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› Find signed collectible books: 'Anthills of the Savannah'
Achebe writes about the political and social problems facing newly independent African states.
Anthills of the Savannah transports the reader to the West African country of Kangan, a fictional Nigeria, in the wake of a revolutionary coup that overthrew a dictator. Achebe discusses the strict balance of power that must be maintained in order to sustain a democracy, and the fine the line that is tread between leader and dictator. [via]
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› Find signed collectible books: 'Arrow of God'
Set in the Ibo heartland of eastern Nigeria, one of Africa's best-known writers describes the conflict between old and new in its most poignant aspect: the personal struggle between father and son. [via]
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› Find signed collectible books: 'Banana Bottom'
In the early 1900s, Bita Plant returns to Jamaica after seven years of European education to live with Malcolm and Priscilla Craig - the white missionary benefactors who helped her become a cultivated young woman. They have Bita's future mapped out: training at the mission and marrying a dedicated theological student. Reluctant to accept this fate, she is drawn back to the festivals, superstitious faith and passionate love affairs of her West Indian culture. Such antics are not deemed fitting for a refined lady and Bita must choose between the evangelical guidance of the Craigs and the sensual vitality of her roots. First published in 1933, the richly lyrical Banana Bottom is often regarded as McKay's finest novel. His innovation lies in the directness with which he speaks of social and political injustice for Afro-Caribbeans and in his choice of the working class as his focus. Claude McKay was an instrumental figure in the Harlem Renaissance. [via]
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› Find signed collectible books: 'A Bend in the River'
Brilliant and terrifying'-Observer I had to be the man who was doing well and more than well, the man whose drab shop concealed some bigger operation that made millions. I had to be the man who had planned it all, who had come to the destroyed town at the bend in the river because he had foreseen the rich future. 'Salim, the narrator, is a young man from an Indian family of traders long resident on the coast of Centeral Africa. Salim has left the coast to make his way in the interior, there to take on a small trading shop of this and that, sudries, sold to the natives. The place is "a bend in the river"; it is Africa. The time is post-colonial, the time of Independence. The Europeans have withdrawn or been forced to withdraw and the scene is one of chaos, violent change, warring tribes, ignorance, isolation, poverty and a lack of prepartion for the modern world they have entered, or partially assumed as a sort of decoration. It is a story of historical upheaval and social breakdown. Naipaul has fashioned a work of intense imaginative force. It is a haunting creation, rich with incident and human bafflement, played out in an immense detail of landscape rendered with a poignant brilliance.'-Elizabeth Hardwick 'Always a master of fictional landscape, Naipaul here shows, in his variety of human examples and in his search for underlying social causes, a Tolstoyan spirit'-John Updike [via]
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› Find signed collectible books: 'Colonial Discourse and Post-Colonial Theory: A Reader'
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› Find signed collectible books: 'Colonial Discourse/Postcolonial Theory'
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› Find signed collectible books: 'Crime as Work'
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› Find signed collectible books: 'Culture and Imperialism'
Edward Said makes one of the strongest cases ever for the aphorism, "the pen is mightier than the sword." This is a brilliant work of literary criticism that essentially becomes political science. Culture and Imperialism demonstrates that Western imperialism's most effective tools for dominating other cultures have been literary in nature as much as political and economic. He traces the themes of 19th- and 20th-century Western fiction and contemporary mass media as weapons of conquest and also brilliantly analyzes the rise of oppositional indigenous voices in the literatures of the "colonies." Said would argue that it's no mere coincidence that it was a Victorian Englishman, Edward G. Bulwer-Lytton, who coined the phrase "the pen is mightier . . ." Very highly recommended for anyone who wants to understand how cultures are dominated by words, as well as how cultures can be liberated by resuscitating old voices or creating new voices for new times. [via]
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› Find signed collectible books: 'Cultures of United States Imperialism'
Contributors. Lynda Boose, Mary Yoko Brannen, Bill Brown, William Cain, Eric Cheyfitz, Vicente Diaz, Frederick Errington, Kevin Gaines, Deborah Gewertz, Donna Haraway, Susan Jeffords, Myra Jehlen, Amy Kaplan, Eric Lott, Walter Benn Michaels, Donald E. Pease, Vicente Rafael, Michael Rogin, José David Saldívar, Richard Slotkin, Doris Sommer, Gauri Viswanathan, Priscilla Wald, Kenneth Warren, Christopher P. Wilson
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› Find signed collectible books: 'Decolonising the Mind: The Politics of Language in African Literature'
A summary of some of the issues in which Ngugi has been passionately involved. [via]
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› Find signed collectible books: 'Desgracia'
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› Find signed collectible books: 'Die Satanischen Verse'
