control, but she is critical of Western feminist arguments that see Muslim women’s resistance to birth control merely as evidence of their oppression by Muslim men (76–7). 190 Notes

56. Stoler, Carnal Knowledge and Imperial Power, 35, 64–5. Settler colonies such as Australia, New Zealand, Canada, and South Africa were an exception to the strict immigration regulations on poor whites, though poor whites was still an important political cate- gory for colonial governments seeking to preserve white cohesion across class lines. For an excellent study of the deployment of the “poor white problem” in South Africa and the United States, see Tiffany Willoughby-Herard, “ ‘Waste of a White Skin’ or Civilizing White Primitives: The Carnegie Commission Study of Poor Whites in South Africa 1927–1932,” Ph.D. Diss., University of California, Santa Barbara, 2003. 57. Harveen Sachdeva Mann also identiﬁes Sonali as a new woman. See Mann, “Elliptic Feminism and Nationalism in Nayantara Sahgal’s Rich Like Us,” International Fiction Review 20.2 (1993): 108. 58. Mann, “Elliptic Feminism,” 104. 59. Mohandas Gandhi, quoted in Kumari Jayawardena, Feminism and Nationalism in the Third World (London: Zed, 1986), 95. 60. Mann, “Elliptic Feminism,” 105. 61. In fact, both Amal and Sonali ﬁnd it necessary to approach powerful former lovers or love interests for help with political problems. For Amal, it is Tareq ‘Atiyya who must intervene to reopen the villagers’ school when government authorizes shut it down (202). 62. Sonali’s stance is arguably very similar to that of Sahgal, based on Sahgal’s political writings. Janet Powers cites Sahgal’s critiques of Indira Gandhi’s degradation of Nehruvian democracy in essays such as “The Making of Mrs. Gandhi” (South Asian Review 8.3 [1975]) and the essays collected in the 1994 anthology Point of View: A Personal Response to Life, Literature, and Politics (Delhi: Prestige) as evidence for the way in which Sonali stands in for Sahgal in the novel. See Powers, “Polyphonic Voices in Nayantara Sahgal’s Rich Like Us,” 106, 118. Sahgal’s outspoken criticism of Gandhi’s regime is especially complicated given that Sahgal is in fact Nehru’s niece and thus Gandhi’s cousin. 63. Mann, “Elliptic Feminism,” 107. 64. I am thinking of Antonio Gramsci’s organic intellectual here, who emerges from within the cultural milieu rather than being produced by academic training. See Gramsci, “The Intellectuals,” Selections from the Prison Notebooks, ed. and trans. Quintin Hoare and Geoffrey Nowell-Smith (NY: International Publishers, 1971), 3–23. 65. Mann, “Elliptic Feminism,” 110. 66. Given Sonali’s excitement at Marcella’s comment that Sonali can always move on to another job once the Emergency is over, the novel does hint that this may be a temporary retreat (233). 67. Slaughter, Human Rights, Inc., 322. Notes 191

68. During a keynote address at the 2011 African Literature Association meeting, Moroccan American writer Leila Lalami spoke directly to this issue of the illegibility of Arab writers within Anglophone reader- ships and publishing markets. As she explained, her decision to write in English not only distanced her from an Arabic readership, but also from a French readership who might be better prepared to situate her work in relation to other diasporic Arab writers. 69. Hind Wassef, “The Unblushing Bourgeoise,” Cairo Times 2:5 (April 30,1998), http://www.cairotimes.com/content/culture/suef.html. 70. Amina Elbendary, “An Answer to What Went Wrong,” Al-Ahram Weekly Online 577 (March 14–20, 2002). The Map Love was later translated into Arabic by Soueif’s mother, Fatma Moussa, a retired professor of English Literature at Cairo University, and as of 2005 had been reprinted in its Arabic edition four times. The responses here are to the original release of the English text. http://weekly.ahram.org. eg/2002/577.htm. 71. Sahar Sobhi Abdel-Hakim, “Postcolonial Hybrids,” Al-Ahram Weekly Online 524 (March 8–14, 2001), http://weekly.ahram.org.eg/ 2001/524/bo6.htm. 72. Pascale Ghazaleh, “Ahdaf Soueif: Different Readings,” Al-Ahram Weekly Online 559 (November 8–14, 2001), http://weekly.ahram. org.eg/2001/profile.htm. 73. Hala Halim, “Translating Egypt,” Al-Ahram Weekly Online 442 (August 12–18, 1999), http://weekly.ahram.org.eg/1999/442/ bk1_442.htm. 74. Asim Hamdan, “Zionist Denies Soueif the Booker Prize,” Arab View: The Internet Home of Independent Arab Opinions, http://www.arabview.com/article.asp?artID=39. A clearinghouse of writing by Arab journalists and editors, the web site has since shut down. 75. Julia Sneden, “The Map of Love by Ahdaf Soueif,” Senior Women Web, http://www.seniorwomen.com/ca/cw/01/cult030701.html. 76. Luan Gaines, “The Map of Love,” Curled Up With a Good Book (2003), http://www.curledup.com/maplove.htm. 77. Anonymous, “The Map of Love,” Minnesota Public Radio (December 7, 2000), http://www.mpr.org/books/titles/soueif_mapoflove.shtml. 78. Amireh and Majaj, Going Global,4. 79. Simon Gikandi, Reading the African Novel (London: James Currey, 1987), 149. 80. Rob Thomas, “Egypt’s History Colors Tale of Love,” Madison.com (October 27, 2000), http://www.madison.com/captimes/books/ topic/fiction/720.php. 81. Sneden, “The Map of Love by Ahdaf Souief.” 82. Gaines, “The Map of Love.” 192 Notes

83. Joanne McEwan, “The Map of Love,” IslamOnline.net (July 17, 2002), http://www.islamonlin.org/English/contemporary/2002/ 07/Article03.shtml. 84. Andrea Perkins, “Beyond the Screen: Ahdaf Soueif’s New Novel Highlights Changing Cultural Climate in Egypt,” MetroActive (“Sili- con Valley’s Weekly Newspaper”), (November 9, 2000), http://www. metroactive.com/papers/metro/11.09.00/soueif-0045.html. 85. Gabriele Annan, “The Map of Love,” London Review of Books 21.14 (July 15, 1999): 28. 86. Annette Kobak, “The Map of Love,” New York Times Book Review 105.40 (October 1, 2000): 30. 87. Emma Richler, “The Booker ’99: J. M. Coetzee’s Disgrace an Honourable Choice,” The Ottawa Citizen (October 31, 1999), C12. 88. Anonymous, “The Map of Love,” African Business (January 2000), 42. 89. Certainly, as Bishnupriya Ghosh points out, there were stark differences in the national and international perceptions of the Booker Prize win, which coincided with the fanfare around the fiftieth anniver- sary of India’s independence from Britain. While the international responses were overwhelmingly celebratory, many reviews in the national press called attention to the commodification of Indian history at this moment and Roy’s profit from it: “Many accounts of the Roy-Booker jubilee event in the national press underlined literary popularity as made by the market, in a cynical gaze on the com- mercialization of culture under globalization” (Ghosh, When Borne Across, 38). 90. Janice Radway, Reading the Romance: Women, Patriarchy, and Pop- ular Culture (Chapel Hill: University of North Carolina Press, 1991), 107. 91. Maureen Ofili, transcriber, “Two Writers Speak About Their Work,” The Africa Centre, http://www.africacentre.org.uk/habari2.htm. 92. For a useful summary of this debate, see Geoffrey Nowell-Smith, “Art Cinema,” in The Oxford History of World Cinema, ed. Nowell-Smith (New York: Oxford University Press, 1996), 573–4. 93. Equating representations of politics with activism has been a persistent question for postcolonial studies. See Ania Loomba, “Challenging Colonialism,” in Colonialism/Postcolonialism (New York: Routledge, 1998), 185–254, esp. 243–4.

Chapter 3 1. Andrew Smith and William Hughes, “Introduction: The Enlighten- ment Gothic and Postcolonialism,” Empire and the Gothic: The Politics of Genre (New York: Palgrave Macmillan, 2003), 1–2. Notes 193

2. James Proctor and Angela Smith, “Gothic and Empire,” in The Routledge Companion to the Gothic, ed. Catherine Spooner and Emma McEvoy (New York: Routledge, 2007), 97. 3. Gina Wisker, Horror Fiction: An Introduction (New York: Contin- uum, 2005), 174. Qtd. in Lily Mabura, “Breaking Gods: An African Postcolonial Gothic Reading of Chimamanda Ngozi Adichie’s Purple Hibiscus and Half of a Yellow Sun,” Research in African Literatures 39.1 (Winter 2008), 205. See also Wisker, “Crossing Liminal Spaces: Teaching the Postcolonial Gothic,” Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture 7.3 (2007): 401–25. 4. Ibid. 5. David Punter and Glennis Byron, “Postcolonial Gothic,” in The Gothic (Malden, MA: Blackwell, 2004), 55. 6. See Giselle Liza Anatol, “Speaking in (M)other Tongues: The Role of Language in Jamaica Kincaid’s The Autobiography of My Mother,” Callaloo 25.3 (2002): 938–53; Louise Bernard, “Countermemory and Return: Reclamation of the (Postmodern) Self in Jamaica Kincaid’s The Autobiography of My Mother and My Brother,” Mod- ern Fiction Studies 48.1 (Spring 2002): 114–37; Jana Evans Braziel, “Alterbiographic Transmutations of Genre in Jamaica Kincaid’s ‘Biography of a Dress’ and Autobiography of My Mother,” A/B: Auto/Biography Studies 18.1 (2003): 85–104; and Gary E. Holcomb and Kimberly S. Holcomb, “I Made Him: Sadomasochism in Kincaid’s The Autobiography of My Mother,” Callaloo 25.3 (2002): 969–76. 7. See Moira Ferguson, “A Lot of Memory: An Interview with Jamaica Kincaid,” Kenyon Review 16.1 (Winter 1994): 176–7. 8. As Veronica Gregg puts it, “Much has been made of Jamaica Kincaid’s anger.” “How Jamaica Kincaid Writes the Autobiography of Her Mother,” Callaloo 25.3 (2002): 920. Gregg claims that Kincaid has to some degree cultivated this angry persona, as when she embraces the claim in Michiko Kakutani’s review in the New York Times that The Autobiography of My Mother is less “charming” than her earlier work. However, Gregg describes how, “In a subsequent interview, ...she is less sanguine about the designation of herself as the angry woman, observing: ‘I’ve often thought that if I were a man, my expressions of dissatisfaction with the world would be regarded with interest and enthusiasm.’ ” Sarah Jackson, “What’s in a Name?” Ann Arbor News (Sunday, January 28, 1996): E1–E2. Cited in Gregg, “How Jamaica Kincaid Writes,” 920. 9. See Penguin’s “Reading Group Guide” for Kincaid’s novel at http://us.penguingroup.com/static/rguides/us/autobiography_ of_my_mother.html. The novel was also marketed directly to African American readers. An excerpt from the section in which Xuela meets 194 Notes

