This essay reads the landscape of Roberto Bolaño’s fictional Santa Teresa through a new materialist lens. In the fourth section of Bolaño’s epic novel 2666, “The Part about the Crimes,” the bodies of 112 women, victims of a series of unsolved murders, accumulate as part of a postglobal dystopic narrative of material and existential waste. Critics have especially noted the text’s clinical narration of events, which effectively reduces the victims’ bodies to interchangeable parts of a larger assemblage that also includes the factories (maquiladoras) where the women work, the northern capital that funds them, the police force that repeatedly fails to solve the murders, and the trash heaps and landfills where many of the bodies appear. It is, however, the women’s inert, mutilated bodies that animate Bolaño’s novel. Dehumanized by the text, the bodies’ materiality paradoxically gives human heft to an otherwise mechanistic account of undifferentiated carnage.

Postcolonial literary scholars often write about challenging traditional canons and Enlightenment ideas, but that challenge too often remains at the level of content and of ideas. We also need practical change to the university classroom, our curriculum, our syllabi, our pedagogy. And we need to be in dialogue with our colleagues teaching British or American or European literature who also want to decolonize their classrooms. There need to be fora where we can discuss the questions and problems we face in our classrooms and the strategies we have developed in response. These papers arise from an ongoing collaboration across institutions to discuss what we as teachers of literature can do differently and better.

Black lives and histories are to the fore at the moment: from #BlackLivesMatter in the United States to the movement to decolonize syllabi and pedagogy in South African universities. The film Black Panther is watched within a visual and political terrain in which the black body is presented no longer only within histories of previous abjection—slavery and apartheid—but in visions of future reconstitution. This article will put together the changing representation of T’Challa from 1966 to the present in Marvel Comics and the film and argue that blackness has meant different things at different times to the creators as much as within the historical circumstance within which the black superhero has been seen and understood. Central to this has been the dilemma of bringing together the histories of “Africa” and the tenements of the United States—Wakanda and Oakland, California, in the film, and Harlem, New York, in the comic books.

Focusing on the representation of leisure or otium, the article discusses recent South Asian fiction and its idealization of states of otiose leisure that existed in the past and are now nostalgically dwelled on in contrast to current conditions of stress exacerbated by global capitalism. After explaining the origin of this approach to South Asian fiction in an interdisciplinary research cluster on otium, the main thesis of the article is laid out. An example text, Sunetra Gupta’s A Sin of Colour, is used to illustrate the various aspects of nostalgic leisure. The article also discusses narrative strategies that enhance a readerly experience of retardation and concentration.

Is Shakespeare universal? Is Hamlet a “strong” text that generates the same interpretation across cultural space and time, or is it a malleable text whose meaning is contingent upon variables in the encounter between text and reader and the contexts of reading? These were the kinds of questions that my students and I addressed in several courses I taught on Shakespeare over the past four years. As one might expect, our answers differed. Here, I develop and refine the argument I made and, sometimes, made incoherently: universality, whether in a writer, a text, or in criticism “is neither natural nor self-evident.” Because part of my reason for turning to Shakespeare was my dissatisfaction with contrapuntal reading as a pedagogical strategy for cultivating a “critical understanding of imperialism” in students, I conclude that we can only achieve that goal if we deploy contrapuntal reading across the literary curriculum.

The article tells the story of a pedagogical experiment that the author conducted in collaboration with final year master’s students in Kolkata, India. The aim was to “open up the classroom,” adapting Brazilian educator Paolo Freire’s notion of critical pedagogy to an Indian context. The diverse group of students who participated in this experiment had a high degree of political consciousness regarding issues of gender, caste, sexuality, disability, and class due to the university’s history of student activism. Most students had already read a fair amount of postcolonial literature and theory. Postcolonial literature syllabus as it had conventionally been taught would not be able to engage these restive students or be relevant to their lived experiences. The experiment on classroom democratization and collaborative teaching would demonstrate to the future college teacher one kind of interventionist approach for raising student awareness in the Indian classroom.