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› Find signed collectible books: 'Disgrace'
David Lurie is hardly the hero of his own life, or anyone else's. At 52, the protagonist of Disgrace is at the end of his professional and romantic game, and seems to be deliberately courting disaster. Long a professor of modern languages at Cape Town University College, he has recently been relegated to adjunct professor of communications at the same institution, now pointedly renamed Cape Technical University:
Although he devotes hours of each day to his new discipline, he finds its first premise, as enunciated in the Communications 101 handbook, preposterous: "Human society has created language in order that we may communicate our thoughts, feelings and intentions to each other." His own opinion, which he does not air, is that the origins of speech lie in song, and the origins of song in the need to fill out with sound the overlarge and rather empty human soul.Twice married and twice divorced, his magnetic looks on the wane, David rather cruelly seduces one of his students, and his conduct unbecoming is soon uncovered. In his eighth novel, J.M. Coetzee might have been content to write a searching academic satire. But in Disgrace he is intent on much more, and his art is as uncompromising as his main character, though infinitely more complex. Refusing to play the public-repentance game, David gets himself fired--a final gesture of contempt. Now, he thinks, he will write something on Byron's last years. Not empty, unread criticism, "prose measured by the yard," but a libretto. To do so, he heads for the Eastern Cape and his daughter's farm. In her mid-20s, Lucy has turned her back on city sophistications: with five hectares, she makes her living by growing flowers and produce and boarding dogs. "Nothing," David thinks, "could be more simple." But nothing, in fact, is more complicated--or, in the new South Africa, more dangerous. Far from being the refuge he has sought, little is safe in Salem. Just as David has settled into his temporary role as farmworker and unenthusiastic animal-shelter volunteer, he and Lucy are attacked by three black men. Unable to protect his daughter, David's disgrace is complete. Hers, however, is far worse.
There is much more to be explored in Coetzee's painful novel, and few consolations. It would be easy to pick up on his title and view Disgrace as a complicated working-out of personal and political shame and responsibility. But the author is concerned with his country's history, brutalities, and betrayals. Coetzee is also intent on what measure of soul and rights we allow animals. After the attack, David takes his role at the shelter more seriously, at last achieving an unlikely home and some measure of love. In Coetzee's recent Princeton lectures, The Lives of Animals, an aging novelist tells her audience that the question that occupies all lab and zoo creatures is, "Where is home, and how do I get there?" David, though still all-powerful compared to those he helps dispose of, is equally trapped, equally lost.
Disgrace is almost willfully plain. Yet it possesses its own lean, heartbreaking lyricism, most of all in its descriptions of unwanted animals. At the start of the novel, David tells his student that poetry either speaks instantly to the reader--"a flash of revelation and a flash of response"--or not at all. Coetzee's book speaks differently, its layers and sadnesses endlessly unfolding. --Kerry Fried [via]
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› Find signed collectible books: 'E.M. Forster: A Passage to India'
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› Find signed collectible books: 'The Empire Writes Back : Theory and Practice in Post-Colonial Literatures'
The experience of colonization and the challenges of the post-colonial world have produced an explosion of new writing in English. This diverse and powerful body of literature has established a specific practice of colonial writing in cultures as diverse as India, Australia, the West Indies, Africa and Canada. This comprehensive study opens debates about the interrelationships of these literatures, investigates the powerful forces acting on language in the post-colonial text and shows how these texts constitute a radical critique of the assumptions underlying Eurocentric notions of literature and language. [via]
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› Find signed collectible books: 'The Empire Writes Back: Theory and Practice in Post-Colonial Literatures'
The experience of colonization and the challenges of a post-colonial world have produced an explosion of new writing in English. This diverse and powerful body of literature has established a specific practice of post-colonial writing in cultures as various as India, Australia, the West Indies and Canada, and has challenged both the traditional canon and dominant ideas of literature and culture.
The Empire Writes Back was the first major theoretical account of a wide range of post-colonial texts and their relation to the larger issues of post-colonial culture, and remains one of the most significant works published in this field. The authors, three leading figures in post-colonial studies, open up debates about the interrelationships of post-colonial literatures, investigate the powerful forces acting on language in the post-colonial text, and show how these texts constitute a radical critique of Eurocentric notions of literature and language.
This book is brilliant not only for its incisive analysis, but for its accessibility for readers new to the field. Now with an additional chapter and an updated bibliography, The Empire Writes Back is essential for contemporary post-colonial studies.
