Annual Bibliography of Commonwealth Literature 2018

Abstract

This year I am delighted to announce the extension of the Journal of Commonwealth Literature’s bibliographic coverage to cultural production from and about Bangladesh and to welcome the co-authors of the country’s entry in our listings – Mafruha Mohua of Queen Mary, University of London, and Mahruba T. Mowtushi of the University of Liberal Arts, Bangladesh. In their inaugural Introduction, Mohua and Mowtushi map out the literary contours of Bangladesh, its historical trajectories of migration and displacement and the attempts at reparation and rehabilitation in the aftermath of the war of 1971, with attention to the positioning of women and linguistic minorities in relation to national narratives. They offer insightful readings of the silences surrounding Partition in Bangladeshi fiction’s symbolic deferrals and subplots and trace the development of Bangladeshi literature from elements of its Perso-Arabic heritage to its contemporary local and diasporic trajectories. The bibliographic listings reflect this scope, including works dating from the beginning of the 20^th century that engage with this heritage to works published in the year under review. As Mohammad A. Quayum and Md. Mahmudul Hasan write in their editorial to Asiatic’s 2018 special issue on Bangladeshi writing in English, “this distinct literary tradition has not yet received the critical attention it deserves”, lagging “behind its Indian, Pakistani and Sri Lankan counterparts in the region, which have thus far claimed precedence in literary history books” (1). Mohua and Motushi’s contribution to JCL’s bibliographic record offers important, timely work towards rectifying this imbalance.

Another important change this year is the renaming of the Bibliographic issue’s article on creative and critical production in New Zealand to “Aotearoa New Zealand” in order to honour the country’s rich and varied cultural traditions, particularly Māori and Pākehā (New Zealand-European). “Aotearoa” has been the Māori term for New Zealand since the beginning of the 20^th century, in an extension of its previous usage to refer to the North of its two main islands (Stachurski, 2009: xii). In reflecting on Aotearoa New Zealand literature, our contributors, Kirstine Moffat and Aimee-Jane Anderson-O’Connor, position themselves as “Pākehā women who aim to comment on relevant issues of gender, sexuality and ethnicity in a way that is respectful and that values multiplicity, but who are alert to our own limitations”. They join in author Tina Makereti’s call (2018) for a radical rethinking of Māori and New Zealand literary history, beyond the mere inclusion of Māori texts and authors in university syllabi to the incorporation of Māori ways of imagining literature as such. The new title is a nod to what Makereti describes as the task of the Māori writer in English: to engage with the “duality, contradiction, cultural fluidity and paradox” that the condition of speaking with “two mouths” entails – the two voices, Māori and Pākehā, that “emanate from the same source” (65; 59).

2018 studies from Australia and Canada, too, continue to attend to issues of material and cultural forms of appropriation and its impact on Indigenous storytelling in the present (see The Distribution of Settlement: Appropriation and Refusal in Australian Literature and Culture by Michael Griffiths and Why Indigenous Literatures Matter by Daniel Heath Justice). Anthologies such as Growing up Aboriginal in Australia, edited by Anita Heiss, and Indian Act: Residential School Plays, edited by Donna Michelle St. Bernard and Daniel David Moses, voice Indigenous childhood experiences and challenge settler-colonial policies, practices and narratives. Ambelin Kwaymullina explores Indigenous standpoint theory “as part of a larger continuing project by First Nations peoples to actualise Indigenous ways of being, knowing and doing both within and outside the academy” (2018: 140). As an author of speculative short stories for young adults, she discusses the genre’s potential “to challenge colonialism and imagine Indigenous futures” whilst drawing attention to the impact of problematic representations such as J. K. Rowling’s “stereotypical, poorly researched” portrayal of Indigenous cultures (149) in History of Magic in North America (2016).

