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Postcolonial Justice Postcolonial Interventions, Vol. IV, Issue 1 Postcolonial OpenJustice Issue Postcolonial Postcolonial IntervenInterventionstions VolVol.IV, IV ISSNISSN JanuaryJanuary IssueIssue 1 1 24552455 65646564 20192019 ‘This world was unified, first of all, by a common purpose: to provide the corrective of laughter and criticism to all existing straightforward genres, languages, styles, voices, to force men to experience beneath these categories a different and contradictory reality that is otherwise not captured in them.’ 1 - Mikhail Bakhtin Postcolonial Interventions, Vol. IV, Issue 1 2 Postcolonial Interventions, Vol. IV, Issue 1 Postcolonial Interventions An Interdisciplinary Journal of Postcolonial Studies ISSN 2455 6564 . Volume IV, Issue 1 . January, 2019 3 Postcolonial Interventions, Vol. IV, Issue 1 Postcolonial Interventions An Interdisciplinary Journal of Postcolonial Studies Volume IV, Issue 1 Copyright of individual articles rests with the authors. Any reproduction would require the prior permission of Post- colonial Interventions and an acknowledgement of its first publication in Postcolonial Interventions. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Editors Dr. Abin Chakraborty Sayan Aich Bhowmik Associate Editors Souraj Dutta Pritha Mukherjee Assistant Editors Somrita Misra Deblina Hazra Semanti Nandi Sagnik Chakraborty Cover image by Cristian Bortes from eyeem.com through Creative Com- mons under CC 2.0. Cover design: Souraj Dutta and Abin Chakraborty Published Online January, 2019 4 Postcolonial Interventions, Vol. IV, Issue 1 Contents Editor’s Note 11 1 Encounter with the Neighbour in 1970's Brit- ish Multicultural Comedy Sarah Ilott 14 2 “Go Back to Africa”: Af- rocentrism, the 2016 NFL Protests and Ryan Coogler's Black Panther (2018) Laura Wright o 45 5 Postcolonial Interventions, Vol. IV, Issue 1 3 The Oral Heritage and Lin- guistic Heteroglossia of Post-Colonial Writings: Bob Marley and the Anglophone 73 Caribbean as a Case Study Elena Barreca Edouard Glissant's and Ed- ward Braithwaite's Appropria- 4 tions of Colonial Language Jeremy Patterson pen111 6 Postcolonial Interventions, Vol. IV, Issue 1 5 Annie John, the Postcolonial 138 Palimpsest and the Limits of Adaptation Suzy Woltmann 6 Political Ontology and Postcolonial Poetry: A Study of Nol Alem- bong's The Passing Wind and Titus Moetsabi's Fruits and Other Poems 171 penEric Nsuh Zumboshi 7 Postcolonial Interventions, Vol. IV, Issue 1 7 Postcolonial Memory, Queer Nationality and Mo- dernity in Shyam Selvadu- rai's Funny Boy Ayendy Bonifacio 205 8 Nina Almayer, Aurora Mari- on and 'The Cultural Air We Breathe': Character Staus and Embodiment in Joseph Con- rad's Almayer's Folly and its Film Adaptation as Chantal Akerman's La Folie Almayer Alice M. Kelly 229 Issue8 Postcolonial Interventions, Vol. IV, Issue 1 9 Gazing at the Pinoy Pride's Body: Manny Pacquiao's Athletic Body as Meta- phor-Product of the Na- tional/Colonial Imaginary Mary Harmony I. Guevarra 261 “Doors the Could Take 10 You Elsewhere”: Migra- tion, Magic and Ranci érian Dissensus in Mo- hsin Hamid's Exit West Paula Brauer 296 Issue9 Postcolonial Interventions, Vol. IV, Issue 1 11 Review of Wael B. Hal- laq's Restating Orientalism: A Crique of Modern Knowl- edge by Rafat Ali New York: Columbia Uni- versity Press, 2018. 317 12 NOTE ON CONTRIBUTORS 325 10 Postcolonial Interventions, Vol. IV, Issue 1 EDITORS' NOTE editing a journal is often a thankless job. It is dif- ficult for colleagues and acquaintances unaware of the process to understand the exhaustion and anxiety asscoiated with the the entire process of creating and posting CFPs. corresponding with contributors, re- viewers and advisers, typesetting a volume and going through all kinds of niggling details associated with the process of publication, often with acute shortage of time. The editorial team of Postcolonial Interventions has been experiecing these vagaries for the last four years through various trails and tribulations as well as occasional alterations in personnel. But such adversities are amply compensated by a whole host of new asso- ciations across the globe which have not only provided some much needed solace at times, but also extensively widened and deepended our understanding of postco- lonial studies as a whole. Mention must be made here of Professor Stepehn R. L . Clark, Emeritus Professor of Philosophy, University of Liverpool, who voluntari- ly shared our CFP for the next issue through a British listserve platform which has already reached several 11 Postcolonial Interventions, Vol. IV, Issue 1 prospective contributors. Similarly significant has been the timely contributions of Semanti Nandi and Sagnik Chakraborty who have offered some much needed sup- port