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› Find signed collectible books: 'God of Small Things'
In her first novel, award-winning Indian screenwriter Arundhati Roy conjures a whoosh of wordplay that rises from the pages like a brilliant jazz improvisation. The God of Small Things is nominally the story of young twins Rahel and Estha and the rest of their family, but the book feels like a million stories spinning out indefinitely; it is the product of a genius child-mind that takes everything in and transforms it in an alchemy of poetry. The God of Small Things is at once exotic and familiar to the Western reader, written in an English that's completely new and invigorated by the Asian Indian influences of culture and language. [via]
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› Find signed collectible books: 'The Jaguar Smile: A Nicaraguan Journey'
In this timeless, haunting portrait of the people and the politics of Nicaragua, Rushdie brings to life the palpable human facts of a country in the midst of a revolution. [via]
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› Find signed collectible books: 'Jean Rhys: Wide Sargasso Sea'
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› Find signed collectible books: 'The Joys of Motherhood'
This soft cover is close to new condition. One pink ink mark on the bottom of this book. Very fine book. [via]
› Find signed collectible books: 'The Location of Culture'
Rethinking questions of identity, social agency and national affiliation, Bhabha provides a working, if controversial, theory of cultural hybridity - one that goes far beyond previous attempts by others. In The Location of Culture, he uses concepts such as mimicry, interstice, hybridity, and liminality to argue that cultural production is always most productive where it is most ambivalent. Speaking in a voice that combines intellectual ease with the belief that theory itself can contribute to practical political change, Bhabha has become one of the leading post-colonial theorists of this era.
[via]› Find signed collectible books: 'Midnight's Children'
Anyone who has spent time in the developing world will know that one of Bombay's claims to fame is the enormous film industry that churns out hundreds of musical fantasies each year. The other, of course, is native son Salman Rushdie--less prolific, perhaps than Bollywood, but in his own way just as fantastical. Though Rushdie's novels lack the requisite six musical numbers that punctuate every Bombay talkie, they often share basic plot points with their cinematic counterparts. Take, for example, his 1980 Booker Prize-winning Midnight's Children: two children born at the stroke of midnight on August 15, 1947--the moment at which India became an independent nation--are switched in the hospital. The infant scion of a wealthy Muslim family is sent to be raised in a Hindu tenement, while the legitimate heir to such squalor ends up establishing squatters' rights to his unlucky hospital mate's luxurious bassinet. Switched babies are standard fare for a Hindi film, and one can't help but feel that Rushdie's world-view--and certainly his sense of the fantastical--has been shaped by the films of his childhood. But whereas the movies, while entertaining, are markedly mediocre, Midnight's Children is a masterpiece, brilliant written, wildly unpredictable, hilarious and heartbreaking in equal measure.
Rushdie's narrator, Saleem Sinai, is the Hindu child raised by wealthy Muslims. Near the beginning of the novel, he informs us that he is falling apart--literally:
I mean quite simply that I have begun to crack all over like an old jug--that my poor body, singular, unlovely, buffeted by too much history, subjected to drainage above and drainage below, mutilated by doors, brained by spittoons, has started coming apart at the seams. In short, I am literally disintegrating, slowly for the moment, although there are signs of an acceleration.In light of this unfortunate physical degeneration, Saleem has decided to write his life story, and, incidentally, that of India's, before he crumbles into "(approximately) six hundred and thirty million particles of anonymous, and necessarily oblivious, dust." It seems that within one hour of midnight on India's independence day, 1,001 children were born. All of those children were endowed with special powers: some can travel through time, for example; one can change gender. Saleem's gift is telepathy, and it is via this power that he discovers the truth of his birth: that he is, in fact, the product of the illicit coupling of an Indian mother and an English father, and has usurped another's place. His gift also reveals the identities of all the other children and the fact that it is in his power to gather them for a "midnight parliament" to save the nation. To do so, however, would lay him open to that other child, christened Shiva, who has grown up to be a brutish killer. Saleem's dilemma plays out against the backdrop of the first years of independence: the partition of India and Pakistan, the ascendancy of "The Widow" Indira Gandhi, war, and, eventually, the imposition of martial law.
