Postcolonial literature

Postcolonial literature is the literature by people from formerly colonized countries. It exists on all continents except Antarctica. Postcolonial literature often addresses the problems and consequences of the decolonization of a country, especially questions relating to the political and cultural independence of formerly subjugated people, and themes such as racialism and colonialism. A range of literary theory has evolved around the subject. It addresses the role of literature in perpetuating and challenging what postcolonial critic Edward Said refers to as cultural imperialism.

Migrant literature and postcolonial literature show some considerable overlap. However, not all migration takes place in a colonial setting, and not all postcolonial literature deals with migration. A question of current debate is the extent to which postcolonial theory also speaks to migration literature in non-colonial settings.

Terminology

The significance of the prefix "post-" in "postcolonial" is a matter of contention among scholars and historians. In postcolonial studies, there has not been a unified consensus on when colonialism began and when it has ended (with numerous scholars contending that it has not). However, the majority of scholars have agreed that the term "postcolonial" designates an era "after" colonialism has ended. The contention has been influenced by the history of colonialism, which is commonly divided into several major phases; the European colonization of the Americas began in the 15th century and lasted until the 19th, while the colonisation of Africa and Asia reached their peak in the 19th century. By the dawn of the 20th century, the vast majority of non-European regions were under European colonial rule; this would last until after the Second World War when anti-colonial independence movements led to the decolonization of Africa, Asia and the Americas. Historians have also expressed differing opinions in regards to the postcolonial status of nations established through settler colonialism, such as the United States, Canada, Australia and New Zealand. Ongoing neocolonialism in the Global South and the effects of colonialism (many of which have persisted after the end of direct colonial rule) have made it difficult to determine whether or not a nation being no longer under colonial rule guarantees it's postcolonial status.

Pramod Nayar defines postcolonial literature as "that which negotiates with, contests, and subverts Euro-American ideologies and representations"

Evolution of the term

Before the term "postcolonial literature" gained currency among scholars, "commonwealth literature" was used to refer to writing in English from colonies or nations which belonged to the British Commonwealth. Even though the term included literature from Britain, it was most commonly used for writing in English written in British colonies. Scholars of commonwealth literature used the term to designate writing in English that dealt with the topic of colonialism. They advocated for its inclusion in literary curricula, hitherto dominated by the British canon. However, the succeeding generation of postcolonial critics, many of whom belonged to the post-structuralist philosophical tradition, took issue with the "commonwealth" label for separating non-British writing from "English" language literature written in Britain. They also suggested that texts in this category frequently presented a short-sighted view on the legacy of colonialism.

Other terms used for English-language literature from former British colonies include terms that designate a national corpus of writing such as Australian or Canadian literature; numerous terms such as "English Literature Other than British and American", "New Literatures in English", "International Literature in English"; and "World Literatures" were coined. These have, however, been dismissed either as too vague or too inaccurate to represent the vast body of dynamic writing emerging from British colonies during and after the period of direct colonial rule. The term "colonial" and "postcolonial" continue to be used for writing emerging during and after the period of colonial rule respectively.

"Post-colonial" or "postcolonial"?

The consensus in the field is that "post-colonial" (with a hyphen) signifies a period that comes chronologically "after" colonialism. "Postcolonial," on the other hand, signals the persisting impact of colonization across time periods and geographical regions. While the hyphen implies that history unfolds in neatly distinguishable stages from pre- to post-colonial, omitting the hyphen creates a comparative framework by which to understand the varieties of local resistance to colonial impact. Arguments in favor of the hyphen suggest that the term "postcolonial" dilutes differences between colonial histories in different parts of the world and that it homogenizes colonial societies. The body of critical writing that participates in these debates is called Postcolonial theory.

Critical approaches

Postcolonial fiction writers deal with the traditional colonial discourse, either by modifying or by subverting it, or both. Postcolonial literary theory re-examines colonial and postcolonial literature, especially concentrating upon the social discourse between the colonizer and the colonized that shaped and produced the literature. In '' Orientalism'' (1978), Edward Said analyzed the fiction of Honoré de Balzac, Charles Baudelaire, and Lautréamont (Isidore-Lucien Ducasse), exploring how they shaped and were influenced by the societal fantasy of European racial superiority. He pioneered the branch of postcolonial criticism called colonial discourse analysis.

Another important theorist of colonial discourse is Harvard University professor Homi K. Bhabha, (born 1949). He has developed a number of the field's neologisms and key concepts, such as hybridity, third-space, mimicry, difference, and ambivalence.Huddart, David. "Homi K. Bhabha", Routledge Critical Thinkers, 2006 Western canonical works like Shakespeare's '' The Tempest,'' Charlotte Brontë's ''Jane Eyre,'' Jane Austen's '' Mansfield Park,'' Rudyard Kipling's ''Kim,'' and Joseph Conrad's '' Heart of Darkness'' have been targets of colonial discourse analysis. The succeeding generation of postcolonial critics focus on texts that " write back" to the colonial center. In general, postcolonial theory analyzes how anti-colonial ideas, such as anti-conquest, national unity, ''négritude'', pan-Africanism and postcolonial feminism were forged in and promulgated through literature. Prominent theorists include Gayatri Chakravorty Spivak, Frantz Fanon, Bill Ashcroft, Ngũgĩ wa Thiong'o, Chinua Achebe, Leela Gandhi, Gareth Griffiths, Abiola Irele, John McLeod, Hamid Dabashi, Helen Tiffin, Khal Torabully, and Robert J. C. Young.