by joining the editorial team and adhering to tough deadlines. I would also like record our gratitude toward Dr. Rafat Ali for his important review and Dr. Sarah Ilott, for her enlightening opening paper, submitted in time despite a very pressing schedule. Dr. Ilott's opening paper, focusing on British sitcoms and their explorations of the intersecting frameworks of race, neighbourhood and nation, in fact, fore- grounds many of the pressing concerns of this partic- ular issue. This is emphasised by Laura Wright's sub- sequent paper which explores increasing racial tension in America and resistance against it while analysing the blockbuster Black Panther. The transatlantic axis which this paper utilises is further consolidated in three subsequent papers that offer insights into the works of Bob Marley, Edouard Glissant, Edward Braithwaite and Jamaica Kincaid, especially in terms of linguistic and textual appropriations, embracing hybridity and plurality on multiple levels. The next paper takes us into Africa itself as Zumboshi Eric offers his analysis of Nol Alembong and Titus Moetsabi's poetry. The combination of history and violence which this paper foregrounds is contnued, though with a differ- ent slant, in Ayendy Bonifacio's subsequent paper on 12 Postcolonial Interventions, Vol. IV, Issue 1 Selvadurai's Funny Boy, which analyses the complexities of accommodating queer bodies within the national imaginary. This awareness of the gender and sexuality is also the fulcrum of Alice Kelly's paper on Conrad's Almayer' Folly and its cinemtaic adaptation, specifical- ly in relation to the characterisation of Nina Almayer. And just as Kelly focuses on the 'embodying' of partic- ular character traits, in her analysis of Nina, body also becomes the site of a crticial gaze as Mary Guevarra investigates the commodifictaion of Manny Pacquiao's body through both nationalist and colonial discursive frames. The final paper of the issue discusses Mohsin Hamid's Exit West and highlights the magic-realist modes through which existing political dispensations are challenged and pssoibilities of alternate futures are sketched. This futuristic gaze is also evident in Rafat Ali's review of Wael B. Hallaq's seminal text, Restating Orientalism: A Critique of Modern Knowledge which not only underlies the genocidal foundation of much of modern knowl- edge but also discusses viable alternatives of consti- tuing selfhood and subjectivity based on humility and gratitude. We, at Postcolonial Interventions, retain such humility and gratitude and hope to continue our journey towards greater academic excellence in the months and years to come with all your support and encouragement. 13 Postcolonial Interventions, Vol. IV, Issue 1 Encounters with the Neighbour in 1970s’ British Multicultural Comedy Sarah Ilott “If you don’t shut up, I’ll come and move in next door to you!” Such was the frequent response to audience heckles made by Britain’s first well-known black come- dian, Charlie Williams (Leigh 2006). Williams’s response appropriated racist rhetoric of the time, in which the black neighbour was frequently mobilised as an object of fear, threatening the imagined homogeneity of for- merly white communities. Having frequently been on the receiving end of racist taunts such as “Get back to Af- rica” as a professional footballer for Doncaster Rovers in the 1940s and ’50s, Williams was able to claim some 14 Postcolonial Interventions, Vol. IV, Issue 1 of the power of the Teller of the joke through such put-downs, rather than solely occupying the position of the Butt of racist jokes and slurs. However, the fact was that Williams was forced to rely on self-deprecation and the reiteration of racial stereotype gestures to his need to find favour with the predominantly white audiences of the northern working men’s clubs that he toured and the mainstream audiences of ITV’s prime time hit, The Comedians (ITV, 1971-93), on which he was showcased alongside notable racists such as Bernard Manning. De- spite lamenting the “very stupid and very immature” tone of Williams’s self-mocking jokes, comedian Lenny Henry – who lived with the unfortunate legacy of what was expected of black comedians, particularly in the North – acknowledged that Williams did “what you’ve got to do if it’s a predominantly white audience – you’ve got to put yourself, and other people, down” (qtd. in Thomas 2015). What Williams’s response to heckles exemplifies is a negotiation of a complex set of power relations informed both by the mechanics of the triad- ic relationship between Teller, Audience and Butt of a joke and by the social context shaping relationships be- tween blacks and whites in a systemically racist society. It is against this context that I propose
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