We've seen this mix of magical thinking and political reality before in the works of Günter Grass and Gabriel García Márquez. What sets Rushdie apart is his mad prose pyrotechnics, the exuberant acrobatics of rhyme and alliteration, pun, wordplay, proper and "Babu" English chasing each other across the page in a dizzying, exhilarating cataract of words. Rushdie can be laugh-out-loud funny, but make no mistake--this is an angry book, and its author's outrage lends his language wings. Midnight's Children is Salman Rushdie's irate, affectionate love song to his native land--not so different from a Bombay talkie, after all. --Alix Wilber [via]
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› Find signed collectible books: 'Orientalism'
For generations now, Edward W. Said's "Orientalism" has defined our understanding of colonialism and empire, and this "Penguin Modern Classics" edition contains a preface written by Said shortly before his death in 2003. In this highly-acclaimed work, Edward Said surveys the history and nature of Western attitudes towards the East, considering orientalism as a powerful European ideological creation - a way for writers, philosophers and colonial administrators to deal with the 'otherness' of eastern culture, customs and beliefs. He traces this view through the writings of Homer, Nerval and Flaubert, Disraeli and Kipling, whose imaginative depictions have greatly contributed to the West's romantic and exotic picture of the Orient. Drawing on his own experiences as an Arab Palestinian living in the West, Said examines how these ideas can be a reflection of European imperialism and racism. Edward W. Said (1935-2003) was a Palestinian-American cultural critic and author, born in Jerusalem and educated in Egypt and the United States. His other books include "The Question of Palestine", "Culture and Imperialism" and "Out of Place: A Memoir". If you enjoyed "Orientalism", you might like Frantz Fanon's "The Wretched of the Earth", also available in "Penguin Modern Classics". "Stimulating, elegant and pugnacious". ("Observer"). "Beautifully patterned and passionately argued". ("New Statesman"). "Very exciting ...his case is not merely persuasive, but conclusive". (John Leonard, "New York Times"). "Magisterial". (Terry Eagleton). [via]

› Find signed collectible books: 'The Post-Colonial Studies Reader'
The Post-Colonial Studies Reader is the most comprehensive selection of key texts in post-colonial theory and criticism yet compiled. This collection covers a huge range of topics, featuring nearly ninety of the discipline's most widely read works.
The Reader's 90 extracts are designed to introduce the major issues and debates in the field of post-colonial literary studies. This field itself, however, has become so varied that no collection of readings could encompass every voice which is now giving itself the name "post-colonial." The editors, in order to avoid a volume which is simply a critical canon, have selected works representing arguments with which they do not necessarily agree, but rather which above all stimulate discussion, thought and further exploration.
Post-colonial "theory" has occurred in all societies into which the imperial force of Europe has intruded, though not always in the official form of theoretical text. Like the description of any other field the term has come to mean many things, but this volume hinges on one incontestable phenomenon: the "historical fact"of colonialism, and the palpable consequences to which this phenomenon gave rise. The topic involves talk about experience of various kinds: migration, slavery, suppression, resistance, representation, difference, race, gender, place, and reaction to the European influence, and about the fundamental experiences of speaking and writing by which all these come into being. In compiling this reader, the editors have sought to stimulate people to ask: "How might a genuinely post-colonial literary enterprise proceed?"
The fourteen sections include: Issues and Debates; Universality and Difference; Textual Representation and Resistance; Postmodernism and Post-Colonialism; Nationalism; Hybridity; Ethnicity and Indigenity; Feminism and Post-Colonialism; Language; The Body and Performance; History; Place; Education; and Production and Consumption.
Contributors include many of the leading post-colonial theorists and critics--such as Franz Fanon, Chinua Achebe, Gayatri Chakravorty Spivak, Ngugi wa Thiong'o, Homi Bhabba, Derek Walcott, Edward Said, and Trinh T. Minh-ha--in addition to a number of the discourse's newer voices. The Post-Colonial Studies Reader will prove an authoritative compilation, representing an invaluable contribution to the study of post-colonial theory and criticism.
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› Find signed collectible books: 'The Post-Colonial Studies Reader'
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› Find signed collectible books: 'The Satanic Verses : A Novel'
No book in modern times has matched the uproar sparked by Salman Rushdie's The Satanic Verses, which earned its author a death sentence. Furor aside, it is a marvelously erudite study of good and evil, a feast of language served up by a writer at the height of his powers, and a rollicking comic fable. The book begins with two Indians, Gibreel Farishta ("for fifteen years the biggest star in the history of the Indian movies") and Saladin Chamcha, a Bombay expatriate returning from his first visit to his homeland in 15 years, plummeting from the sky after the explosion of their jetliner, and proceeds through a series of metamorphoses, dreams and revelations. Rushdie's powers of invention are astonishing in this Whitbread Prize winner. [via]
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› Find signed collectible books: 'So Long Been Dreaming: Postcolonial Science Fiction & Fantasy'
Science fiction has always led the way when it comes to exploring identity, with many writers offering radical reconstructions of sexuality, gender, and race. But for all its experimentation and theoretical diversity, the genre has been dominated by a remarkably narrow selection of voices, with its mainly white authors writing largely from a European tradition. The result is a lot of uncharted literary space, a void that So Long Been Dreaming fills by using the tropes and conventions of sci-fi to explore the legacy of colonialism--both in history and in the genre itself.