Roland appeared in Essence in March 1996, and the online African American Literature Book Club lists the book as one of its “10 best sellers.” Nathaniel Sheppard, “New Club Brings Black Authors Online,” Emerge 9.9 (August 1998): 30. 10. See Greg Thomas, The Sexual Demon of Colonial Power: Pan-African Embodiment and Erotic Schemes of Empire (Bloomington: Indiana University Press, 2007), 108. 11. Deborah Plant was one of the few reviewers to identify Kincaid’s use of the gothic, claiming that “the spare and haunting prose with which Kincaid conﬁgures the lives and histories of her characters heightens the Gothic feel of the novel.” Plant, Review of The Autobiography of My Mother, The Prairie Schooner 73.3 (1999): 139. 12. Judie Newman describes this conventional move as “shifting the problem of violence onto universal grounds” in “Postcolonial Gothic: Ruth Prawer Jhabvala and the Sobhraj Case,” Modern Fiction Studies 40.1 (Spring 1994), 87. 13. Judith Halberstam, Skin Shows: Gothic Horror and the Technology of Monsters (Durham, NC: Duke University Press, 1995), 88–9. Qtd. in Cedric Gael Bryant, “ ‘The Soul Has Bandaged Moments’: Read- ing the African American Gothic in Wright’s ‘Big Boy Leaves Home,’ Morrison’s Beloved, and Gomez’s Gilda,” African American Review 39.4 (Winter 2005): 548. 14. Given Halberstam’s interest in antifuturism and the political potential of negativity, it is not surprising that she turns to Kincaid’s novel in her most recent book, The Queer Art of Failure. Durham: Duke University Press, 2011. See especially pages 131–3. 15. Cedric Gael Bryant, “ ‘The Soul Has Bandaged Moments,’ ” 548. 16. Jamaica Kincaid, The Autobiography of My Mother (New York: Plume, 1996), 3–4. All further references to the novel are from this edition andwillbecitedwithinthetext. 17. The Carib people fought ﬁercely against their British colonizers, and were more successful than other groups at holding them at bay. Even- tually, though, Carib peoples were pushed onto reservation lands in Dominica and Trinidad, where small populations survive today. In her interview with Moira Ferguson, Kincaid claims that her grand- mother was Carib, like Xuela’s mother. See Moira Ferguson, “A Lot of Memory,” 173. 18. Veronica Gregg, “How Jamaica Kincaid Writes,” 928. 19. In an interview, Kincaid claims, “I wouldn’t have known my ideas of justice if I hadn’t read Paradise Lost, if I hadn’t been given parts of Paradise Lost to memorize.” Donna Perry, “Interview with Jamaica Kincaid,” in Reading Black, Reading Feminist: A Critical Anthology, ed. Henry Louis Gates, Jr. (New York: Penguin, 1990), 493–509, 507. Qtd. in Gregg, “How Jamaica Kincaid Writes,” 922. 20. Kathryn E. Morris, “Jamaica Kincaid’s Voracious Bodies: Engender- ing a Carib(bean) Woman,” Callaloo 25.3 (2002): 954. Notes 195

21. Bryant, “ ‘The Soul Has Bandaged Moments,’ ” 548. 22. Ibid. 23. Fredric Jameson, “Magical Narratives: On the Dialectical Use of Genre Criticism,” The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca, NY: Cornell UP, 1981), 103–50. 24. Ferguson, “A Lot of Memory.” Qtd. in Alexandra Schultheis, “Fam- ily Matters in Jamaica Kincaid’s The Autobiography of My Mother,” Jouvert 5.2 (Winter 2001), par. 1. 25. Gregg, “How Jamaica Kincaid Writes,” 933. 26. In a wonderful essay on shame about indigenous spiritual knowledge in West Indian ﬁction, Rhonda Cobham argues that Kincaid’s story about the beautiful river goddess who lures children to their death is “a particularly rich site for investigating how people imagine and interpret the connection between Africa and the Caribbean. The ﬁgure is immediately recognizable from her description as the West African Mammywata, known in Jamaica as ‘River Mumma’ and associated loosely with such traditional African goddesses as the Ibo, Uhamiri/Idemili, and the Yoruba, Osun.” See Cobham, “ ‘Mwen Na Rien, Msieu’: Jamaica Kincaid and the Problem of Creole Gnosis,” Callaloo 25.3 (2002): 871. 27. Selwyn Cudjoe, “Jamaica Kincaid and the Modernist Project: An Interview,” Callaloo 12.2 (1989): 403–4. Qtd. in Gregg, “How Jamaica Kincaid Writes,” 924. 28. For a representative positive review of the novel, see Christopher Lehmann-Haupt, “Life (and It’s Cheap) in a Colonized Culture,” New York Times (March 22, 1990). For a critique of the book’s sup- posed formal capitulation to Western readers, see E. San Juan, Racial Formations/Critical Transformations: Articulations of Power in Eth- nic and Racial Studies in the United States (Atlantic Highlands, NJ: Humanities International Press, 1992). 29. Rachel C. Lee, The Americas of Asian American Literature (Princeton, NJ: Princeton UP, 1999), 74. 30. Ibid., 78. 31. Jerrold E. Hogle, “Introduction,” The Cambridge Companion to Gothic Fiction (New York: Cambridge UP, 2002), 14. Italics in original. 32. Jessica Hagedorn, Dogeaters (New York: Penguin, 1990), 156. All further references to the novel are from this edition and will be cited within the text. 33. Kelly Hurley, “Abject and Grotesque,” The Routledge Companion to Gothic, 138. 34. On the history of the bakla in the Philippines, see Viet Nguyen, Race and Resistance: Literature and Politics in Asian America (New York: Oxford University Press, 2002), 131–5; and Victor Mendoza, “A Queer Nomadology of Jessica Hagedorn’s Dogeaters,” American 196 Notes

Literature 77.4 (December 2005): 815–16. On bakla identity in the diaspora, see Martin Manalansan, Global Divas: Filipino Gay Men in the Diaspora (Durham, NC: Duke University Press, 2003). 35. Lee, The Americas of Asian American Literature, 98. 36. Nguyen, Race and Resistance, 128. 37. Lee, The Americas of Asian American Literature, 92; italics in original. 38. Ibid., 91. 39. Mendoza, “A Queer Nomadology,” 818. 40. Juliana Chang, “Masquerade, Hysteria, and Neocolonial Femininity in Jessica Hagedorn’s Dogeaters,” Contemporary Literature 44.4 (Winter 2003), 642. 41. Ibid., 657. 42. Halberstam, Skin Shows, 102–3. 43. Fred Botting, The Gothic (New York: D.S. Brewer, 2001), 1. 44. Lee Edelman, No Future: Queer Theory and the Death Drive (Durham, NC: Duke University Press, 2004), 4. I owe a debt to Andrea Fontenot here for her brilliant paper on the alliance between reproductive futurism and global capitalism in Alfonso Cuarón’s Children of Men at the 2008 Modern Language Association conference. 45. Lawrence Cohen, “The Other Kidney: Biopolitics Beyond Recog- nition,” in Commodifying Bodies, ed. Nancy Scheper-Hughes and Loïc Wacquant (Thousand Oaks, CA: Sage, 2002), 12. Shital Pravinchandra also discusses Cohen’s work in the context of Padmanabhan’s play in her essay “The Third-World Body Commodified: Manjula Padmanabhan’s Harvest,” eSharp 8(Autumn 2006): 6. 46. Nancy Scheper-Hughes, “Commodity Fetishism in Organs Traffick- ing,” Commodifying Bodies, 53. 47. David Michaelson, Concerto for the Left Hand: Disability and the Defamiliar Body (Ann Arbor: University of Michigan Press, 2008), 199. 48. Nancy Scheper-Hughes develops this term in “The Ends of the Body: Commodity Fetishism and the Global Traffic in Organs,” SAIS Review 22.1 (2002): 65. 49. Helen Gilbert, “Manjula Padmanabhan’s Harvest: Global Technoscapes and the International trade in Human Organs,” Contemporary Theatre Review 16.1 (2006): 127. 50. Karl Marx, “Inaugural Address of the Working Men’s International Association” (1864). Qtd. in Halberstam under the title The First International in Skin Shows, 102. 51. Manjula Padmanabhan, Harvest (London: Aurora Metro Press, 2003), 86. All further citations from the play are from this edition andwillbecitedwithinthetext. 52. John Frow, “Bodies in Pieces,” in The Body in the Library, ed. Leigh Dale and Simon Ryan (Amsterdam: Rodopi, 1998), 35–51, 49. Qtd. in Gilbert, “Manjula Padmanabhan’s Harvest,” 128. Notes 197