This essay examines the production of Global English through literary texts by examining three adaptations of Edgar Allan Poe’s short story “The Gold Bug” in the 1930s by competing figures in the vocabulary control movement—Harold Palmer, Michael West, and C. K. Ogden—leaders in the formation of the field of applied linguistics. The first part of the essay explains the colonial origins of the vocabulary word list and its ascendant value in the interwar period for the new discipline of applied linguistics, and as part of the competition for English language textbooks. This leads to an analysis of these three simplifications of Poe’s story that demonstrates how the language politics in Poe’s story provides a structure through which to express a nascent Global English ideology regarding race, vernacular, and auxiliary languages.

The climax of the film Black Panther (directed by Ryan Coogler, 2018) shows the two heirs claiming the Black Panther’s mantle battling it out in a tunnel that is modernity's dark hull. My article teases out the complex relationship between the film’s doubled Black Panthers as a hall of mirrors, where the African American filmmaker and the assembled African and Afro-diasporic cast confront each other, their collective memories of slavery, and the complex relationship of those on the African continent to those memories. What in the structure of cinema might take us out of this hall of mirrors to a futurity beyond trauma? In answer, I offer a reading of Wakanda as “Alegropolis”: a lavish and loving cinematic creation that draws on Afro-Futurist play with temporality and technology to reinscribe this circum-Atlantic history within a planetary frame. An affiliative afro-modernity is generated thereby, which invites a global audience to share the film’s ethical and emotional concerns as what Michael Rothberg calls “implicated subjects.”

The article addresses two aspects of postcolonial critique in Black Panther: first, its portrayal of the allure of grand statements in the cultivation of conspicuous and persistent self-regard in societies that wish to be recognizably independent, and second the centrality of repeatedly embodied material gestures and motions for the sustenance of enduring communal self-regard. These two prominent features of storytelling in the film, it will be argued, offer a powerful criticism of indifferent, ideology free, and barely disguised fatalism that has driven notions of freedom across the world since the collapse of the old Soviet Union. Storytelling in Black Panther enjoys global acclaim because it revivifies the life-affirming value of high stakes, unabashedly teleological grand narratives, even as it upholds the political valency of strident, non-oppositional difference.

Following a legacy of four and a half centuries of literature written by foreign travelers landing on Haiti’s shores, Alejo Carpentier’s seminal novel about the Haitian Revolution is predicated upon Carpentier’s voyage to Haiti six years earlier. This article attends to the role of voyage in Carpentier’s The Kingdom of This World, revealing the ways in which Carpentier’s storytelling and rendering of Haiti in both the novel and its prologue, and his accompanying theory of the marvelous real, adhere to Eurocentric conceptions of time that reinscribe this neocolonial space as anachronistic space. Because Carpentier can only perceive Haiti in the past, he replicates the role of the imperial travel writer in fashioning metropolitan conceptions of colonial spaces and reproduces the imbalance of power between visitor/visited. This perspective reinforces a dominant Euro-American image of Haiti as a strange and magical object of consumption and fails to imagine it as an independent, post-revolution state.

This paper reads Black Canadian literary fiction for what it reveals about the ironic place of blackness in Canadian universities. It weaves together this literary analysis with the author’s first-person account of classroom practice in order to illuminate the risks involved for Black scholars and students currently teaching, learning, and producing knowledge within Canadian institutional structures.

What does it mean to decolonize the literature classroom? This short paper is intended as a personal reflection on teaching as an engagement with the social forces that bring neocolonial relations into the classroom, drawing on my experience teaching literature and literary theory in South Africa and Canada. I explore the idea of decolonizing the classroom as the production of an “outside” that provides meaning for the classroom’s “inside.”