Co-editors Nalo Hopkinson and Uppinder Mehan have selected writers from marginalized groups and asked them to use "massa's tools"--"stories that take the meme of colonizing the natives"--to rewrite the narratives of colonization and oppression. The result is an entirely new way of looking at science fiction and its presuppositions, one that offers a view from a parallel but profoundly different universe. Rising to the challenge, many of the writers collected here have appropriated familiar cultural models. Suzette Mayr adapts the Irish folk tale of the selkie--a mermaid-like creature--to explore notions of cultural displacement in "Toot Sweet Matricia," while in "Rachel" Larissa Lai highlights the ways in which the film Blade Runner glosses over issues of race. Tamai Kobayashi morphs Western social and cultural theories in "Panopte's Eye," a story of identity control in a post-apocalyptic military society in which Michel Foucault's panopticon makes a guest appearance. Nor is history itself exempt, as Eden Robinson uses the tensions of the Oka crisis and the fisheries disputes as source material for "Terminal Avenue," an examination of the psychology of assimilation.
The stories cover such a wide range of material--space opera, dimension travel, myth and fairy tale, fantasy, magic realism--that the anthology resists attempts to categorize it. It is not entirely science fiction, not entirely fantasy, not even entirely postcolonial literature. And this resistance is largely the point of So Long Been Dreaming. Such boundaries belong to the past, the anthology suggests, but we're living in the future now. --Peter Darbyshire [via]
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› Find signed collectible books: 'Things Fall Apart'
Things Fall Apart tells two intertwining stories, both centering on Okonkwo, a "strong man" of an Ibo village in Nigeria. The first, a powerful fable of the immemorial conflict between the individual and society, traces Okonkwo's fall from grace with the tribal world. The second, as modern as the first is ancient, concerns the clash of cultures and the destruction of Okonkwo's world with the arrival of aggressive European missionaries. These perfectly harmonized twin dramas are informed by an awareness capable of encompassing at once the life of nature, human history, and the mysterious compulsions of the soul. [via]
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› Find signed collectible books: 'Things Fall Apart'
The unthinkable happens when nuclear brinksmanship spirals off into to Armageddon. Billions die as governments disintegrate, great cities are annihilated and deeply laid plans to seize unlimited power swing into action.Tom McArthur: Once a carefree individualist, he was coaxed into a position of influence and leadership by unexpected opportunity and kept there by his sense of honor. He finds himself far from home and family, separated by hundreds of miles of impossible terrain, gangs of armed bandits and a hostile government.Lynn, his wife: Beautiful and intelligent, strong willed and voluptuous, she resents Tom's abandonment of her and their children for a distant political career. Now, with nothing but her courage, wits and willpower to work with, she must fight to keep herself and her children alive.Lance: Young, handsome and lonely, trained as the ultimate warrior, he drove himself into poverty and alcohol with the memory of an unspeakable evil he was party to. Will he find love and redemption or destroy those around him? Who will live? Who will die? What will emerge when things fall apart? [via]
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› Find signed collectible books: 'Twelve Bar Blues'
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› Find signed collectible books: 'V'
Having just been released from the Navy, Benny Profane is content to lead a slothful existence with his friends, where the only real ambition is to perfect the art of "schlemihlhood," or being a dupe, and where "responsibility" is a dirty word. Among his pals--called the Whole Sick Crew--is Slab, an artist who can't seem to paint anything other than cheese danishes. But Profane's life changes dramatically when he befriends Stencil, an active ambitious young man with an intriguing mission--to find out the identity of a woman named V., who knew Stencil's father during the war, but who suddenly and mysteriously disappeared. [via]

› Find signed collectible books: 'Waiting for the Barbarians'
For decades the Magistrate has been a loyal servant of the Empire, running the affairs of a tiny frontier settlement and ignoring the impending war with the barbarians. When interrogation experts arrive, however, he witnesses the Empire's cruel and unjust treatment of prisoners of war. Jolted into sympathy for their victims, he commits a quixotic act of rebellion that brands him an enemy of the state. J. M. Coetzee's prize-winning novel is a startling allegory of the war between opressor and opressed. The Magistrate is not simply a man living through a crisis of conscience in an obscure place in remote times; his situation is that of all men living in unbearable complicity with regimes that ignore justice and decency. [via]
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› Find signed collectible books: 'White Teeth: Reader's Companion'
Epic in scale and intimate in approach, White Teeth is a formidably ambitious debut. First novelist Zadie Smith takes on race, sex, class, history, and the minefield of gender politics, and such is her wit and inventiveness that these weighty subjects seem effortlessly light. She also has an impressive geographical range, guiding the reader from Jamaica to Turkey to Bangladesh and back again.