53. My point here is not to vilify new reproductive technologies as per- verse but to underscore the irony that even the most invasive of these technologies have for the most part escaped criticism by the Far Right even as the most benign technologies of contraception, not to mention abortion, are condemned as inherently against nature. The ambivalent, frequently coercive, circumstances surrounding reproduction in all three of these texts work powerfully to unsettle the notion that anything that leads to babies must be considered natural. 54. Michael Foucault discusses biopolitics as a system of “make” live and “let” die in Society Must Be Defended (New York: Picador, 2003), 241. 55. Sianne Ngai, Ugly Feelings (Cambridge, MA: Harvard University Press, 2005). 56. Rosellen Brown, “The Year in Fiction: 1990,” The Massachusetts Review 32.1 (Spring 1991): 130–1. 57. I take these details about the play competition from Reel Act’s casting notice for the La MaMa production of the play in New York City. See http://www.reelact.com/castingNotices/ viewCastingNotice.php?ID=445. 58. Kathleen Maclay, “Indian Plays’ Return to UC Berkeley Stage,” UC Berkeley Press Release, September 7, 2005, http://www.berkeley.edu/ news/media/releases/2005/09/07_sudipto.shtml. 59. Amardeep Singh, “Hullabaloo at the Berkeley Theater,” Amardeep Singh, November 17, 2005. http://www.lehigh.edu/∼amsp/2005/ 11/hullabaloo-at-berkeley-theater.html. 60. Anand Sarwate, “Harvest: a Defense,” An Ergodic Walk (November 15, 2005), http://ergodicity.net/2005/11/15/harvest-a-defense. 61. The new journal Verge: Studies in Global Asias attempts to respond to the long-standing rift between Asian Studies and Asian American Studies. In a statement on the journal’s web site, editors Tina Chen and Eric Hayot explain that “these two fields have tradi- tionally defined themselves in opposition to one another, with the former focused on an area-studies, nationally and politically ori- ented approach, and the latter emphasizing epistemological cate- gories, including ethnicity and citizenship, that drew mainly on the history of the United States.” http://www.upress.umn.edu/journal- division/Journals/verge-studies-in-global-asias. I would argue that the staging of Padmanabhan’s play at Berkeley presented a moment when her approach to organ trafficking clearly places her at the fault line of this disciplinary divide. 62. For a more detailed production history of the play, see Gilbert, “Manjula Padmanabhan’s Harvest,” 124. For examples of critical reviews of the film, see Pramila N. Phatarphekar, “Deham,” Out- look India (May 13, 2002), http://www.outlookindia.com/article. aspx?215537; and Uma Mahadevan-Dasgupta, “The Future Did Not Seem So Distant,” The Hindu (December 16, 2001), http://www. 198 Notes

hindu.com/thehindu/mag/2001/12/16/stories/2001121600570 200.htm. 63. I was not able to attend Benjamin Mosse’s production at La MaMa, so I did not see the screened video ads in person. However, I suspect that I would ﬁnd the video ads more effective than the reviewer. The idea is intriguing, since the screened ads would position the audience like Ma as consumer and highlight the corporate nature of all the transactions occurring onstage. 64. See Phoebe Hoban, “Just Sign Here, and Your Parts are Company Property,” New York Times (January 25, 2006).

Chapter 4 1. “Badlaa,” season 8 episode 10, first broadcast January 21, 2001 by Fox. Directed by Tony Wharmby and written by Chris Carter and John Shiban; Audrey Tautou and Chiwetel Ejiofor, Dirty Pretty Things, dir. Stephen Frears (2002: BBC/Celador/Miramax), film; Catalina Sandino Moreno, MariaFullofGrace, dir. Joshua Marston (2004: Fine Line Features/HBO), film. 2. Phoebe Hoban, “Just Sign Here, and Your Parts Are Company Prop- erty,” New York Times (January 25, 2006), http://theater.nytimes. com/2006/01/25/theater/reviews/25harv.html?_r=0. 3. Christy L. Burns, “Erasure: Alienation, Paranoia, and the Loss of Memory in The X-Files,” Camera Obscura 45 (2001): 197. 4. Elspeth Kydd, “Differences: The X-Files, Race and the White Norm,” Journal of Film and Video 53:4 (Winter 2001–2002): 76. 5. See the popular Global Episode Opinion Survey (GEOS) web site’s page for the “Badlaa” episode at http://www.geos.tv/index.php/ episode/txf/171. GEOS carries statistics about viewer ratings of episodes of a variety of different television shows, including The X-Files. 6. Here I have in mind the genealogy of science fiction films stretching from The War of the Worlds (dir. Byron Haskin, US, 1953) to Indepen- dence Day (dir. Roland Emmerich, US, 1996) and beyond, in which aliens are simply evil killers out to conquer the planet. They lack sub- jectivity and often provide no explanation for their decision to attack Earth. 7. The Sambhavna Trust, a group of medical workers, writers, and social workers, runs the Sambhavna medical clinic in Bhopal, which cares for many of the survivors and their children. Their casualty and ongoing injury numbers (not surprisingly) are considerably higher than those accepted by Union Carbide and subsequently Dow Chemicals. The Sambhavna and Union Carbide statistics I cite here come from the “What Happened in Bhopal?” page of Sambhavna’s web site: http://www.bhopal.org/. Amnesty International claims that “more Notes 199

than 7000 people died within a matter of days” and that “[o]ver the last 20 years exposure to the toxins has resulted in the deaths of a further 15,000 people as well as chronic and debilitating illnesses for thousands of others for which treatment is largely ineffective” See “Clouds of Injustice: Bhopal Disaster 20 Years On” (London: Amnesty International Publications), 1. Accessed December 4, 2004 as PDF file at http://web.amnesty.org/pages/ec-bhopal-eng. 8. “Clouds of Injustice,” 5. 9. Ibid, 1. 10. Randeep Ramesh, “Bhopal Still Suffering, 20 Years On,” Guardian (November 29, 2004). The Sambhavna trust claims that “For years Mr. Anderson’s whereabouts were unknown, and it wasn’t until August of 2002 that Greenpeace found him, living a life of luxury in the Hamptons” (“What Happened in Bhopal?”). 11. While the episode focuses on transnational petrochemical industries, I feel compelled to call attention to the dominance of US popular culture industries (film, television, music, web content, etc.). The X-Files in particular has garnered an enormous and loyal fandom of “X- Philes,” who provide a lucrative market for a vast array of merchandise, including spin-off novels; the two X-Files films; objects like T-shirts, mugs, and posters; a seemingly endless series of explanatory guides; behind-the-scenes travel guides to Vancouver and Los Angeles; and a seven-volume Official Guide to the X-Files book series. 12. One would imagine that this form of narrative has an especially powerful symbolic impact post-September 11, though it has failed to surface to any great extent in mainstream American TV and film thus far. One example would be the film The Day After Tomorrow (dir. Bryant Low, 2002), in which the US government’s refusal to recognize the importance of global warming leads to the destruction of much of the country. One richly ironic scene shows hordes of white middle- class Americans fleeing across the border into Mexico, signifying on anti-immigrant paranoia about invading hordes of immigrants from Mexico and dramatizing the infamous traffic sign posted on high- ways in much of the southwest depicting a family of illegal immigrants running across the road. 13. The figure of the subaltern generally has been the theoretical focus for the historians of the Subaltern Studies collective. For the land- mark work of Subaltern Studies, see Ranajit Guha’s Elementary Aspects of Peasant Insurgency (Delhi: Oxford, 1983). In Habitations of Modernity: Essays in the Wake of Subaltern Studies (Chicago: Univer- sity of Chicago Press, 2002); Dipesh Chakrabarty, another prominent figure in the Subaltern Studies collective, takes up the figure of the beggar as an example of the way in which the Marxian historiogra- phy of the Subaltern Studies collective has been unable to account for the role of religion in Indian politics. Chakrabarty argues that “[t]he 200 Notes

Buddhist imagination once saw the possibility of the joyful, renunciate bhikshu (monk) in the miserable and deprived image of the bhikshuk (beggar). We have not yet learned to see the spectral doubles that may inhabit our Marxism-inspired images of the subaltern” (36). For an example of the ways in which contemporary South Asian fiction has used the figure of the beggar to work through the failures of Indian nationalism, see my discussion of Nayantara Sahgal’s novel Rich Like Us in Chapter 2. 14. For a more detailed summary of the health effects of exposure to methyl isocyanate gas, see the New Jersey Department of Health and Senior Services “Hazardous Substance Fact Sheet,” accessible online at http://www.state.nj.us/health/eoh/rtkweb/1270.pdf. At the time of the Bhopal disaster, Union Carbide owned a facility in New Jersey similar to that in Bhopal, though it was considerably better prepared for the type of incident that occurred in the Indian factory. The discrepancy in the quality of maintenance between the two facili- ties has been one of the grounds for the victims’ lawsuit against Union Carbide. 15. “Bhopal Still Suffering, 20 Years On.” 16. S. Sriramachari, “The Bhopal Gas Tragedy: An Environmental Dis- aster,” Current Science (2004). Quoted in Amnesty International, “Clouds of Injustice,” 10. 17. Scully’s pregnancy and the identity and powers of Scully’s unborn child become a driving force as the series winds to an end. 18. It is worth noting that the mobility and interchangeability represented by the mystic in this particular episode is echoed by the mobility of the series’ production. The X-Files was filmed in Vancouver for the first five seasons—outsourced like many other US productions to lower costs. The show relocated to Los Angeles for the remain- ing four seasons, reputedly at the request of its biggest star, David Duchovny, who complained about having to live separately from his wife. 19. Those fears exploded in the media in the late 1990s with the case at the Los Alamos nuclear laboratory, in which the Chinese immigrant researcher Wen Ho Lee was accused of attempting to sell US nuclear secrets to his home country. Such incidents have sharply increased since September 11, targeting a range of Middle East-born Americans whose loyalties might be suspect. As the internment of Japanese Americans during World War II reminds us, this is not a new phe- nomenon, but rather one that tends to intensify along with nationalist xenophobia at times of perceived outside threat, such as war. 20. The material on the original web site, http://www.thexfiles.com/ episodes/season8/8X10.html, has since been pulled and replaced with an advertisement for the set of DVDs for season eight, so unfortunately it is no longer accessible. Notes 201