Language and translation, also continuously prominent themes in our listings, are a focus in Grace Musila’s introduction to the East and Central African bibliography this year, with studies on Sheng, an urban youth variety of Kenyan Swahili (Githiora, 2018), on African youth languages (eds Hurst and Kanana Erastus, 2018) and on verbal and musical code-switching in Kenyan hip-hop (Mboya, 2018). The Journal of African Cultural Studies stages a conversation between author Ngugi wa Thiong’o (2018), critic Biodun Jeyifo (2018) and linguist John Mugane (2018) on the question “Is English an African Language?”. Michael Andindilile’s The Anglophone Literary-Linguistic Continuum: English and Indigenous Languages in African Literary Discourse (2018), also listed in the bibliography from South Africa, joins in this ongoing conversation about what Musila describes as “Africans’ unfinished business with English”. These studies offer nuanced, often mutually conflicting readings of the role of English in Africa and its evolving relationships with local languages and cultures – a story of possession and dispossession, power asymmetry, social ambition, nationalism, plurality and verticality, dialogue, creativity and resistance. While Māori writers speak, of necessity, “with two mouths” and Kenyan artists rap “with a forked tongue”, Singaporean literature in English is being written in what Koh Tai Ann dubs “first language, second tongue” in the Singapore Chronicles series’ 2018 volume providing an overview of the country’s otherwise fourfold literary output – in the official languages of Malay, Chinese, Tamil and English. Nasia Anam discusses the function of English as a third term in relation to Bangla and Urdu in Bangladeshi Anglophone literature, a function she describes as “ulterior to its legacy as a hegemonic colonial language”, voicing otherwise marginalised narratives and facilitating linguistic diversity (2018: 331–333). The bibliography from India this year renews its comprehensive listing of translations, discontinued in the 1980s, due to their sheer volume. Thanks are due to our contributors, Shyamala A. Narayan and Payal Nagpal, for their extensive work towards the greater visibility, for Anglophone readers, both of the great multitude of Indian languages and of the wide-ranging translation work being carried out from these languages.

Mobilities, networks and exchange and local-global interactions also stand out in the 2018 listings. Australianama: The South Asian Odyssey in Australia traces so far unexplored networks of exchange between South Asians and the Australian Aboriginal communities, using “the storytelling strategies and interpretive keys contained in non-English-language texts” (Khatun, 2018: 14). Culture and Circulation: Literature in Motion in Early Modern India posits circulation and exchange as “the norm rather than the exception in everything from the movement of literati to the dissemination of texts to the cross-pollination of poetic forms” in India’s “more than two dozen major literary traditions” (de Bruijn and Busch, 2014: 3). The study approaches texts as anomalous “hybrid”, “heteroglossic” or “syncretic” textual moments, rather than employing classificatory or insular historiographic methods of reading to reveal the diffusion and interlinking on which cultural creation was based (ibid., 4). Relations and Networks in South African Indian Writing examines the diverse and dynamic South African Indian literary tradition, framing it as a matter of “South–South subjectivities” within “the relations and networks paradigm that shapes the Indian Ocean world and its cosmopolitanisms” as well as urging for its re-conceptualisation “alongside the South African national identity struggle” (Hand and Pujolràs-Noguer, 2018: 9; 13). Eastern African Literary and Cultural Studies’ special issue on Indian Ocean Trajectories also seeks to extend the “limited and predictable supercanon of Indian Ocean texts”. It offers interdisciplinary close readings of East African texts which demonstrate Africa’s historical encounter with the East as well as the West while resisting the romanticisation of such Indian Ocean relations by drawing attention to historical examples in these relations that involved enslavement and imperialism (Mwangi and Steiner, 2018: 161–162).

Attending to air travel – a trope explored much less than its nautical equivalent in Caribbean fiction – Janet Neigh (2018) traces colonial fantasies in aviation history and the creative avoidance of airports and aerial routes and perspectives in Anglophone Caribbean fiction, with stories of migration jumping from Trinidad to New York or characters leaving airport lounges during flight delays, for example. Writing by Earl Lovelace, Dionne Brand and Makeda Silvera, Neigh argues, attends to the “lived realities” (4) of airports and airplanes, disrupting hegemonic conceptions of the former as “symbols of globalization and futurity” (6) as well as the dominance of the Empire Windrush ship in the imagination of Caribbean departures and returns and in the critical formulations of the development of Caribbean literature.