Still, the book's home base is a scrubby North London borough, where we encounter Smith's unlikely heroes: prevaricating Archie Jones and intemperate Samad Iqbal, who served together in the so-called Buggered Battalion during World War II. In the ensuing decades, both have gone forth and multiplied: Archie marries beautiful, bucktoothed Clara--who's on the run from her Jehovah's Witness mother--and fathers a daughter. Samad marries stroppy Alsana, who gives birth to twin sons. Here is multiculturalism in its most elemental form: "Children with first and last names on a direct collision course. Names that secrete within them mass exodus, cramped boats and planes, cold arrivals, medical checks."
Big questions demand boldly drawn characters. Zadie Smith's aren't heroic, just real: warm, funny, misguided, and entirely familiar. Reading their conversations is like eavesdropping. Even a simple exchange between Alsana and Clara about their pregnancies has a comical ring of truth: "A woman has to have the private things--a husband needn't be involved in body business, in a lady's... parts." And the men, of course, have their own involvement in bodily functions:
The deal was this: on January 1, 1980, like a New Year dieter who gives up cheese on the condition that he can have chocolate, Samad gave up masturbation so that he might drink. It was a deal, a business proposition, that he had made with God: Samad being the party of the first part, God being the sleeping partner. And since that day Samad had enjoyed relative spiritual peace and many a frothy Guinness with Archibald Jones; he had even developed the habit of taking his last gulp looking up at the sky like a Christian, thinking: I'm basically a good man.Not all of White Teeth is so amusingly carnal. The mixed blessings of assimilation, for example, are an ongoing torture for Samad as he watches his sons grow up. "They have both lost their way," he grumbles. "Strayed so far from what I had intended for them. No doubt they will both marry white women called Sheila and put me in an early grave." These classic immigrant fears--of dilution and disappearance--are no laughing matter. But in the end, they're exactly what gives White Teeth its lasting power and undeniable bite. --Eithne Farry [via]
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› Find signed collectible books: 'Wide Sargasso Sea'
Excellent book. [via]
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› Find signed collectible books: 'Woman, Native, Other: Writing Postcoloniality and Feminism'
"... methodologically innovative... precise and perceptive and conscious... " Text and Performance Quarterly
"Woman, Native, Other is located at the juncture of a number of different fields and disciplines, and it genuinely succeeds in pushing the boundaries of these disciplines further. It is one of the very few theoretical attempts to grapple with the writings of women of color." Chandra Talpade Mohanty
"The idea of Trinh T. Minh-ha is as powerful as her films... formidable... " Village Voice
"... its very forms invite the reader to participate in the effort to understand how language structures lived possibilities." Artpaper
"Highly recommended for anyone struggling to understand voices and experiences of those we label other." Religious Studies Review
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› Find signed collectible books: 'Woman, Native, Other: Writing Postcoloniality and Feminism'
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› Find signed collectible books: 'The Wretched of the Earth'
Frantz Fanon (1925-61) was a Martinique-born black psychiatrist and anticolonialist intellectual; The Wretched of the Earth is considered by many to be one of the canonical books on the worldwide black liberation struggles of the 1960s. Within a Marxist framework, using a cutting and nonsentimental writing style, Fanon draws upon his horrific experiences working in Algeria during its war of independence against France. He addresses the role of violence in decolonization and the challenges of political organization and the class collisions and questions of cultural hegemony in the creation and maintenance of a new country's national consciousness. As Fanon eloquently writes, "[T]he unpreparedness of the educated classes, the lack of practical links between them and the mass of the people, their laziness, and, let it be said, their cowardice at the decisive moment of the struggle will give rise to tragic mishaps."
Although socialism has seemingly collapsed in the years since Fanon's work was first published, there is much in his look into the political, racial, and social psyche of the ever-emerging Third World that still rings true at the cusp of a new century. --Eugene Holley, Jr. [via]
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› Find signed collectible books: 'The Wretched of the Earth'
Frantz Fanon (1925-61) was a Martinique-born black psychiatrist and anticolonialist intellectual; The Wretched of the Earth is considered by many to be one of the canonical books on the worldwide black liberation struggles of the 1960s. Within a Marxist framework, using a cutting and nonsentimental writing style, Fanon draws upon his horrific experiences working in Algeria during its war of independence against France. He addresses the role of violence in decolonization and the challenges of political organization and the class collisions and questions of cultural hegemony in the creation and maintenance of a new country's national consciousness. As Fanon eloquently writes, "[T]he unpreparedness of the educated classes, the lack of practical links between them and the mass of the people, their laziness, and, let it be said, their cowardice at the decisive moment of the struggle will give rise to tragic mishaps."