21. Men’s restrooms (“tearooms” in gay male slang when they are known as popular cruising spots) are an especially overdetermined site of possibilities for gay male desire, as evidenced by the George Michael scandal. For an outstanding essay on the space of the men’s restroom and the ways in which homosexuality was linked to communism in a sex scandal during the Cold War, see Lee Edelman’s “Tearooms and Sympathy, or the Epistemology of the Water Closet,” in Homographesis: Essays in Gay Literary and Cultural Theory (New York: Routledge, 1994). 22. On abjection, see Julia Kristeva, Powers of Horror: An Essay on Abjec- tion, trans. Leon S. Roudiez (New York: Columbia University Press, 1982). 23. Autumn Tysko, “Autumn Tysko’s XF Reviews: Badlaa,” http://www. geocities.com/Area51/Vault/1411/main_rev.html. All further references to Tysko’s review come from her site. Tysko’s site is listed as a link on the GEOS web site’s page for the episode (http://www.geos.tv/index.php/episode/txf/171). 24. David Rosiak, The 11th Hour Web Magazine, “Badlaa,” http://www. the11thhour.com/archives/022001/tvreviews/xf_badlaa.html. 25. Pam, “Badlaa,” http://www.theweeklycynic.com/ (under “The X- Files Archive”). 26. Gayle Rubin put forth the model of the sex/gender system in her classic essay “The Traffic in Women: Notes on the Political Economy of Sex,”inToward an Anthropology of Women, ed. Rayna Reiter (New York: Monthly Review, 1975): 157–210. 27. This is Hennessy’s term for a socioeconomic system based on “an organizational split between public wage economy and unpaid domestic production, both regulated by the ideology of possessive individ- ualism” (Profit and Pleasure, 23). Hennessy argues (drawing on Ann Ferguson) that this mode is being replaced in recent years by what she calls “public or postmodern patriarchy,” which “is characterized by the hyperdevelopment of consumption and the joint wage-earner family, the relative transfer of power from husbands to profession- als in the welfare state, the rise of single mother-headed and other alternative households, and sexualized consumerism” (23). 28. Andreas Huyssen, “The Vamp and The Machine,” in After the Great Divide: Modernism, Mass Culture, Postmodernism (Bloomington: Uni- versity of Indiana Press, 1986), 70. 29. Anne McClintock, Imperial Leather: Race, Gender and Sexuality in the Colonial Contest (New York: Routledge, 1995). McClintock traces how anxieties about changes in the class system in Britain brought about by industrialization and imperial expansion get expressed through a racialization and criminalization of working-class women, as well as an infantilization of the colonized subject, in an attempt to sta- bilize the particular notion of white masculinity that justified imperial economics. 202 Notes

30. Larry Rohter, “Tracking the Sale of a Kidney on a Path of Poverty and Hope,” New York Times (May 23, 2004). 31. Nancy Scheper-Hughes, “Bodies for Sale,” in Commodifying Bodies, ed. Scheper-Hughes and Loïc Wacquant (London: Sage, 2002), 2. 32. My thanks to Andrea Fontenot for drawing my attention to the allu- sion to fellatio in this scene, and indeed to the broader issue of Okwe as impenetrable hero in the ﬁlm. 33. Stephen Frears, “The Complexities of Cultural Change: an Interview with Stephen Frears,” interview by Cynthia Lucia, Cineaste 28.4 (Fall 2003): 8–16. 34. One of the most exhilarating and theoretically sophisticated denat- uralizations of gender is Donna Haraway’s “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century,” in Simians, Cyborgs and Women: The Reinvention of Nature (New York; Routledge, 1991), 149–81. 35. John Foran closes his essay “Alternatives to Development: of Love, Dreams and Revolution” by evoking the 1960s slogan “Power to the imagination!” Like Foran, I do not want to underestimate that power. See Foran, “Alternatives to Development,” in Feminist Futures: Re-Imagining Women, Culture and Development,ed.Kum- Kum Bhavnani, John Foran, and Priya A. Kurian (London: Zed Books, 2003), 274. 36. LaMond Tullis, Forward to Francisco E. Thoumi, Political Economy and Illegal Drugs in Colombia (Boulder: Lynne Rienner Publishers, 1995), xi. 37. Ibid. 38. Joshua Marston, audio commentary to Maria Full of Grace DVD, distributed by HBO Video, 2004. In an attempt to ﬁll the same gap, exiled Colombian journalist Alfredo Molano has published a superb collection of the testimonials of several Colombians involved in the drug trade entitled Loyal Soldiers in the Cocaine Kingdom: Tales of Drugs, Mules, and Gunmen (New York: Columbia University Press, 2004), translated by James Graham. 39. Ibid. 40. According to Marston, “Colombia ...is the second-largest producer of roses in the world. They’re second only to Holland, Ecuador being a close third” (DVD audio commentary). 41. Rosi Braidotti, Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory (New York: Columbia University Press, 1994), 47. 42. Braidotti, Nomadic Subjects, 52–3. 43. Huyssen, “The Vamp and The Machine.” 44. Marston, DVD audio commentary. 45. Ibid. 46. Braidotti, Nomadic Subjects, 66. Notes 203

47. Roger Ebert, Review of Maria Full of Grace, RogerEbert.com, July 30, 2004. 48. Box office tracking sites such as The Numbers (http://www.the- numbers.com/people/directors/SFREA.php) and Rotten Tomatoes (http://www.rottentomatoes.com/m/dirty_pretty_things/) estimate an approximately $14 million international box office return for Dirty Pretty Things ($8 million US, $6 million foreign). The same sites estimate the box office return at $12 million for Maria Full of Grace ($6 million US, $6 million foreign). See http://www.the-numbers.com/ movies/2004/MFGRC.php and http://www.rottentomatoes.com/ m/maria_full_of_grace/. Obviously, in Hollywood terms both numbers are modest, but I would argue based on the anecdotal evidence of conversations at conferences with colleagues working on globalization that Dirty Pretty Things is also more widely taught and has thus had more of a critical afterlife than Marston’s film. 49. The data about how widely the films are taught is necessarily anecdotal, but the scholarship supports my overarching claim that Dirty Pretty Things circulates more widely. At the time I completed this manuscript, there were approximately 30 articles in the MLA database about Dirty Pretty Things versus 15 for MariaFullofGrace(including scholarship in Spanish). Google Scholar found approximately 500 items related to Frears’ film versus 250 for Marston’s film.

Conclusion: Electronic Affects 1. Kevin Sullivan, “How Cell Phones Changed Courting in Saudi Arabia,” San Francisco Chronicle (August 13, 2006), http://www. sfgate.com/news/article/How-cell-phones-changed-courting-in- Saudi-Arabia-2491343.php. 2. Ibid. 3. Aryn Baker, “In Pursuit of Romance,” Time (July 21, 2011). See also Rachel Aspden, “Sex and the Saudis,” The Observer (July 21, 2007). http://www.time.com/time/specials/packages/article/ 0,28804,2084273_2084272_2084265,00.html. 4. Tom Hundley, “Saudi Author Scandalizes the Muslim World,” Pop Matters (July 23, 2008). http://www.popmatters.com/pm/article/ saudi-author-scandalizes-the-muslim-world/. 5. Ibid. 6. Mona Eltahawy, “Saudi Girls Gone Wild,” Forbes.com (January 9, 2008). 7. Moneera Al-Ghadeer, “Girls of Riyadh: A New Technology Writing or Chick Lit Deﬁance Ban¯at al-Riy¯ad. [Girls of Riyadh] by Raj¯a’al- S¯ani,” Journal of Arabic Literature 37.2 (2006): 296. 8. Helga Tawil-Souri rightly points out that “the revolution ...was communicated, planned, organized, and shaped by both older and 204 Notes