In more ways than critics have mentioned, Ryan Coogler’s critically acclaimed Black Panther (2018) holds a vibrant conversation with Wole Soyinka’s mythopoetic orientation. But apart from Ryan Coogler’s ventriloquist reference to “The Fourth Stage,” Black Panther confers with Soyinka in many other interesting ways. In this article, I explore the mythic patterns in the movie by reading it alongside Soyinka’s densely mythic essay, “The Fourth Stage,” in order to pry the movie open for analysis. I posit that reading Ryan Coogler’s Black Panther side-by-side Soyinka’s “The Fourth Stage” amplifies the dialogic tension between violence and justice in both works, on the one hand, and exposes the strategies by which female subjectivity is reimagined in Black Panther’s radical universe, on the other hand. I also note that, in particular, Black Panther emerges from the comparative reading as somewhat inadvertently attempting a redefinition of tragedy.

Mineral extraction in Africa has exacerbated ecological degradation across the continent. This article focuses on the example of the Niger Delta scene of oil exploration depicted in Michael Watts and Ed Kashi’s multimedia project, Curse of the Black Gold: 50 Years of Oil in the Niger Delta. Analyzing the infringement on human and nonhuman bodies due to fossil fuel extraction, I read the Delta, inscribed in Watts and Kashi’s image-text, as an ecology of suffering and as a site of trauma. Although trauma studies tend to foreground the past and the present, I argue that Curse of the Black Gold invites serious consideration of trauma of the future, of-the-yet-to-come, in apprehending the problematic of suffering in the Delta. I conclude with a discussion of the ethics of representing postcolonial wounding, which on the one hand can create awareness of ecological degradation and generate affect, but which on the other hand, exploits the vulnerability of the depicted and leaves an ecological footprint.

If V. S. Naipaul’s late fiction demonstrates the crisis of narrative in the arrested dialectic of what I have called postcolonial naturalism, then the work of South African novelist, playwright, and critic Lewis Nkosi epitomizes the intersection of postcolonial naturalism with the double-voiced discourse of the hysteric. Situated between a post-independence melancholy and the registration of globalization’s volatile new dispensation and refracted through the racial politics of apartheid and its end as well as the lived experience of exile, Nkosi’s apartheid-era debut novel Mating Birds articulates in both form and content the noble self-exemption of Hegel’s “Beautiful Soul” and the subversive anxiety of the hysteric, to whom no satisfaction can be given. Such an accounting helps to reframe split critical appraisal of the novel by reading its complex of form and content as the living crystallization of historical processes.

This article explores psychoanalyst D. W. Winnicott’s ideas about play and “transitional space” or “potential space” in relation to reading, pedagogy, and the legacy of apartheid in South African universities. Following the work of Carol Long, who argues that “apartheid institutions can be understood as the opposite of transitional spaces,” the author draws on her experiences of teaching in the English Department of the University of the Western Cape to reflect on how pedagogy is shaped by institutional culture. The article focuses particularly on “close reading” in the South African university classroom and how a rigid understanding of it has sometimes closed and constrained the experience of reading for students in order to argue for a more open model of “close reading” that values the immersive and creative aspects of reading as well as the analytic, following Winnicott’s understanding of meaningful cultural experience as rooted in play.

Accounts of empire in postcolonial critique largely remain silent on colonial relations internal to the United Kingdom, tending to elide the work of Scots, Irish, and Welsh within a solely English imperial enterprise. This article draws on recent reevaluations of the Scottish role in empire to outline the ambivalent place of Britain’s “Celtic Fringe” in its global hegemony. Focusing on eighteenth-century cartography and Scottish accounts of African exploration, it argues that the aesthetic practice of colonial control developed in Scotland established a pattern imperial agents could repeat in overseas territories. The colonization of the “White Highlands” in Kenya, it suggests, relied on aesthetic forms that originated in the landscape of the Scottish Highlands. By focusing on landscape's influence in a constellation of fields—in aesthetics, cartography, and natural history—this article also moves toward an understanding of landscape as a form of aisthesis, a “regime of sense perception.”