By A. Blake, L. Gandhi, S. Thomas
There was a lot specialize in the imperial stare upon colonized peoples, cultures, and lands in the course of and after the British empire. yet what have writers from those cultures made from England, the English, and the problems of race, gender, type, ethnicity and hope after they traveled, expatriated, or emigrated to England? The authors handle this query via experiences of representations of the English, the household novel and the Bildungsroman, and during essays on Mansfield, Rhys, Stead, Lessing, Naipaul, Emecheta, Rushdie, and Dabydeen.
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Extra info for England Through Colonial Eyes in Twentieth-Century Fiction
White women are also objectified as `skin' (71). His public touch of a white woman, Daisy, in breach of a miscegenation taboo produces `loud tones' in the eyes of white onlookers; he thinks they `must be bawl to see black man so familiar with white girl' (74). Galahad's aesthetic is an early version of one that Gilroy finds characteristic of contemporary forms of black urban culture in England. Galahad's cool black body is `celebrated' by himself and by the narrator `as an instrument of pleasure rather than an instrument of labour.
When writers arrived they did so with their own impressions of England, and especially of the middle class. To quote Jacobson again: `I felt myself to be involved very deeply, and very early, with an idea of England,' and `most of that idea' came from `books, comics, and magazines' (`No Return' 14). Familiarity with enveloping myths of Englishness was no adequate preparation for actual experience, and, as Plomer's `ungentlewoman' suggests, what was amusing in a book might be unpleasant in real life.
It was a creation, of the city I had once sought: an unexpected fulfilment' (275±6). The English novels of Lamming and Sam Selvon, published in the 1950s and 1960s, evoke a male culture where high among the attractions of London for `the boys' are English and Continental girls who believe `the black boys so nice and could give them plenty thrills people wouldn't believe' (LL 92). Selvon celebrates summer as an idyllic time of sexual pleasure: `it ain't have no discrimination when it come to that in the park in the summer' (88).
England Through Colonial Eyes in Twentieth-Century Fiction by A. Blake, L. Gandhi, S. Thomas