A special issue of The Global South, “Caribbean Transmigration in the Twenty-First Century: Contemporary Reimaginings and Globalizing Conditions” considers Caribbean migration within the context of recent studies of translocality, attending to the impact of movements of people and capital on place-making involving local-local interactions, to challenge the narrative of globalisation which heralds the supposed irrelevance of place. Caribbean transmigrants, editors Gomes and Jokhan argue, “develop translocal relationships and shape transnational processes in the quest for individual, family, community, and national improvement” (2018: 10–11). Titles of similar scope include Crosstalk: Canadian and Global Imaginaries in Dialogue (Brydon and Dvorák, 2018), Transitive Cultures: Anglophone Literature of the Transpacific (Patterson, 2018) and Reshaping Glocal Dynamics of the Caribbean: Relations and Disconnections (Bandau, et al., 2018). In fiction, Lau Siew Mei’s novel The Last Immigrant (2018), to cite one prominent example, explores obstacles to mobility in the dilemmas of its protagonist, Ismael, a Singaporean migrant in Brisbane. His job at Australia’s immigration department involving decisions about granting or refusing asylum forces him to reflect on his own liminal positioning.

The traffic of cultural stereotypes travelling “back” to the countries and communities they purport to depict is exemplified in the Singaporean response to the 2018 release of the Hollywood blockbuster film based on Singaporean-American Kevin Kwan’s novel Crazy Rich Asians (2013). In his introduction, Ismail Talib reflects on commentaries highlighting the film and the novel’s favouring of Chinese characters and their obscuring of other ethnic groups. Reviewer Salil Tripathi (2018), for instance, argues that the narrative offers a Disneyfication of Asia and fails to acknowledge that the “fortunes of families like the [Singaporean Chinese] Youngs are built on the hard labour of migrant workers from Bangladesh and India, while their family nannies are from countries like the Philippines or Myanmar”.

Another set of notable themes this year involves nations and nationalisms, particularly the positioning of national narratives in relation to gender and war/violence, in the contexts of Sri Lanka, Australia, Bangladesh, Canada, East and Central Africa and West Africa. Harshana Rambukwella’s The Politics and Poetics of Authenticity: The Cultural Genealogy of Sinhala Nationalism (2018) discusses the Sinhala concept of apekama – “loosely translating as ‘ourness’, or the idea that there are things that are authentically Sinhala and Buddhist” – and the ways in which this idea has been elevated to an institutionalised “national virtue of overarching unity” transmitted across generations through a variety of cultural forms, most notably, theatre and music (1–2). The study raises questions on the relationship between national/ist narratives and authenticity beyond the context of the Sinhala nationalist imagination, proposing, for instance, “multiple and contending authenticities” and seeking “a critical yet empathetic account of the life worlds of nationalists” as a way of improving our understanding of the phenomenon of nationalism (5). In their introduction to the Australian bibliographical listings in this issue, Van Ikin and Nathan Hobby note the centrality of the issue of Australian masculinity – as both an ideal and a corruption of an ideal – and its association with violence to many works of fiction this year, ranging from Rodney Hall’s novel, A Stolen Season (2018), exploring the effects of Australia’s involvement in the war in Afghanistan, to S.A. Jones’ speculative novel, The Fortress (2018), which imagines an all-female city-state civilization, where men guilty of misogyny or sexual violence are sent for a form of a Dantean contrapasso re-conditioning – an experience of the life of their victims. Nayanika Mookherjee’s The Spectral Wound: Sexual Violence, Public Memories, and the Bangladesh War of 1971 examines the history of rape, “absent from the metanarrative of the Bangladesh war” in testimonies, literary and visual representations and public accounts of 1971, beyond homogenous narratives of women’s victimhood; it juxtaposes “the public memory of the rape of women” to “the silence relating to the violation and rape of men” and raped women’s husbands’ “demasculinization” towards a theorisation of the relationship between nation, gender and sexuality (5–6). Katja Sarkowsky’s Narrating Citizenship and Belonging in Anglophone Canadian Literature examines a range of understandings, experiences and narratives of citizenship in this body of texts – not merely in its national but also in its urban, indigenous, diasporic and environmental varieties – as forms of political or cultural “co-authorship” (23) marked by continuous negotiations of participation and belonging in multiple collectives at once.

