This chapter sketches a literary history of writing the colonial interregnum through the comparison of a canonical Dublin text and its filmic adaptation with a canonical Johannesburg text and its filmic adaptation. Njabulo Ndebele’s short story ‘Fools’ (1983) repurposes formal elements from Joyce’s ‘The Dead’ (1914), transposing strategies for representing late colonial Dublin to a Johannesburg township during the height of apartheid in a context of extreme racial domination; beginning with close comparative readings of both stories, my chapter argues that (...) the context in which ‘Fools’ emerges determines the significance of its reappropriation of Joycean formal devices and simultaneously forces a re-reading of Joyce’s flirtation with bourgeois naturalism in ‘The Dead.’ Further, the respective publishing contexts of ‘Fools’ and ‘The Dead’ go on to determine their reception and recirculation, as demonstrated by the diverse histories of the American John Huston’s adaptation of ‘The Dead’ (1984), and Ramadan Suleman’s South African adaptation of ‘Fools’ (1997). In following this circumatlantic history of influence and adaptation from Joyce to Ndebele to Huston to Suleman, across hemispheres and media, I mean to articulate a relationship between modernist form and forms of modernity, particularly as those forms that appear and reappear in the global south over the course of the long twentieth century. Particular attention is paid here to the history of underdevelopment in the global south and how it impinges upon the production and circulation of literary adaptations. (shrink)

This essay identifies and intervenes in the limitations of both the social and the medical models of disability in the postcolonial context, suggesting that those limitations may apply to theorizations of disability more broadly. It suggests that Bessie Head's novel A Question of Power, which represents mental illness and disability without positing a stable etiology for them, illustrates the inapplicability of these ways of thinking about disability under instances of extreme precarity. As such, Head offers a test case for how (...) mental illness and disability writ large might be theorized without the suppositions implicit to the liberal subject. (shrink)

An examination of the specifically graphic-novelistic strategies employed in Art Spiegelman's graphic memoir, Maus, in leading the reader into a punctuated experience of time and memory, and in forcing complicity with the novel's problematic animal-as-ethnicity metaphor, in a wider attempt at putting together the critical vocabulary for discussing comic books as simultaneously textual and pictorial ‘texts’.

Marlene van Niekerk's 1994 Triomf is a plaasroman, or farm novel, without the farm; it formally resembles a nostalgic pastoral genre initiated by the collapse of Southern African agricultural economy around the time of the Great Depression, but removes even the symbol of the farm as aesthetic compensation for material loss. In the process, van Niekerk composes a post-apartheid tragicomedy of a lumpenproletariat white supremacist family coming into long-belated class consciousness, an epiphany which, surprisingly, survives the novel's translations from Afrikaans (...) to South African English to 'international' English. Crucially, this understanding is mediated by a critical tendency to appraise Triomf in the context of Faulkner and the Southern Gothic, a generic comparison which gets a lot wrong but is ultimately very revealing, less about Triomf than about the imperial world-system through which it circulates and is consecrated. Consequently, the novel stages globally what seems at first to be a parochial question: how is one supposed to imagine democratic reconciliation and integration after apartheid, when one of the classes to be reconciled lacks historical self-consciousness and has no obvious place in either the apartheid regime or the post-apartheid dispensation? By analyzing van Niekerk's novel and the institutions which consecrate it, the paper fleshes out critiques of world-literary hermeneutics, specifically for its naive handling of genre and context, and of post-apartheid 'reconciliation' under capital. (shrink)

This paper considers Achebe's No Longer at Ease in terms of its modest canonical fortunes and its peculiar formal construction. The paper argues that the novel's urban setting is produced through an emergent and local noir style, that this setting indexes the increasing centrality of the city in late colonial African life, and that it formally responds to the success of Achebe's rural Things Fall Apart and its problematic status as a paradigmatic African text. The paper suggests that No Longer (...) at Ease 's foreign and local horizons of interpretation, as symptoms of an ongoing imperial world-system, are internalized and symbolically resolved by the novel's instantiation of Lagos as chronotope. The paper's methodological intervention offers a hermeneutics of literary setting through which to elaborate the relationships between form, literary institutions, and material conditions in the postcolony. (shrink)

Part of a book forum on Ato Sekyi-Otu's 'Left Universalism, Africacentric Essays' with a response by the author.