Although socialism has seemingly collapsed in the years since Fanon's work was first published, there is much in his look into the political, racial, and social psyche of the ever-emerging Third World that still rings true at the cusp of a new century. --Eugene Holley, Jr. [via]
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› Find signed collectible books: 'Schande'
David Lurie ist schon in seinem eigenen Leben kein Held, geschweige im dem von jemand anderem. Mit 52 Jahren ist der Protagonist von Schande am Ende seines beruflichen wie auch seines Liebeslebens angelangt und scheint geradezu absichtlich mit dem Unglück zu flirten. Seit langem Professor für Neuere Philologien am Cape Town University College in Kapstadt, wurde er kürzlich zum Assistenzprofessor für Kommunikation derselben Einrichtung degradiert, die mittlerweile ostentativ in Cape Technical University umbenannt wurde.
Obwohl er seiner neuen Disziplin täglich viele Stunden widmet, findet er deren erste Prämisse, wie sie im "Communications 101"-Handbuch formuliert ist, geradezu absurd: "Die menschliche Gesellschaft hat die Sprache erfunden, damit wir unsere Gedanken, unsere Gefühle und unsere Absichten einander mitteilen können." Seiner Ansicht nach -- die er für sich behält -- liegen die Ursprünge der Sprache im Gesang, die Ursprünge des Gesangs wiederum in der Notwendigkeit, die übergroße und ziemlich leere menschliche Seele mit Klang zu erfüllen.
David, der bereits zweimal geschieden ist und dessen äußerliche Anziehungskraft nachläßt, verführt auf ziemlich unbarmherzige Weise eine seiner Studentinnen; sein unschickliches Verhalten wird bald aufgedeckt. In seinem achten Roman wäre J.M. Coetzee vielleicht damit zufrieden gewesen, eine tiefgründige akademische Satire zu schreiben. Aber in Schande hat er sich weitaus mehr vorgenommen, und seine Kunst ist so kompromißlos wie seine Hauptfigur -- allerdings auch unendlich komplexer. Nicht bereit, das Spiel der öffentliche Reue mitzumachen, läßt sich David schließlich feuern -- eine letzte Geste der Verachtung. Nun, denkt er, kann er sich hinsetzen und etwas über Byrons letzte Lebensjahre schreiben -- keine leere, ungelesene Kritik, "Prosa als Meterware" sozusagen, sondern ein Libretto. Zu diesem Zweck reist er in die Ost-Kap-Provinz zur Farm seiner Tochter. Lucy, die Mitte Zwanzig ist, kehrte dem Schick der Stadt den Rücken und lebt nun auf fünf Hektar Land vom Blumen- und Gemüseanbau und einem Hundeasyl. "Nichts könnte einfacher sein", denkt David. In Wirklichkeit könnte nichts schwieriger sein -- oder, jetzt im neuen Südafrika, gefährlicher. Weit davon entfernt, die Zuflucht zu sein, die er gesucht hat, ist in Salem kaum etwas sicher. Gerade als sich David in seine vorübergehende Rolle als Landarbeiter und wenig begeisterter Freiwilliger im Tierheim eingelebt hat, werden er und Lucy von drei schwarzen Männern überfallen. Unfähig, seine Tochter zu beschützen, ist Davids Schande nun komplett. Ihre ist allerdings weitaus größer.
Es gibt in Coetzees schmerzlichem Roman viel mehr zu erkunden, und wenig davon ist tröstlich. Es wäre zu einfach, seinen Titel aufzugreifen und Schande als eine komplizierte Aufarbeitung persönlicher und politischer Schande und Verantwortung zu betrachten. Aber das Anliegen des Autors ist die Geschichte seines Landes, die Brutalitäten und der Verrat. Coetzee setzt sich auch mit der Frage auseinander, wieviel Seele und wieviele Rechte wir Tieren zugestehen. Nach dem Überfall nimmt David seine Rolle im Hundeasyl viel ernster und findet schließlich eine Art Zuhause und ein gewisses Maß an Liebe. In Coetzees The Lives of Animals, vor kurzem in der Schriftenreihe der Princeton University erschienen, erzählt eine alternde Romanschriftstellerin ihren Zuhörern, daß die Frage, die alle Labor- und Zootiere beschäftigt, lautet: "Wo ist mein Zuhause, und wie komme ich dorthin?" Obwohl er im Vergleich zu den ungewollten Tieren, die in seiner Obhut sind, geradezu allmächtig ist, ist David letztendlich genauso gefangen und genauso verloren wie sie.
