The Long Space: Transnationalism and Postcolonial Form
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The resurgence of "world literature" as a category of study seems to coincide with what we understand as globalization, but how does postcolonial writing fit into this picture? Beyond the content of this novel or that, what elements of postcolonial fiction might challenge the assumption that its main aim is to circulate native information globally? The Long Space provides a fresh look at the importance of postcolonial writing by examining how it articulates history and place both in content and form. Not only does it offer a new theoretical model for understanding decolonization's impact on duration in writing, but through a series of case studies of Guyanese, Somali, Indonesian, and Algerian writers, it urges a more protracted engagement with time and space in postcolonial narrative. Although each writer—Wilson Harris, Nuruddin Farah, Pramoedya Ananta Toer, and Assia Djebar—explores a unique understanding of postcoloniality, each also makes a more general assertion about the difference of time and space in decolonization. Taken together, they herald a transnationalism beyond the contaminated coordinates of globalization as currently construed.
Peter Hitchcock
Peter Hitchcock is professor of English at the CUNY Graduate Center and Baruch College of the City University of New York. His books include Dialogics of the Oppressed (1992); Oscillate Wildly: Space, Body, and Spirit of Millennial Materialism (1999); Imaginary States: Studies in Cultural Transnationalism (2003); The Long Space: Transnationalism and Postcolonial Form (2009); The New Public Intellectual: Politics, Theory, and the Public Sphere (2016; coedited with Jeffrey R. Di Leo); Labor in Culture, or, Worker of the World(s) (2017); and, most recently, The Debt Age (2018; coedited with Jeffrey R. Di Leo and Sophia McClennen).
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