newer media technologies (e.g., leaflets, graffiti, television, street performances, telephone, text messages, e-mail, Facebook, Twitter, newspapers).” See “Egypt’s Uprising and the Shifting Spacialities of Politics,” Cinema Journal 52.1 (Fall 2012): 165. 9. Neda Agha-Soltan was killed on June 20, 2009, while participating in protests surrounding the Iranian elections. See Robert Tait and Matthew Weaver, “How Neda Agha-Soltan Became the Face of Iran’s Struggle,” The Guardian (June 22, 2009). http://www.guardian. co.uk/world/2009/jun/22/neda-soltani-death-iran. Mohamed Bou- azizi, a fruit vender, immolated himself on December 17, 2010, as a protest against the Tunisian government after suffering constant police harassment and having his wares seized by officials. The incident sparked immediate protests in Tunisia that eventually ended the 23-year reign of Zine el-Abidine Ben Ali. See Kareem Fahim, “Slap to a Man’s Pride Set Off Tumult in Tunisia,” New York Times (January 21, 2011), http://www.nytimes.com/2011/01/ 22/world/africa/ 22sidi.html?pagewanted=all&_r=0. Khaled Said died under mysteri- ous circumstances on June 6, 2010, in Egypt. He was the inspi- ration for Google executive Wael Ghonim’s Facebook page “Ana Esmi Khaled Said” (My Name is Khaled Said), which, though shut down quickly, was followed by the more widely viewed “Kalluna Khaled Said” (We Are All Khaled Said) page through which many of the large-scale protests in Cairo were organized. See Margaret Coker, Nour Malas, and Marc Champion, “Google Executive Emerges as Key Figure in Revolt,” Wall Street Journal (Febru- ary 7, 2011), http://online.wsj.com/article/SB1000142405274870 3989504576127621712695188.html. Hamza Ali Al-Khateeb was a 13-year-old boy detained by Syrian security forces on April 29, 2011, at a protest. Video footage of his murdered and mutilated body, returned to his family on May 25, has made him an icon of martyrdom in the continuing uprising against President Bashar al-Assad. As of May 2012, a Facebook page in his honor had garnered roughly half a million followers. See Liam Stack, “Video of Tortured Boy’s Corpse Deepens Anger in Syria,” New York Times (May 30, 2011), http://www.nytimes.com/2011/05/31/world/ middleeast/31syria.html. 10. Tait and Weaver, “How Neda Agha-Soltan Became the Face of Iran’s Struggle.” 11. Fahim, “Slap to a Man’s Pride Set Off Tumult in Tunisia.” 12. Ahmed Shihab-Eldin, “The Arab World and the Media’s Symbi- otic Revolutions,” Huffington Post (May 29, 2012), http://www. huffingtonpost.com/ahmed- shihabeldin/social-media-arab-spring_ b_1552619.html. 13. Rasha Salti, “Shall We Dance?” Cinema Journal 52.1 (Fall 2012): 167. Notes 205

14. Malcolm Gladwell, “Small Change: Why the Revolution Will Not be Tweeted,” The New Yorker (October 3, 2010), 42. 15. Ibid, 43. 16. Ekatarina Stepanova, “The Role of Information Communication Technologies in the ‘Arab Spring’: Implications Beyond the Region,” PONARS Eurasia Policy Memo 159 (May 2011), 2. 17. Gladwell, “Small Change,” 43. 18. Ibid, 44–5. 19. “Slacktivism Works to Make the Invisible Visible,” The Takeaway, Public Radio International, (March 17, 2012). Archived online at http://www.pri.org/stories/ politics-society/slacktivism-or-activism- 8897.html. 20. See Teju Cole, “The White Savior Industrial Complex,” The Atlantic (March 31, 2012), http://www.theatlantic.com/international/arch ive/2012/ 03/the-white-savior-industrial-complex/254843/. Rose- bell Tagumire has archived the video on her blog at http://rosebell kagumire.com/2012/03/08/kony2012-my-response-to-invisible- childrens-campaign. 21. Ahmed Shihab-Eldin, “The Arab World and the Media’s Symbiotic Revolutions.” 22. Cited in “Slacktivism Works to Make the Invisible Visible,” The Takeaway, Public Radio International (March 17, 2012). 23. Tawil-Souri, “Egypt’s Uprising and the Shifting Spacialities of Poli- tics,” 162. 24. Miriyam Aouragh, “Framing the Internet in the Arab Revolutions: Myth Meets Modernity,” Cinema Journal 52.1 (Fall 2012): 152. 25. El-Hamalawy’s widely respected blog, 3Arabawy, can be found at http://www.arabawy.org/. He also posts extensively on his Twitter account, 3arabawy. 26. See Jennifer Preston, “Ethical Quandary for Social Sites,” New York Times, http://www.nytimes.com/2011/03/28/ business/media/ 28social.html?pagewanted=all&_r=0. 27. Shameem Black, “Microloans and Micronarratives: Sentiment for a Small World,” Public Culture 21.2 (2009): 281. 28. Ibid, 282. 29. Aouragh, “Framing the Internet in the Arab Revolutions: Myth Meets Modernity,” 149. 30. Ebrahim Moosa, “Aesthetics and Transcendence in the Arab Upris- ings,” Middle East Law and Governance 3 (2011): 171–80. Quoted in Aaron Brady, “Spectators to Revolution: Western Audiences and the Arab Spring’s Rhetorical Consistency,” Cinema Journal 52.1 (Fall 2012): 138. 31. “Ahdaf Soueif: ‘Revolution has Captured the Imagination,’ ” The Socialist Worker Online 2239 (February 19, 2011), http://www. socialistworker.co.uk/art.php?id=23935. Bibliography

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Note: Letter ‘f’ and ‘n’ followed by the locators refer to ﬁgures and notes.

Abdel-Hakim, Sahar Sobhi, 94 anticolonialism Abidi, Shamseddine, 165 affective grid of, 74 abjection, trope of, 23, 109, gothic genre and, 103–5 113–14, 116, 141 see also colonialism Abolition of Passes and Documents anti-immigrant sentiment, 135–6, Act (1952), 30 157, 199n12 abortion, 114, 156–7 anti-miscegenation legislation, Abrahams, Peter, 28 29–30 Abu Ghraib prison, 181n25 Aouragh, Miriyam, 168 activism, 166, 169–70 apartheid, 48, 52, 179n6 activists and social media, 167–8 apartheid ﬁction, 22, 27–8 Adama (al-Hamad), 4 Appadurai, Arjun, 15 adaptability in Sport of Nature, 53, Arab women writers, 163–4, 54, 55 187n39, 191n68 affect, importance of, 13 Arawak peoples, 107, 108 affective grid of colonial art politics, 74 enacting social change through, Africa in media representations, 16 83–4 Agha-Soltan, Neda, 164–5, 204n9 politics and, 82, 92, 101 Aidoo, Ama Ata, 175n26 Asian Studies, 197n61 Aisha (Soueif), 72 Attridge, Derek, 32, 180n16 Al Jazeera, 165, 167 Autobiography of My Mother, The Alsanea, Rajaa, 24, 163–4 (Kincaid), 103, 105–12, 127 Americas of Asian American appetite for destruction in, Literature, The (Lee), 10 107–8 Amireh, Amal, 17–18, 95 as autobiography, 105–6 Amnesty International, 137, 198n7 Christianity in, 109 Amritsar massacre (1919), 66, 68 embrace of abject in, 109 Anderson, Gillian, 141 gothic feel of, 194n11 Anderson, Warren, 137, 199n10 haunting in, 106–7 Anglophone South Asian motherhood in, 106–7 ﬁction, 92 principles of good and evil Annan, Gabriele, 96–7 in, 109 Anonymous (activist group), 169 refusal to reproduce in, 108–9 224 Index

Autobiography of My Mother, The black women, 42–3 (Kincaid)—continued agency of, 40, 52 rejection of colonialism in, as commodities, 43 109–10 double marginality of, 44 rejection of romance in, 110–11 represented as angry, 105, 127, 193n8 “Badlaa” (X-Files episode), 135–43, in Sport of Nature,56 151, 158 victimization of, 45 anti-immigrant fears in, 135–6 Bluetooth technology, 162 bodies fan responses to, 140–3, 158 anxieties about globalization and, homosexual menace in, 140–2 10, 142 methyl isocyanate gas in, 137, 138 borders and, 142, 143 mystics in, 136–9, 141, 158 as commodities, 122, 125–6 passing in, 136, 139 desire for, 16–17 Badran, Margot, 187n39 dismemberment of, 158 Banat al-Riyadh (Alsanea), 24–5, interchangeability of, 155–6 163–4 invasion of, 143 Bantu Education Act (1953), 30 organizing of, 154–5 beauty pageants, 118–19 penetration of, 133–4 Beck, Ulrich, 13–14 privatization of, 2 beggar, ﬁgure of, 138, 199n13 reproduction and, 157 Beloved (Morrison), 106 Boer War (1899-1902), 29 Ben Ali, Zine el-Abidine, 167, Booker Prize, 1, 192n90 204n9 borders, permeability of, 142 Berlant, Lauren, 9, 11–12 Botting, Fred, 6, 121 Between Men (Sedgwick), 44 Bouazizi, Mohamed, 164–5, 167, Bhopal (India) explosion, 137–8, 204n9 139, 140, 151, 198n7, “bourgeois patriarchy,” 142, 200n14 201n27 Big Lebowski, The (Coen and Coen, Braidotti, Rosi, 154–5, 157–8 1998), 152 Brink, André, 27–8, 30–1, 40, Biko, Steve, 181n24 51, 61 Bildungsroman genre, 3–4 see also Chain of Voices Binnie, Jon, 15 British East India Company, 66 birthings, violent, 108–9 British Empire, 29, 66 Black, Shameem, 169–70, 171 white women and decline of, 69 Black Consciousness Movement, 27 British occupation of Egypt, 67–8 black male rapist, racist specter of, Brontë, Emily, 7 29, 31 Brouillette, Sarah, 20–1 black men, black freedom as Brown, Rosellen, 128 emancipation of, 44 Brownley, Martine Watson, black savages, colonial trope of, 183n45 46–7 Bryant, Cedric Gael, 106, 108–9 Black Skin, White Masks (Fanon), 48 Bryce, Jane, 175n26 Index 225

