The first issue of the Cambridge journal of postcolonial literary inquiry, edited by Ato Quayson, on ‘New topographies of the postcolonial’, is available as an open access edition here.
The Cambridge Journal of Postcolonial Literary Inquiry is a new peer-review journal that aims to deepen our grasp of postcolonial literary history while enabling us to stay comprehensively informed of all critical developments in the field. The journal will provide a forum for publishing research covering the full spectrum of postcolonial critical readings and approaches, whether these center on established or lesser known postcolonial writers or draw upon fields such as Modernism, Medievalism, Shakespeare and Victorian Studies that have hitherto not been considered central to postcolonial literary studies, yet have generated some of the best insights on postcolonialism. The Journal aims to be critically robust, historically nuanced, and will put the broadly defined areas of literature and aesthetics at the center of postcolonial exploration and critique. Essays of up to 8000 words on any aspect of postcolonial literature, literary history and aesthetics should be sent to The Editor at firstname.lastname@example.org.
The special issue includes a fine essay by Debjani Ganguly, ‘The world novel, mediated wars and exorbitant witnessing‘, which provides close and illuminating readings of Art Spiegelman‘s Maus and In the shadow of no towers and Michael Ondaatje‘s Anil’s Ghost and connects them to what she calls ‘our era of humanitarian wars’ (see p. 16 for her characterization). Here is the abstract:
This essay traces the emergence of a new contemporary novel form at the conjunction of global violence in the wake of the Cold War, digital hyperconnectivity, and a mediated infrastructure of sympathy. Since the first Gulf War, and more so, in the rhetoric presaging the wars in Iraq and Afghanistan, we have come to accept that there is very little difference between the technologies used to wage war and those used to view it. This essay argues that the novels of our time are not contiguous with contemporary cinematic or televisual or new media genres in representing the immediacy of violence, but are rather texts that graph the sedimented and recursive history of such mediation. Their alternative way of documenting “witness”—that is, of abstracting the architectonics of testimonial work—urges us to focus not so much on the question of visibility—and its stock thematics of overexposure and desensitization—as on the legibility of this new mode of witnessing. The distinction between visibility and legibility amounts to calibrating differently the work of witnes- sing in novels, their textual and tropological play with multiple modes of spectatorship and engagement, and their distinctively different braiding of the factual and the evidentiary in comparison with genres of the visual.