A number of publications this year explore African postcolonial nationalist imaginaries. Research in African Literatures’ special issue, Performances of Sovereignty in African Dictator-Fiction (49[3], 2018), introduced by Charlotte Baker, and Fictions of African Dictatorship: Cultural Representations of Postcolonial Power (2018), co-edited by Charlotte Baker and Hannah Grayson, attend to the ways in which fiction, film, photography, the documentary and the essay expose the violence of sovereignty in the African postcolony as embodied by the figure of the dictator or the “Big Man” (Nyangulu, 2018). These essays draw on Achille Mbembe’s concept of necropolitics to conceptualise sovereignty as “the power and the capacity to dictate who may live and who must die” (Mbembe 2003 cited in Baker, 2018: ix) and outlining some of the partial affinities of the African dictator-novel with its much better explored Latin American counterpart, including a preference for the self-conscious mode (ibid.), which parallels that of the dictator’s own construction of his absolute authority, involving performative self-fictionalisations (Baker and Grayson, 2018: 6). Stephen Muthoka Mutie’s “Self-mythologization in East African Political Writings: Kenyatta, Nyerere and Museveni” also reflects on self-authenticating fictions by examining East African nationalist leaders’ own writings, including Jomo Kenyatta’s self-fictionalisation as a Machiavellian “father of the Kenyan nation” (2018: 6). Miriam Pahl’s “Reframing the Nation-State: The Transgression and Redrawing of Borders in African Crime Fiction” demonstrates how contemporary African novels extend the scope of crime fiction by showing the ways in which “power and sovereignty circumvent the state”, replacing it, for instance in Mũkoma wa Ngũgĩ’s Black Star Nairobi (2013), with “a patchwork of sovereignties in a global network” (2018: 99; 89).

Our 2018 listings evince a continuing creative and critical engagement with genre and genre fiction, specifically settler realism (Dalley, 2018); utopia (Mills, 2018); pulp fiction and spy fiction (Rahman, 2018); noir (Augart, 2018; Abani, 2018); fantasy (Yu, 2018); speculative fiction (Tidhar, 2018); the Gothic (Duncan, 2018); the medical thriller (Chellam, 2018) and detective fiction (Massey, 2018). The environment and animals also figure prominently, with explorations of the nuclear uncanny (Hurley, 2018); the Anthropocene (Major, 2018) or ecocritical time (Huebener, 2018) and of the Sri Lankan crow (Jayawardena, 2018) and elephants, dogs and crocodiles in South African literature (Wylie, 2018; Woodward, 2018; Ericson, 2018).

This year, rewritings and re-fictionalisations of canonical English authors and works are the focus of Gordon McMullan and Philip Mead’s edited volume Antipodal Shakespeare: Remembering and Forgetting in Britain, Australia and New Zealand, 1916–2016 and Louise Wolff’s Postcolonial Responses to Charles Dickens: Appropriating Dickens in Contemporary Australian and New Zealand Novels. Stan Rogal’s A Rogue’s Decameron offers ten stories modelled on Chaucer’s The Canterbury Tales and Boccaccio’s Decameron, all set in Toronto; Mahesh Rao’s novel Polite Society reimagines Jane Austen’s Emma in contemporary Delhi and Caryl Phillips’ new novel, A View of the Empire at Sunset, offers a fictional account of Jean Rhys’s life in England and the Caribbean.

Further noteworthy 2018 critical works of extensive scope include Russell West-Pavlov’s Eastern African Literatures: Towards an Aesthetics of Proximity; Helga Ramsey-Kurz and Melissa Kennedy’s edited Uncommon Wealths in Postcolonial Fiction; Ana Rodríguez Navas’ Idle Talk, Deadly Talk: The Uses of Gossip in Caribbean Literature; Siobhan Lambert-Hurley’s Elusive Lives: Gender, Autobiography and the Self in Muslim South Asia; Peter Morey’s Islamophobia and the Novel and Olabode Ibironke’s Remapping African Literature.