Burger’s Daughter (Gordimer), 56 Clooney, George, 166 Burns, Christy L., 135 Cobham, Rhonda, 195n26 Bush, George W., 166 Coetzee, J. M., 27–8, 30, 31, 61, Byron, Glennis, 104 180n16 see also Waiting for the Barbarians cannibalism, trope of, 108, 123 Cohen, Lawrence, 122 capitalism Cole, Teju, 166–7 disposability and, 121 Colombia, 153, 202n40 as haunted, 120–1 colonialism private sphere in, 143–4 affective grid of, 74 racialized violence of, 130 constructions of masculinity romance sustained by, 125 and, 35 “ugly feelings” and, 127 deconstruction of masculinity as vampire, 123 and, 39 visibility of racialized other intimacy and, 12 and, 134 private sphere and, 77 Capron, Alexander M., 144 rejection of, 109–10 captivity, female, 159 romance genre and, 106 Carib peoples, 107, 108, 194n17 safety of white women Carnal Knowledge and Imperial under, 68 Power (Stoler), 67 trope of sexuality and, 40 Chain of Voices, A (Brink), 31, 40–5 violence caused by, 40–1 commodification of female bodies colonial romance, 7, 22, 63–5, in, 43 101, 106 containment of black women’s commodification agency in, 40, 42–3 of bodies, 122, 147 male hypersexuality in, 45 definition of, 147 problematic valorization of white women in, 44 sexual violation and, 150 sexual violence in, 41–3 of women, 43 Chakrabarty, Dipesh, 199n13 commodity culture, 119 Chandra, Heeresh, 138 “Concerning Violence” (Fanon), Chang, Juliana, 120 40–1 Changes: A Love Story (Aidoo), concubinage arrangements and 175n26 British colonizers, 67–8 Chatterjee, Sudipto, 128 Conrad, Joseph, 7 Chen, Tina, 197n61 Conservationist, The (Gordimer), 56 children as national symbol of Constable publishers, 59 hope, 122 Cooke, Miriam, 187n39 Christianity, 109 Cooppan, Vilashini, 3 citationality in romance genre, 4–5 critics. see reception civil rights movement, 165 Cromer, Lord (Evelyn Baring), 69, class status, 87–8, 101 188n46 claustrophobia, 158, 159 cyclosporine, 122 Cleary, Joe, 24 Cythera, myth of, 91–2 226 Index

Dako, Karia, 175n26 state-sponsored sexual violence Damrosch, David, 24 in, 119 Dangarembga, Tsitsi, 4 transgressive sexual desire in, da Silva, Alberty José, 144 114–15 dating practices and media women as landscape in, 113–14 technologies, 162–3 domestic spaces, 22–3 Day After Tomorrow, The (Low, Dow Chemicals, 137, 198n7 2002), 199n12 dreams Defoe, Daniel, 3 in Dogeaters, 116–17 Deham (Nihalani, 2001), 131 in Waiting for the Barbarians, Denshwai incident, 75, 188n46 36–7 desire drug consumption, 154 commodification of, 125 drug mules, 151, 153, 155, 156 elision of women’s in Waiting for drug production, 152 the Barbarians,39 drug trade, international, 151, for others’ bodies, 16–17 153, 159 destruction in Autobiography of My drug war, 151, 152 Mother, 107–8 Duchovny, David, 200n18 “Diary in the Trunk” genre, 97 dystopian romances, 6–7 Dimock, Wai Chee, 3, 24 Dirty Pretty Things (Frears, 2002), 133, 134, 143–51, 158 East Coast Artists, 128 circulation of, 159, 203nn48–9 East India Company, 185n8 claustrophobia in, 158 Ebert, Roger, 159 organ trafficking in, 144–5 Edelman, Lee, 121–2 self-commodification in, education, white liberal, 47–9, 60, 145–50 182n39 sexual exploitation in, 147–8 Egypt, 66–7, 68–9, 164, 170 sexual violation in, 150–1 Egyptian Revolution, 161, 165, as tragic love story, 159–60 189n53, 203n8 disidentification, 184n55 Egyptian Supreme Council for disposability and capitalism, 121 Culture, 73, 94 Djebar, Assia, 72 Ejiofor, Chiwetel, 145 Dogeaters (Hagedorn), 10, Elbendary, Amina, 73, 94 112–21, 127 Eltahaway, Mona, 163 the abject in, 116 emasculation in Waiting for the ambivalence toward romance Barbarians, 35–8 in, 112 embodiment, politics of, 52–4 critics on, 112, 127–8 English Patient, The (Ondaatje), 20 dreams in, 116–17 “Erasure: Alienation, Paranoia, and as marketed to Western the Loss of Memory in The readers, 112 X-Files” (Burns), 135 refusal of romance of nationalism ethical tension, lack of in Sport of in, 117–19 Nature, 58, 183n45 return of the repressed in, 113 Ethiopica (Heliodorus), 4 Index 227 ethnic markers in Harvest, gender 128–30 equation of race with, 42 exoticism, 19, 94, 98, 99 racialized violence and, 181n25 exploitation, imperial, 34–5 resistance to apartheid and, 179n6 exploitation and romance genre, 103 role of in globalization, 14 vampires and, 125 Facebook, 161, 164–5, 167, 169, see also sexuality 189n53, 204n9 gender equality as liberation of white family women, 44 changing configurations of, 7 gender identity, 35 reproductive futurism and, 121–2 genre fiction, global market for, 57 transnational, 79–80 Germany, 29, 142 Fanon, Frantz, 40–1, 48 Al-Ghadeer, Moneera, 163–4 Fantasia: An Algerian Cavalcade Ghazaleh, Pascale, 94 (Djebar), 72 Ghosh, Bishnupriya, 17–18, 19, Faruq I of Egypt, 67 192n90 Fayad, Mona, 72, 83 Gikandi, Simon, 95 fears, white, 27, 30, 32 Gilbert, Helen, 123 femininity, 89–90, 120 Giliomee, Hermann Buhr, 181n27 feminist activists, interracial Gilroy, Paul, 15 organizing among, 69–70 Girls of Riyadh (Alsanea), 24–5, fertility technologies, 125, 197n53 163–4 Filipinas, 118 Gladwell, Malcolm, 165–6, 168 film Global Episode Opinion Survey, 135 gothic tropes in, 133 globalization role of national romance in, 65 anxieties around bodies and, 10 Flaubert, Gustave, 3–4 definition of, 13–15 Flickr, 169 differing meanings of text/images Foundational Fictions: The National in, 100 Romances of Latin America interdisciplinary scholarship on, (Sommer), 64–5 15–16 Frears, Stephen, 143, 148, 158 penetration of bodies and, 133–4 see also Dirty Pretty Things role of gender and sexuality in, 14 friendship, female, 63, 89–91, 101, Godard, Jean-Luc, 100 183n45 God of Small Things, The (Roy), 99 frontier masculinity, 34–5, 38–9 Going Global: The Transnational Frow, John, 124 Reception of Third World Frye, Northrop, 5, 8 Women Writers (Amireh and Fuchs, Barbara, 4, 5 Majaj, eds.), 17–18 Goldstein, Philip, 17 Gaines, Luan, 95, 96 Google, 169 Gandhi, Indira, 93, 190n62 Gordimer, Nadine, 2, 20, 27–8, 31, Gandhi, Mohandas, 85, 89, 186n10 52, 55, 56, 61, 184n62 García-Márquez, Gabriel, 99 see also Sport of Nature Gates, Henry Louis, Jr., 59 Gordon, George, 66, 185n9 228 Index

Gordon, Lucy Duff, 71 UC Berkeley production of, gothic future, 121–2 128–30, 197n61 gothic genre, 6–7 vampirism in, 122, 123 anticolonialism and, 103–5 Hassan, Waïl S., 5, 189n49 as form of lived experience, haunting 111–12 in Autobiography of My Mother, postcolonialism and, 104–5 106–7 postmodernism and, 112–13 of capitalism, 120–1 gothic global, 104 Hawley, John, 15 gothic tropes in visual media, Hayot, Eric, 197n61 23–4, 133 Heliodorus, 4, 5 Graham, Lucy, 59–60 Hennessy, Rosemary, 9, 143, Gray, Paul, 57 201n27 Greek romances, 4 Hindi ﬁlm, role of national romance Gregg, Veronica, 107, 193n8 in, 65 Group Areas Act (1950), 30 historical romance, 20, 99 Guardian, 137 Hogle, Jerrold E., 112, 113 homeland system, 47 Hafez, Sabry, 73 homoeroticism in Chain of Voices, Hagedorn, Jessica, 59, 103, 112, 44–5 130–1 homosexual menace, trope of, 33, see also Dogeaters 140–2, 200n21 Haggard,H.Rider,7 Houd-den-Bek slave revolt, Haggis, Jane, 69 181n27 Halberstam, Judith, 106, 121, “How to Write About Africa” 123, 125 (Wainaina), 16 Halim, Hala, 94 Huggan, Graham, 17–19 Al-Hamad, Turki, 4 Hughes, William, 103–4 El-Hamalawy, Hossam, Human Rights, Inc. (Slaughter), 3 168–9, 169f human rights law and Hamdan, Asim, 94 Bildungsroman genre, 3–4 Hamed, 164–5 human vs. non-human, 104 Hamilton, Ian, 72 Hurley, Kelly, 113 Hammond, Andrew, 163 Huyssen, Andreas, 142, 156 Hanley, Lynne, 182n40 hypermasculinity ascribed to black Harvest (Padmanabhan), 103, men, 45 121–6, 127 cannibalism in, 123 Ilbert bill controversy (1883), 68 “Contact Module” in, immigrants, 135–6, 139–40, 157, 123, 124f 199n12 ﬁlm adaptation of, 131 immigration and boundaries of immortality in, 123, 124 bodies, 143 La MaMa production of, 131, Immorality Act (1950), 30, 50, 134, 198n63 180n11 reproduction in, 121 immortality, 123, 124 Index 229

