{"title":"“我们滴答:他者”——种族、宗教和文学团结在三个散文选集和新自由主义市场","authors":"R. Ahmed","doi":"10.1080/17449855.2023.2216039","DOIUrl":null,"url":null,"abstract":"ABSTRACT This article considers Nikesh Shukla’s The Good Immigrant (2016) alongside two anthologies of essays by British Muslim women: Mariam Khan’s It’s Not About the Burqa (2019) and Sabeena Akhtar’s Cut from the Same Cloth? (2021). Situating them within the publishing industry’s racializing practices, which valorize writing by authors of colour as authentically representative of their cultures while devaluing it as less “literary” than white British writing, the article asks how the foregrounding of religiosity rather than race in Akhtar’s and Khan’s anthologies works to confirm or challenge these dominant terms of reception. The article is interested in how these anthologies might trouble the boundary between “culture” as the values and practices subscribed to by a racially minoritized community, and “culture” as the self-reflexive expression of individual creativity. Ultimately, it suggests the essay anthology might point to a form of literary solidarity that reaches beyond the confines of the neo-liberal marketplace even while remaining partly constrained by them.","PeriodicalId":44946,"journal":{"name":"Journal of Postcolonial Writing","volume":"59 1","pages":"315 - 330"},"PeriodicalIF":0.2000,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"“We tick: Other” – race, religion, and literary solidarities in three essay anthologies and the neo-liberal marketplace\",\"authors\":\"R. Ahmed\",\"doi\":\"10.1080/17449855.2023.2216039\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT This article considers Nikesh Shukla’s The Good Immigrant (2016) alongside two anthologies of essays by British Muslim women: Mariam Khan’s It’s Not About the Burqa (2019) and Sabeena Akhtar’s Cut from the Same Cloth? (2021). Situating them within the publishing industry’s racializing practices, which valorize writing by authors of colour as authentically representative of their cultures while devaluing it as less “literary” than white British writing, the article asks how the foregrounding of religiosity rather than race in Akhtar’s and Khan’s anthologies works to confirm or challenge these dominant terms of reception. The article is interested in how these anthologies might trouble the boundary between “culture” as the values and practices subscribed to by a racially minoritized community, and “culture” as the self-reflexive expression of individual creativity. Ultimately, it suggests the essay anthology might point to a form of literary solidarity that reaches beyond the confines of the neo-liberal marketplace even while remaining partly constrained by them.\",\"PeriodicalId\":44946,\"journal\":{\"name\":\"Journal of Postcolonial Writing\",\"volume\":\"59 1\",\"pages\":\"315 - 330\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2023-05-04\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Postcolonial Writing\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/17449855.2023.2216039\",\"RegionNum\":3,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERATURE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Postcolonial Writing","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17449855.2023.2216039","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE","Score":null,"Total":0}
引用次数: 0
摘要
摘要本文将奈基什·舒克拉(Nikesh Shukla)的《好移民》(The Good Immigrant,2016)与英国穆斯林女性的两本散文选集放在一起:玛丽亚姆·汗(Mariam Khan)的《与罩袍无关》(It’s Not About The Burqa,2019)和萨比娜·阿赫塔尔(Sabeena Akhtar)的《同一块布上的剪裁?(2021)。将其置于出版业的种族化做法中,这种做法将有色人种作家的作品视为其文化的真实代表,同时将其贬低为不如英国白人作品“文学性”,这篇文章询问了阿赫塔和可汗选集中宗教而非种族的前景如何证实或挑战这些主流的接受条件。这篇文章感兴趣的是,这些选集可能会如何打破“文化”和“文化”之间的界限,“文化”是少数种族社区认同的价值观和实践,而“文化”则是个人创造力的自我反射表达。最终,它表明,这本散文集可能指向一种超越新自由主义市场界限的文学团结形式,即使在一定程度上仍受其约束。
“We tick: Other” – race, religion, and literary solidarities in three essay anthologies and the neo-liberal marketplace
ABSTRACT This article considers Nikesh Shukla’s The Good Immigrant (2016) alongside two anthologies of essays by British Muslim women: Mariam Khan’s It’s Not About the Burqa (2019) and Sabeena Akhtar’s Cut from the Same Cloth? (2021). Situating them within the publishing industry’s racializing practices, which valorize writing by authors of colour as authentically representative of their cultures while devaluing it as less “literary” than white British writing, the article asks how the foregrounding of religiosity rather than race in Akhtar’s and Khan’s anthologies works to confirm or challenge these dominant terms of reception. The article is interested in how these anthologies might trouble the boundary between “culture” as the values and practices subscribed to by a racially minoritized community, and “culture” as the self-reflexive expression of individual creativity. Ultimately, it suggests the essay anthology might point to a form of literary solidarity that reaches beyond the confines of the neo-liberal marketplace even while remaining partly constrained by them.
期刊介绍:
The Journal of Postcolonial Writing is an academic journal devoted to the study of literary and cultural texts produced in various postcolonial locations around the world. It explores the interface between postcolonial writing, postcolonial and related critical theories, and the economic, political and cultural forces that shape contemporary global developments. In addition to criticism focused on literary fiction, drama and poetry, we publish theoretically-informed articles on a variety of genres and media, including film, performance and other cultural practices, which address issues of relevance to postcolonial studies. In particular we seek to promote diasporic voices, as well as creative and critical texts from various national or global margins.