Vassilena Parashkevova University of Surrey, UK

References

Abani

Chris

(ed) (2018) Lagos Noir. New York: Akashic Books. [West Africa: Anthologies]

Anam

Nasia

(2018) Bangladeshi Anglophone literature: rerouting the hegemony of global English. Interventions: International Journal of Postcolonial Studies 20(3–4): 325–334. [Bangladesh: Criticism: General Studies]

Andindilile

Michael

(2018) The Anglophone Literary-Linguistic Continuum: English and Indigenous Languages in African Literary Discourse. Grahamstown: NISC [ South Africa: Criticism: General Studies]

Augart

Julia

(2018) Kenya noir: crime fiction’s critique. Journal of African Cultural Studies 30(1): 81–92. [East and Central Africa: Criticism: General Studies: Kenya]

Baker

Charlotte

(2018) Introduction: performances of sovereignty in African dictator-fiction. Research in African Literatures 49(3): vii–xiv. [East and Central Africa: Journals: Special Issues]

Baker

Charlotte

Grayson

Hannah

(eds) (2018) Fictions of African Dictatorship: Cultural Representations of Postcolonial Power. New York: Peter Lang. [West Africa: Criticism: General Studies]

Bandau

Anja

Brüske

Anne

Ueckmann

Natascha

(eds) (2018) Reshaping Glocal Dynamics of the Caribbean: Relations and Disconnections. Heidelberg: Heidelberg University Press. [The Caribbean: Criticism: General Studies]

de Bruijn

Thomas

Busch

Allison

(2014) Culture and Circulation: Literature in Motion in Early Modern India. Leiden: Brill. [Bangladesh: Criticism: General Studies]

Brydon

Diana

Dvorák

Marta

(2018) Crosstalk: Canadian and Global Imaginaries in Dialogue. Waterloo, ON: Wilfrid Laurier University Press. [Canada: Criticism: General Studies]

10.

Chellam

Raju

(2018) Organ Gold: A Medical Thriller. Singapore: Straits Times Press. [Malaysia and Singapore: Fiction: Singapore]

11.

Dalley

Hamish

(2018) The meaning of settler realism: (de)mystifying frontiers in the postcolonial historical novel. Novel: A Forum on Fiction 51(3): 461–481. [Aotearoa New Zealand: Criticism: Studies on Individual Writers: Catton]

12.

Duncan

Rebecca

(2018) South African Gothic: Anxiety and Creative Dissent in the Postapartheid Imagination and Beyond. Cardiff: University of Wales Press. [South Africa: Criticism: General Studies]

13.

Ericson

Suzanne

(2018) Thinking with crocodiles, thinking through humans: vulnerable, entangled selves in Lauren Beukes’s Zoo City. Scrutiny2 23(1): 22–34. [South Africa: Criticism: Individual Studies: Beukes]

14.

Gomes

Shelene

Jokhan

Mala

(2018) Caribbean Transmigration in the Twenty-First Century: Contemporary Reimaginings and Globalizing Conditions. The Global South 12(1): 1–12. [The Caribbean: Journals: Special Issues]

15.

Githiora

Chege

(2018) Sheng: Rise of a Kenyan Swahili Vernacular. Woodbridge: James Currey. [East and Central Africa: Criticism: General Studies: Kenya]

16.

Griffiths

Michael

(2018) The Distribution of Settlement: Appropriation and Refusal in Australian Literature and Culture. [Australia: Criticism: General Studies]

17.

Hall

Rodney

(2018) A Stolen Season. Sydney: Picador. [Australia: Fiction]

18.

Hand

Felicity

Pujolràs-Noguer

Esther

(eds) (2018) Relations and Networks in South African Indian Writing. Leiden: Brill Rodopi. [South Africa: Criticism: General Studies]

19.

Heiss

Anita

(2018) Growing up Aboriginal in Australia. [Australia: Anthologies]

20.

Huebener

Paul

(2018) Timely ecocriticism: reading time critically in the environmental Humanities. ISLE: Interdisciplinary Studies in Literature and Environment 25(2): 327–344. [Canada: Criticism: General Studies]

21.

Hurley

Jessica

(2018) The nuclear uncanny in Oceania. Commonwealth: Essays and Studies 41(1): 95–105. [Aotearoa New Zealand: Criticism: General Studies]

22.

Hurst

Ellen

Erastus

Fridah Kanana

(eds) (2018) African Youth Languages: New Media, Performing Arts and Sociolinguistic Development. Cham: Palgrave Macmillan. [East and Central Africa: Criticism: General Studies: Regional]

23.

Ibironke

Olabode

(2018) Remapping African Literature. New York: Springer. [West Africa: Criticism: General Studies]

24.

Jayawardena

Elmo

(2018) Kakiyan: The Story of a Crow. Colombo: M. D. Gunasena & Co [see Sri Lanka: Introduction]

25.