India journalists and social media, 167–8 genealogies of resistance in, July’s People (Gordimer), 56 66–7 history of, 84 Kagumire, Rosebell, 166, 167 nationalist movement in, 66 Kennedy, Dane, 185n9 role of national romance in, 65 Al-Khateeb, Hamza Ali, 164, 204n9 white women in, 68, 69 Kincaid, Jamaica, 103, 105, 109, “Indianness” in Harvest production, 111, 130 128–30 trope of the angry black woman Indian New Woman, 88–9 and, 105, 127, 193n8 Indian Rebellion of 1857, 66, 68 see also Autobiography of My indigenous peoples, 110, 127, Mother 195n26 Kitchener, Horatio, 66, 185n9 intelligentsia, Egyptian, 83 kiva.org, 169–70 interiority, 158 Knipp, Thomas, 55 Internet Kobak, Annette, 97 direct political action and, 170–1 Komen Foundation, 168 Egyptian Revolution and, Kony, Joseph, 166 189n53 Kony 2012 video campaign, global intimacies and, 161–5 166–7, 169 see also social media Kossew, Sue, 178n4 Krauss, Jennifer, 57–8 interracial alliance as threat to Krishnaswamy, Revathi, 15 division of labor, 12–13 Kristeva, Julia, 113 interracial romance, trope of, 22, Kwela Books publishing, 59 28–30, 51–2, 64, 101 Kydd, Elspeth, 135 intimacies, 9–13 alternative modes of, 22–3 labor gothic tropes of, 133–4 division of, 12–13 Internet and, 161–5 exploitation of, 116, 143 media technologies and, 24–5 invisibility of, 139–40 narrative, 169–70 Lalami, Leila, 191n68 unwanted, 153–4 La MaMa production of Harvest, visual media and, 134 131, 134, 198n63 “Intimacies of Four Continents, L’Amour, la fantasia (Djebar), 72 The” (Lowe), 12–13 Latin America, postcolonial literary Invisible Children, 166 production in, 64–5 Ismael, Khedive, 66 Lazarus, Neil, 61, 183n41 Lee, Rachel C., 10, 112, 115, 118 Jameson, Fredric, 7, 15, 73, 109 Lee, Wen Ho, 200n19 Jane Eyre (Brontë), 7 L’Embarquement pour l’ile de janitors, 139, 141, 145 Cythère (Watteau), 91 JanMohamed, Abdul, 45 Limbaugh, Rush, 168 Jauss, Hans Robert, 61 “Little Colombia,” 153 Jayawardena, Kumari, 69 Loach, Ken, 159 Jolly, Rosemary Jane, 182n32 local, valorizations of, 18 230 Index

