Global Migrancy and Diasporic Memory in the Work of Salman Rushdie examines Salman Rushdie’s major works for the ways that they consistently affirm the power of memory to construct a concrete, rooted identity for characters and nation-states despite the prerogative of migrants to translate themselves into new creations through a dismissal of the weight of the past. Stephen J. Bell conducts an in-depth, comprehensive postcolonial and postmodern of Rushdie’s ideas as expressed through his work. If “exile is a dream of glorious return,” as one of his characters reflects in The Satanic Verses, few diasporic writers living today rival Rushdie for the singular inspiration he draws from memories of home and the past. So vital is the idea of home and belonging to Rushdie that, notwithstanding the frequent charges of his critics that he represents no more than a disconnected cosmopolitan, Bell would categorize Rushdie's position as one of “centripetal migrancy" (with centrum--“center”--and petere--“to seek”--forming the idea of a constant quest for the center). Rushdie thus qualifies as the quintessential “centripetal migrant,” whose slippery critical location is balanced Janus-faced between the future and the past.

The main focus of interest in this book are the figures of writers and writing subjects in Rushdie’s oeuvre who contemplate and reflect on the nature and purpose of their craft, their authorial identity and their positioning in society and intellectual history, though their writing. It discusses the aesthetics of the texts they produce, and their subsequent agency in the world through the various ways they are interpreted and appropriated. Authorship is a special category of storytelling; a specific craft and vocation giving expression to a conscious and purposeful project. The book focuses on what postcolonial literature specialist Dr Jane Poyner calls “the ethics of intellectual practice” as the major theme pervading Rushdie’s entire corpus of writing; fictional, essayistic and autobiographical). The key audience for the book is, primarily, students of postcolonial literature, and of Salman Rushdie’s work in particular. It will also be of interest to readers wishing to get a deep insight into the works of one of the most prominent, and most controversial, contemporary writers.

The Greek diaspora is one of the paradigmatic historical diasporas. Though some trace its origins to ancient Greek colonies, it is really a more modern phenomenon. Diaspora, exile and immigration represent three successive phases in Modern Greek history and they are useful vantage points from which to analyse changes in Greek society, politics and culture over the last three centuries. Embracing a wide range of case studies, this volume charts the role of territorial displacements as social and cultural agents from the eighteenth century to the present day and examines their impact on communities, politics, institutional attitudes and culture. By studying migratory trends the aim is to map out the transformation of Greece from a largely homogenous society with a high proportion of emigrants to a more diverse society inundated by immigrants after the end of the Cold War. The originality of this book lies in the bringing together of diaspora, exile and immigration and its focus on developments both inside and outside Greece.

The Lebanese are the largest group of Middle Eastern immigrants in the United States, and Lebanese immigrants are also prominent across Europe and the Americas. Based on over eighty interviews with first-generation Lebanese immigrants in the global cities of New York, Montreal and Paris, this book shows that the Lebanese diaspora – like all diasporas – constructs global relations connecting and transforming their new societies, previous homeland and world-wide communities. Taking Lebanese immigrants’ forms of identification, community attachments and cultural expression as manifestations of diaspora experiences, Dalia Abdelhady delves into the ways members of Lebanese diasporic communities move beyond nationality, ethnicity and religion, giving rise to global solidarities and negotiating their social and cultural spaces. The Lebanese Diaspora explores new forms of identities, alliances and cultural expressions, elucidating the daily experiences of Lebanese immigrants and exploring new ways of thinking about immigration, ethnic identity, community, and culture in a global world. By criticizing and challenging our understandings of nationality, ethnicity and assimilation, Abdelhady shows that global immigrants are giving rise to new forms of cosmopolitan citizenship.

This book by eminent author Jasbir Jain explores the many ways the diaspora remembers and reflects upon the lost homeland, and their relationship with their own ancestry, history of the homeland, culture and the current political conflicts. Amongst the questions this book asks is, ‘how does the diaspora relate to their home, and what is the homeland's relationship to the diaspora as representatives of the contemporary homeland in another country?’. The last is an interesting point of discussion since the 'present' of the homeland and of the diaspora cannot be equated. The transformations that new locations have brought about as migrants have travelled through time and interacted with the politics of their settled lands---Africa, Fiji, the Caribbean Islands, the UK, the US, Canada, as well as the countries created out of British India, such as Pakistan and Bangladesh---have altered their affiliations and perspectives. This book gathers multiple dispersions of emigrant writers and artistes from South Asia across time and space to the various homelands they relate to now. The word ‘write’ is used in its multiplicity to refer to creative expression, as an inscription, as connectivity, and remembrance. Writing is also a representation and carries its own baggage of poetics and aesthetics, categories which need to be problematised vis-à-vis the writer and his/her emotional location.

Social Invisibility and Diasporas in Anglophone Literature and Culture is a transdisciplinary study of social invisibility and diasporas which theorizes the differential in/visibility of diasporas through the prism of cultural productions (literature and the visual arts, including media studies) by both established artists and emerging ones.

In Return Engagements artist and critic Việt Lê examines contemporary art in Cambodia and Việt Nam to rethink the entwinement of militarization, trauma, diaspora, and modernity in Southeast Asian art. Highlighting artists tied to Phnom Penh and Sài Gòn and drawing on a range of visual art as well as documentary and experimental films, Lê points out that artists of Southeast Asian descent are often expected to address the twin traumas of armed conflict and modernization, and shows how desirable art on these themes is on international art markets. As the global art market fetishizes trauma and violence, artists strategically align their work with those tropes in ways that Lê suggests allow them to reinvent such aesthetics and discursive spaces. By returning to and refashioning these themes, artists such as Tiffany Chung, Rithy Panh, and Sopheap Pich challenge categorizations of “diasporic” and “local” by situating themselves as insiders and outsiders relative to Cambodia and Việt Nam. By doing so, they disrupt dominant understandings of place, time, and belonging in contemporary art.