Jeyifo

Biodun

(2018) English is an African language — Ka Dupe! [for and against Ngũgĩ]. Journal of African Cultural Studies 30(2): 133–147. [East and Central Africa: Criticism: General Studies: Regional]

26.

Jones

S.A.

(2018) The Fortress. Melbourne: Echo. [Australia: Fiction]

27.

Justice

Daniel Heath

(2018) Why Indigenous Literatures Matter. Waterloo, ON: Wilfrid Laurier University Press. [Canada: Criticism: General Studies]

28.

Khatun

Samia

(2018) Australianama: The South Asian Odyssey in Australia. London: Hurst & Co. [Bangladesh: Criticism: General Studies]

29.

Ann

Koh Tai

(2018) First language, second tongue: Singapore literature in English, 1897–2015. In Ann

Koh Tai

(ed) Singapore Chronicles: Literature, 18–41. Singapore: Institute of Policy Studies. [Malaysia and Singapore: Criticism: General Studies: Singapore]

30.

Kwaymullina

Ambelin

(2018) Literature, resistance, and First Nations futures: storytelling from an Australian Indigenous women’s standpoint in the twenty-first century and beyond. Westerly 63(2): 140–153. [Australia: Criticism: General Studies]

31.

Lambert-Hurley

Siobhan

(2018) Elusive Lives: Gender, Autobiography and the Self in Muslim South Asia. Stanford: Stanford Univ Press. [Pakistan: Criticism: General Studies]

32.

Mei

Lau Siew

(2018) The Last Immigrant. Singapore: Epigram Books. [Malaysia and Singapore: Fiction: Singapore]

33.

Major

Alice

(2018) Welcome to the Anthropocene. Edmonton, AB: University of Alberta Press. [Canada: Poetry]

34.

Makereti

Tina

(2018) Māori writing: speaking with two mouths. Journal of New Zealand Studies 26. DOI: https://doi.org/10.26686/jnzs.v0iNS26.4842. [Aotearoa New Zealand: Criticism: General Studies]

35.

Massey

Sujata

(2018) Murder on Malabar Hill. Gurgaon: Penguin Random House. [India: Fiction]

36.

Mboya

Tom Michael

(2018) Rapping with a forked tongue, code-switching and the tribalized Kenya of the end of the twentieth century in “Otongolo Tyme” by Poxi Presha. Eastern African Literary and Cultural Studies 4(2) pp85–104. [East and Central Africa: Criticism: General Studies: Kenya]

37.

McMullan

Gordon

Philip Mead (eds) (2018) Antipodal Shakespeare: Remembering and Forgetting in Britain, Australia and New Zealand, 1916–2016. [Aotearoa New Zealand: Criticism: General Studies]

38.

Mills

Jennifer

(2018) Against realism: on utopias and the work of the imagination. Overland 233: 29–35. [Australia: Criticism: General Studies]

39.

Mookherjee

Nayanika

(2018) The Spectral Wound: Sexual Violence, Public Memories, and the Bangladesh War of 1971. Durham: Duke University Press. [Bangladesh: Criticism: General Studies]

40.

Morey

Peter

(2018) Islamophobia and the Novel. New York: Columbia University Press [ Pakistan: Criticism: General Studies]

41.

Mugane

John

(2018) Contemporary conversations: is English an African language? Journal of African Cultural Studies 30(2): 121–123. [East and Central Africa: Criticism: General Studies: Regional]

42.

Mutie

Stephen Muthoka

(2018) Self-mythologization in East African political writings: Kenyatta, Nyerere and Museveni. Eastern African Literary and Cultural Studies 4(1): 1–34. [East and Central Africa: Criticism: General Studies: Regional]

43.

Mwangi

Evan

Steiner

Tina

(2018) Introduction: Indian Ocean trajectories. Eastern African Literary and Cultural Studies 4(3/4): 161–163. [East and Central Africa: Journals: Special Issues]

44.

Navas

Ana Rodríguez

(2018) Idle Talk, Deadly Talk: The Uses of Gossip in Caribbean Literature. Charlottesville: University of Virginia Press. [The Caribbean: Criticism: General Studies]

45.

Neigh

Janet

(2018) Islands in the air: travelling by plane in Anglophone Caribbean literature” ARIEL: A Review of International English Literature 49(1): Article 1. [The Caribbean: Criticism: General Studies]

46.