Schande ist geradezu gewollt einfach. Und doch besitzt es seine ganz eigene magere,herzzerreißende Lyrik, vor allem in den Beschreibungen der ungewollten Tiere. Am Anfang der Geschichte erklärt David seiner Studentin, daß Lyrik den Leser entweder sofort anspricht -- "eine plötzliche Offenbarung und eine plötzliche Reaktion" -- oder überhaupt nicht. Coetzees Buch spricht da anders; seine Schichten und Traurigkeiten wickeln sich endlos ab. --Kerry Fried [via]
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› Find signed collectible books: 'Zähne zeigen'
Zähne zeigen, monumental im Ausmaß und intim im Ansatz, ist ein ehrgeiziger Roman. Seine Themen drehen sich um Herkunft, Religion, Geschlechterbeziehungen, Hautfarbe, gesellschaftliche Stellung und Geschichte, aber Zadie Smith ist mit einem Witz und einem Einfallsreichtum gesegnet, die diese gewichtigen Ideen mühelos leicht erscheinen lassen.
Die Handlung führt uns nach Jamaika, die Türkei, Bangladesch und Indien und bringt uns schließlich in einen schäbigen Vorort von North London, in dem die zwei merkwürdigen Helden dieses Buches zu Hause sind: Archie Jones, der es mit der Wahrheit nicht so genau nimmt, und Samad Iqbal, der im hohen Maße dem Alkohol zuspricht. Sie begegneten sich erstmals im Zweiten Weltkrieg als Mitglieder eines vom Pech verfolgten Bataillons und sind seitdem unzertrennlich. Archie heiratet die schöne Clara mit den vorstehenden Zähnen, die sich auf der Flucht vor ihrer Mutter befindet, einer Zeugin Jehovas, und mit der er eine Tochter hat, Irie. Samad heiratet die pampige Alsana, die ihm zwei stramme Jungs schenkt -- Zwillinge: "Kinder mit Vor- und Zunamen, die sich auf direktem Kollisionskurs befinden; Namen, hinter denen sich Massenexodus, überfüllte Boote und Flugzeuge, unfreundliche Ankünfte und ärztliche Untersuchungen verbergen."
Große Fragen verlangen nach kühn gezeichneten Charakteren. Zadie Smiths Helden sind nicht heroisch; sie sind einfach echt: warmherzig, komisch, fehlgeleitet und absolut vertraut. Wenn man ihre Unterhaltungen liest, kommt man sich vor, als würde man sie heimlich belauschen. In einer ganz einfachen Szene unterhalten sich Alsana und Clara im Park über ihre Schwangerschaften: "Eine Frau muss ihre privaten Dinge haben -- ein Ehemann sollte sich nicht in die körperlichen Angelegenheiten einmischen, in den Intimbereich einer Frau."
Samad ist verärgert über seine Söhne: "Sie sind beide vom Weg abgekommen; so weit weg von dem, was ich für sie geplant hatte. Es gibt wohl keinen Zweifel, dass sie beide irgendwann weiße Frauen heiraten werden, die Sheila heißen, und mich früh unter die Erde bringen." Hier spiegeln sich "die Ängste des Einwanderers -- Identitätsverlust, Auflösung" -- deutlich wider, die Samad mehr als alles andere geprägt haben.
Die Lektüre von Zähne zeigen ist eine wahre Freude. In diesem Buch wimmelt es vor Leben und Überschwänglichkeit, und doch besitzt es genug Schläue und despektierliche Seriosität, um ihm eine gewisse Bissigkeit zu geben. --Eithne Farry [via]
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› Find signed collectible books: 'Denti Bianchi / White Teeth'
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› Find signed collectible books: 'Il Dio Delle Piccole Cose'
Ammu, figlia di un alto funzionario, lascia un marito violento e torna a casa con i suoi bambini, i gemelli Estha e Rahel, maschio e femmina. Ma nellIndia meridionale dei tardi anni Sessanta, una donna divorziata come lei si ritrova priva di una posizione sociale riconosciuta, soprattutto se commette lerrore di innamorarsi di un paria. I gemelli vogliono bene a Velutha, lintoccabile che la madre può amare solo in segreto, e attraverso il loro sguardo, capace di cogliere le piccole cose e i piccoli eventi, prende forma la storia di un grande amore, in cui si riflette il tema universale dei sentimenti in conflitto con le convenzioni. Nei loro pensieri e nelle loro parole risuona la critica più radicale a ogni legge che stabilisce chi si deve amare, e come, e quanto. [via]
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› Find signed collectible books: 'Ancho Mar De Los Sargazos / Wide Sargosso Sea'
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› Find signed collectible books: 'Esperando a Los Barbaros / Waiting for the Barbarians'
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› Find signed collectible books: 'Les Damnes De La Terre'
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