Loomba, Ania, 42 anti-immigrant sentiment in, 157 López, Guilied, 153 circulation of, 203nn48–9 López, Sergi, 145 discomfort in, 159 Lord Jim (Conrad), 7 figure of Christian Mary in, Los Alamos nuclear laboratory, 156, 157 200n19 interchangeability in, 155–6 love in Mating Birds, 49–50 organizing of own body in, 154–5 Lovell, Terry, 6 pregnancy in, 156–8 Lowe, Lisa, 12–13, 16 unwanted intimacies in, 153–4 visibility/invisibility in, 157–8 Machor, James L., 17 market exchanges and publishing Macmillan/PEN Award, 59 industry, 98–9 magical realism, 99 marriage, 111, 117 Majaj, Lisa Suhair, 17–18, 95 Marston, Joshua, 151, 152, 154, Malak, Amin, 73 156, 157, 158, 159 Mammywata figure, 195n26 see also Maria Full of Grace Manalansan, Martin, 15 Marx, Karl, 121, 123, 125 Mandela, Nelson, 27 masculinity Mann, Harveen Sachdeva, 89, colonial discourse and, 35, 39 90, 91 frontier, 34–5, 38–9 Map of Love, The (Soueif), 1, 20, hypermasculinity ascribed to black 63–5, 70–84 men, 45 affective grid in, 74 imperial, 32–9, 35, 38 critics of, 73, 96–8 materialism, 116 feminist activists in, 69–70 Mating Birds (Nkosi), 20, 31, genealogies of resistance and, 45–52 66–7 critics on, 59–61 genesis of, 70–1 education in, 47–9 as historical document, 95–6 fallen women in, 50–1 Internet in, 161, 170 marketing of, 59–60 lack of personal conflict in, 74–5 orientalism in, 67 notion of love in, 49–50 popularity of, 94–6, 99 psychoanalysis in, 46 as postmodern hybrid novel, 72, racial purity in, 47–8 93–4 sexual violence in, 61 pregnancy in, 189n55 McClintock, Anne, 32, 143, 201n29 as reconfiguration of romance McClure, John, 177n57 genre, 80–1 McEwan, Joanne, 96 reformulation of politics in, 100 McKeon, Michael, 5 relationship to writing in, 83 media representation in, 70, 102 as corporate-owned, 168–9 strategic exoticism in, 94 drug trafficking in, 151 as transnational literature, 189n49 fantasy of belonging and, 115–16 MariaFullofGrace(Marston, government control of, 164 2004), 151–9 representations of Africa in, 16 Index 231 media technologies nationalist movements dating practices and, 162–3 in India, 66 Egyptian Revolution and, interventions of Western powers 203n8 in, 76 as new mode of intimacy, 24–5 nationalist rhetoric, genealogy of, 89 see also Internet; social media National Party, 29–30 Memmi, Albert, 56 national romance, 22, 64–5, 74–5, Mendoza, Victor, 119 177n57 Men’s League for Opposing Nehru, Jawaharlal, 93 Women’s Suffrage, 69 neo-cannibalism, 122–3 methyl isocyanate gas (MIC), 137, Nervous Conditions 138, 200n14 (Dangarembga), 4 Metropolis (Lang, 1927), 156 Netherlands, 29 Mezey, Paul, 152, 157 New Jack City (Van Peebles, Miami Vice (TV series), 151 1991), 151 Michaelson, David, 122 news, sources of, 161 microlending, 169–70 Ngai, Sianne, 127 Midnight’s Children (Rushdie), 99 Nguyen, Viet, 115 migrant workers, 143 Nihalani, Govind, 131 Minnesota Public Radio, 95 Nkosi, Lewis, 20, 27–8, 31, 45, 59 missionary women, 69 as black South African writer, Mixed Marriages Act (1949), 29–30 178n3 as writing primarily for Western Mohanty, Chandra, 15 audience, 46 monstrosity, trope of, 23, 105, see also Mating Birds 106, 110 No Future (Edelman), 121–2 Moosa, Ebhrahim, 170 Nostromo (Conrad), 7 Moreno, Catalina Sandina, 152 novels, historical development of, Morris, Kathryn, 108 5–6 Morrison, Toni, 106 nuclear families and fantasies of motherhood in Autobiography of My nation-building, 65 Mother, 106–7 “numbering,” 162–3 Muñoz, José, 184n55 mystics, 136–9, 141, 158 Occasion for Loving, An (Gordimer), 28 Narc (Carnahan, 2002), 151 Occupy movement, 170 narrative intimacy, 169–70 Odyssey (Homer), 5 Nasser, Gamal Abdel, 67 Okonedo, Sophie, 147 nationalism Onassis Cultural Competition for Egyptian, 75–7 Theater, 128 romance and, 117–19 Ondaatje, Michael, 20 state-sanctioned violence oppression, romance as tool of, under, 90 23, 103 traditional femininity in the organ banks, living, 122 service of, 89–90 “organs without bodies,” 154–5 232 Index organ trafficking, 122–4, 143–9 Population Registration Act commodification of bodies (1950), 30 in, 147 Postcolonial and the Global, The sexualization of, 144–5, 148 (Hawley and Krishnaswamy, orientalism, 67, 71 eds.), 15 Origins of the English Novel Post-Colonial Exotic, The: Marketing 1600–1740, The (McKeon), 5 the Margins (Huggan), 17–18 otherness, 127, 142, 180n16 postcolonial literature, 63 feminization of, 38 as global commodity, 19–20 markets for, 95 gothic genre and, 104–5 resistance and, 32 influence of publishing houses on, 18 interpreted as transparent Padmanabhan, Manjula, 103, 121, historical knowledge, 95 128–30 symbolism of white women in, 64 see also Harvest see also Map of Love; Rich Like Us Pam (from Weekly Cynic), 141–2 Postcolonial Writers in the Global Pandit, Vijaya Lakshmi, 93 Literary Marketplace Parry, Benita, 32, 180n16 (Brouillette), 20–1 Partition of India (1947), 84 postmodernism and gothic genre, passing, 136, 139 112–13 Path of Thunder, The (Abrahams), 28 postmodern novel, 72 Peace of Vereeniging (1902), 29 Povinelli, Elizabeth, 15 penetration power in Sport of Nature,55 of borders and bodies, 142 Powers, Janet, 189n54 thematic of in Dirty Pretty Pratt, Geraldine, 2, 14 Things, 145 pregnancy, 156–8, 189n55, 200n18 Perkins, Andrea, 96 private sphere petitions, Internet, 161, 162 colonialism and, 77 Philippines, 112, 113 in transnational capitalism, 143–4 Picasa, 169 Proctor, James, 104 Planned Parenthood, 168 prostitution, 51, 125–6, 147 Plant, Deborah, 194n11 protests and social media, 164, Plomer, William, 28 189n53 psychoanalysis, 46 political activism Public Radio International, 166 Internet and, 170–1 publishing industry, 18, 98–9 in postcolonial literature, 63 Punter, David, 104 potential of art for, 82, 92, 101 political liberation and white queer citizens, 122 women, 52 Quit India Movement, 66, 84, 88 political novel and romance genre, 1, 9, 58–9, 64–6, 100, 175n26 race, equation with gender, 42 Political Unconscious, The racialized bodies, consumption of in (Jameson), 7 visual media, 24 Pontecorvo, Gillo, 100 racialized others, 6, 134, 140 Index 233 racialized violence and gender, Rich Like Us (Sahgal), 63–4, 65, 181n25 84–92 racialized women, 148 class status in, 87–8 racial purity, 47–8, 68 critics on, 93 racial segregation, 29–30, 48 deteriorating relationships in, Radway, Janice, 99 86–7 rape, specter of, 29, 31, 47 female friendship in, 89–91 reception feminist activists in, 69–70 of Autobiography of My genealogy of political despair in, Mother, 105 85–6 of Coetzee, 61 genealogy of resistance and, 66–7 of Dogeaters, 112, 127–8 Indian history in, 84 of Map of Love, 73, 96–8 Indian New Woman in, 88–9 of Mating Birds, 59–61 orientalism in, 67 of Rich Like Us, 93–4 representation in, 91, 102 romance in, 86 of Sport of Nature, 54–9, 61 Western readership of, 92 reception studies, 17–21 Rise of the Novel, The (Watt), 5 Reception Study: From Literary Robinson Crusoe (Defoe), 3 Theory to Cultural Studies Rohter, Larry, 144–5 (Machor and Goldstein), 17 romance genre “Remapping Genre” (Dimock), 3 ambivalence toward, 112 representation, 70, 91, 101–2 class origins of, 101 repressed, return of the, 113, colonial romance, 7, 22, 63–5, 137–8, 139 101, 106 reproduction consumption and distribution female body and, 157 of, 21 in Harvest, 121 escapist promise of, 111–12 refusal of in Autobiography of My fantasy of belonging and, 115–16 Mother, 108–9 in global literary studies, 3–9 reproductive futurism, 121–2 historical romance, 20, 99 reproductive technologies, 125, history of, 4–9 197n53 of liberation, 177n57 Requiem for a Dream (Aronofsky, literary merit of, 8, 96–8 2000), 152 nationalism and, 117–19 resistance, genealogies of, 66–7 national romance, 64–5, 74–5, revolts, slave, 40, 181n27 177n57 revolutionary movements political content of, 1–2, 9, 58–9, sexuality and violence in, 43–4 64–6, 100, 175n26 sexuality as component of, 29, as popular literature, 8 40–2 readership of, 99 social media and, 165 rejection of, 110–11 violence caused by colonialism in, relationship to gothic, 6 40–1 as strategy, 5 Richler, Emma, 97 subversive potential of, 16 234 Index romance genre—continued sexual desire, 114–15 as sustained by capitalism, 125 sexual exploitation as tool of oppression, 23, 103 as body commodification, 147–8 romance of liberation, 177n57 self-commodification and, 149 Rosiak, David, 141 sexuality Rosner, Victoria, 2, 14 as basis for identification, Roy, Arundhati, 99 38–9, 51 Rushdie, Salman, 99 as bridge between public and private, 28–9 Sachs, Albie, 30, 180n11 colonialism and, 40 Sahgal, Nayantara, 63, 84, 92–3, as component of revolutionary 190n62 politics, 29 see also Rich Like Us violence and, 43–4 Said, Edward, 73, 188n41 see also gender Said, Khaled, 164, 204n9 sexual penetration St. Martin’s publishers, 59, 60 imperial exploitation and, 34–5 Salti, Rasha, 165 as visual rhetoric, 147–8 Sambhavna Trust, 198n7, 199n10 sexual violence Sanchez, Yenny Paola Vega, 153 in Chain of Voices, 41–3 Sarwate, Anand, 130 in Dirty Pretty Things, 150–1 Sassen, Saskia, 15 in Dogeaters, 119 sati, 90 in Mating Birds,61 satyagraha, 89, 90, 186n10 Sexwale, Tokyo, 27, 178n1 Saudi Arabia, dating practices in, sex workers, 120 162–3 Sharpe, Jenny, 68 Scarface (De Palma, 1983), 151 She (Haggard), 7 Schechner, Richard, 128 Shihab-Eldin, Ahmed, 165, 167 Scheper-Hughes, Nancy, 122, Singh, Amardeep, 128–9 147, 149 “Second World literature,” 178n4 Skype, 167 Secular Scripture, The (Frye), 5 “slacktivism,” 166, 167 Sedgwick, Eve Kosofsky, 44 Slaughter, Joseph, 3, 24, 92 self, invasions of, 135 slave revolts, 40, 181n27 “self-birth,” 108–9 Slemon, Stephen, 178n4 self-commodification, 134, 145–50, Smith, Andrew, 103–4 149, 157 Smith, Angela, 104 self-exhibition, 118 Sneden, Julia, 95 sentimental discourse, 170 Socialist Worker, 170 Sentimental Education (Flaubert), social media, 24–5 3–4 activists and, 167–8 service workers, 141 Egyptian Revolution and, sex in Sport of Nature,55 161, 165 sex trafficking and organ trafficking, potential for social change, 165–9 144–5 protests and, 164, 189n53 sexual abuse, 146 as way to coordinate, 168 Index 235 social movements as tentative Takeaway, The (radio program), 166 intimacies, 170 Tautou, Audrey, 145 Sommer, Doris, 64–5, 74–5, Tawfiq, Khedive, 67 177n57 Tawil-Souri, Helga, 168, 203n8 Soueif, Ahdaf, 1, 20, 59, 63, 70–1, technology writing, 163–4 72, 99, 161, 170–1 television contested readings of, 92–102 gothic tropes in, 133 as Egyptian writer, 72–3, as source of news, 161 93–4, 95 Thiong’o, Ngug˜ ˜ı wa, 28 literary heritage of, 98 “Third World” in Tahrir Square, 168, 169f, influence of media in, 14 170–1 retribution for First World see also Map of Love crimes, 139 South Africa, 22, 27–8, 29–30, 47, transnational reception of, 18 186n10 Thomas, Greg, 105, 130 South African literature, 27–62, Thomas, Rob, 95 178nn3–4 Thurman, Judith, 2, 58, 183n45 South Asian literature, 92 Tobon, Orlando, 153 Spivak, Gayatri, 83 torture, 38, 119 Sport of Nature, A (Gordimer), 2, “Tracking the Sale of a Kidney on a 20, 31, 52–6 Path of Poverty and Hope” adaptability in, 53, 54, 55 (Rohter), 144–5 critics on, 61 Traffic (Soderbergh, 2000), 152 feminist critics on, 54–5 Trainspotting (Boyle, 1996), 152 lack of ethical tension in, 58 translational literature, 189n49 political complexity of, 57 travel writings, 71 politics of embodiment in, 52–4 Tullis, LaMond, 152 publicity for, 57 Tunisia and social media, reviews of, 56–9 164, 165 use of sex in, 55–6 Turbott Wolfe (Plomer), 28 Twilight Zone, The (TV series), 134 “sport of nature,” 52–3 Twitter, 167, 169 staged exoticism, 98, 99 Tysko, Autumn, 141 Stepanek, Marcia, 167–8 Stepanova, Ekaterina, 165–6 UC Berkeley production of Harvest, Stoler, Ann Laura, 12, 34, 67, 74, 128–30, 197n61 77, 88, 175n32 “ugly feelings,” 127, 128 Stop SOPA movement, 168 Umkhonto we Sizwe, 179n6 strategic exoticism, 19, 94 Union Carbide Corporation, 137, Sudan, Anglo-Egyptian, 66, 185n9 198n7, 200n14 Suppression of Communism Act Up in Smoke (Adler, 1978), 152 (1950), 59 Urabi, Ahmad, 67 Syria and social media, 165 utopian romances, 6, 7

Tahrir Square, 168, 170, 171, vampires, trope of, 23, 122, 189n53 123, 125 236 Index

Verge: Studies in Global Asias “White Savior Industrial journal, 197n61 Complex,” 166 violence white women, 41 against black women, 43 claiming of sexual identities by, 51 as racialized, 130 in colonies, 67–70 sexuality and, 43–4 decline of British Empire and, 69 as state-sanctioned, 90 desire for, 47 Virdi, Jyotika, 65 fears of non-white men and, Virgil, 5 180n11 visual media, 131 gender equality as liberation gothic tropes in, 23–4 of, 44 intimacy in global exchanges orientalism and, 67 and, 134 political liberation and, 52 sexualized exchanges and, 126 symbolic baggage of, 64 Winfrey, Oprah, 166 Wainaina, Binyavanga, 16 Wisker, Gina, 104, 106 Waiting for the Barbarians women (Coetzee), 30, 31–9 as commodities for exchange, 43 as fallen, 50–1 critics on, 184n62 friendship among, 78–9, 101, dreams in, 36–7 183n45 elision of women’s desire in, 39 imprisonment of, 113–17 emasculation in, 35–8 Indian New Woman, 88–9 function of gender/sexuality as landscape, 113–14 in, 32 as racialized, 148 penetration and exploitation in, resistance to apartheid and, 179n6 34–5 see also black women; white politics of embodiment in, 52 women white fears of revolution in, 32 women writers Ware, Vron, 68 Arab women writers, 163–4, Warner, William, 6 187n39, 191n68 Wassef, Hind, 93–4 as “sellouts,” 19–20 Watt, Ian, 5 technology and, 163 Watteau, Jean-Antoine, 91 transnational reception of, 18 Weimar Germany, 142 travel writing by, 71 Weir, Stuart, 56–7, 58 Wong, Benedict, 145 Wenzel, Jennifer, 32, 33 Woolworth’s sit-in (1960), 165 When Borne Across: Literary Cosmopolitics in the X-Files, The (TV series), 133, 135, Contemporary Indian Novel 151, 199n11, 200n18 (Ghosh), 17–18 see also “Badlaa” white fears, 27, 30, 32 whites, poor, 190n56 YouTube, 164–5, 166–7, 169