Nyangulu

Deborah

(2018) Big men and performances of sovereignty in contemporary African novels. Research in African Literatures 49(3): 101–115. [East and Central Africa: Criticism: General Studies: Regional]

47.

Quayum

Mohammad A.

Hasan

Md. Mahmudul

(2018) Introducing Bangladeshi writing in English: emergence to the present. Asiatic 12(1): 1–8. [Bangladesh: Journals: Special Issues]

48.

Pahl

Miriam

(2018) Reframing the nation-state: the transgression and redrawing of borders in African crime fiction. Research in African Literatures 49(1): 84–102. [East and Central Africa: Criticism: Individual Writers: Wa Ngugi, Mukoma]

49.

Patterson

Christopher B.

(2018) Transitive Cultures: Anglophone Literature of the Transpacific. New Brunswick: Rutgers University Press. [Malaysia and Singapore: Criticism: General Studies: Regional]

50.

Phillips

Caryl

(2018) A View of the Empire at Sunset. New York: Farrar, Straus and Giroux. [The Caribbean: Fiction]

51.

Rahman

Mahmud

(2018) Pulp fiction in Bangladesh: super spies and transplant authors. World Literature Today 82: 39–42. [Bangladesh: Criticism: General Studies]

52.

Rambukwella

Harshana

(2018) The Politics and Poetics of Authenticity: The Cultural Genealogy of Sinhala Nationalism. London: UCL Press. [Sri Lanka: Criticism: General Studies]

53.

Ramsey-Kurz

Helga

Kennedy

Melissa

(eds) (2018) Uncommon Wealths in Postcolonial Fiction. Leiden: Brill Rodopi. [South Africa: Criticism: General Studies]

54.

Rao

Mahesh

(2018) Polite Society. Gurgaon: Penguin Random House. [India: Fiction]

55.

Rogal

Stan

(2018) A Rogue’s Decameron. Montreal: Guernica Editions [Canada: Fiction]

56.

Sarkowsky

Katja

(2018) Narrating Citizenship and Belonging in Anglophone Canadian Literature. Cham: Palgrave Macmillan. [Canada: Criticism: General Studies]

57.

St. Bernard

Donna Michelle

Moses

Daniel David

(2018) Indian Act: Residential School Plays. Toronto: Playwrights Canada Press. [Canada: Anthologies]

58.

Stachurski

Christina

(2009) Reading Pakeha?: Fiction and Identity in Aotearoa New Zealand. Amsterdam: Rodopi.

59.

wa Thiong’o

Ngũgĩ

(2018) The politics of translation: notes towards an African language policy. Journal of African Cultural Studies 30(2) pp124–132. [East and Central Africa: Criticism: General Studies: Regional]

60.

Tidhar

Lavie

(2018) Unholy Land. San Francisco: Tachyon. [South Africa: Fiction]

61.

Tripathi

Salil

(2018) “Crazy Rich Asians”: prisoner in a theme park. Livemint 28 September http://bit.ly/JCL18-CRA-ThemePark. [Malaysia and Singapore: Criticism: Individual Writers: Singapore]

62.

West-Pavlov

Russell

(2018) Eastern African Literatures: Towards an Aesthetics of Proximity. Oxford: Oxford University Press. [East and Central Africa: Criticism: General Studies]

63.

Wolff

Louise

(2018) Postcolonial Responses to Charles Dickens: Appropriating Dickens in Contemporary Australian and New Zealand Novels. Trier: WVT– Scientific Publishing House. [Aotearoa New Zealand: Criticism: General Studies]

64.

Woodward

Wendy

(2018) Canine embodiment in South African lyric poetry. Tydskrif vir Letterkunde 55(3): 46–60. [see South Africa: Journals: Special Issues: Tydskrif vir Letterkunde 55(3): Special issue Dogs in South African Literatures]

65.

Wylie

Dan

(2018) Death and Compassion: The Elephant in Southern African Literature. Johannesburg: Wits Univ Press. [South Africa: Criticism: General Studies]

66.

Ovidia

(2018) The Betel Nut Tree Mystery. Boston: Little, Brown. [Malaysia and Singapore: Fiction: Singapore]