Nationalism

The sense of identification with a nation, or nationalism, fueled anti-colonial movements that sought to gain independence from colonial rule. Language and literature were factors in consolidating this sense of national identity to resist the impact of colonialism. With the advent of the printing press, newspapers and magazines helped people across geographical barriers identify with a shared national community. This idea of the nation as a homogeneous imagined community connected across geographical barriers through the medium of language became the model for the modern nation. Postcolonial literature not only helped consolidate national identity in anti-colonial struggles but also critiqued the European colonial pedigree of nationalism. As depicted in Salman Rushdie's novels for example, the homogeneous nation was built on European models by the exclusion of marginalized voices. They were made up of religious or ethnic elites who spoke on behalf of the entire nation, silencing minority groups.

Negritude, pan-Africanism and pan-nationalism

''Négritude'' is a literary and ideological philosophy, developed by francophone African intellectuals, writers, and politicians in France during the 1930s. Its initiators included Martinican poet Aimé Césaire, Léopold Sédar Senghor (a future President of Senegal), and Léon Damas of French Guiana. Négritude intellectuals disapproved of French colonialism and claimed that the best strategy to oppose it was to encourage a common racial identity for native Africans worldwide.

Pan-Africanism was a movement among English-speaking black intellectuals who echoed the principles négritude. Frantz Fanon (1925–1961), a Martinique-born Afro-Caribbean psychiatrist, philosopher, revolutionary, and writer, was one of the proponents of the movement. His works are influential in the fields of postcolonial studies, critical theory, and Marxism. As an intellectual, Fanon was a political radical and Marxist humanist concerned with the psychopathology of colonization, and the human, social, and cultural consequences of decolonization.

Back to Africa movement

Marcus Mosiah Garvey, Jr. (1887–1940), another proponent of Pan-Africanism, was a Jamaican political leader, publisher, journalist, entrepreneur, and orator. He founded the Universal Negro Improvement Association and African Communities League (UNIA-ACL). He also founded the Black Star Line, a shipping and passenger line which promoted the return of the African diaspora to their ancestral lands. Prior to the 20th century, leaders such as Prince Hall, Martin Delany, Edward Wilmot Blyden, and Henry Highland Garnet advocated the involvement of the African diaspora in African affairs. However, Garvey was unique in advancing a Pan-African philosophy to inspire a global mass movement and economic empowerment focusing on Africa. The philosophy came to be known as Garveyism. Promoted by the UNIA as a movement of ''African Redemption'', Garveyism would eventually inspire others, ranging from the Nation of Islam to the Rastafari movement (some sects of which proclaim Garvey as a prophet).

Against advocates of literature that promoted African racial solidarity in accordance with negritude principles, Frantz Fanon argued for a national literature aimed at achieving national liberation. Paul Gilroy argued against reading literature both as an expression of a common black racial identity and as a representation of nationalist sentiments. Rather, he argued that black cultural forms—including literature—were diasporic and transnational formations born out of the common historical and geographical effects of transatlantic slavery.

Anti-conquest

The "anti-conquest narrative" recasts the indigenous inhabitants of colonized countries as victims rather than foes of the colonisers. This depicts the colonised people in a more human light but risks absolving colonisers of responsibility by assuming that native inhabitants were "doomed" to their fate.

In her book ''Imperial Eyes,'' Mary Louise Pratt analyzes the strategies by which European travel writing portrays Europe as a secure home space against a contrasting representation of colonized outsiders. She proposes a completely different theorization of "anti-conquest" than the ideas discussed here, one that can be traced to Edward Said. Instead of referring to how natives resist colonization or are victims of it, Pratt analyzes texts in which a European narrates his adventures and struggles to survive in the land of the non-European Other."Imperial Eyes: Travel Writing and Transculturation" (1992). In chapters 3 and 4, titled, "Narrating the Anti-Conquest" and "Anti-Conquest II: Mystique of Reciprocity". This secures the innocence of the imperialist even as he exercises his dominance, a strategy Pratt terms "anti-conquest." The anti-conquest is a function of how the narrator writes him or her self out of being responsible for or an agent, direct or indirect, of colonization and colonialism. This different notion of anti-conquest is used to analyze the ways in which colonialism and colonization are legitimized through stories of survival and adventure that purport to inform or entertain. Pratt created this unique notion in association with concepts of contact zone and transculturation, which have been very well received in Latin America social and human science circles. The terms refer to the conditions and effects of encounter between the colonizer and the colonized.

Postcolonial feminist literature

Postcolonial feminism emerged as a response to the Eurocentric focus of feminism. It accounts for the way that racism and the long-lasting political, economic, and cultural effects of colonialism affect non-white, non-Western women in the postcolonial world. Postcolonial feminism is not simply a subset of postcolonial studies or another variety of feminism. Rather, it seeks to act as an intervention that changes the assumptions of both postcolonial and feminist studies.Audre Lorde's foundational essay, "The Master's Tools Will Never Dismantle the Master's House", uses the metaphor of the master's tools and master's house to explain that western feminism fails to make positive change for third world women because it uses the same tools as the patriarchy. Postcolonial feminist fiction seeks to decolonize the imagination and society. With global debt, labor, and environmental crises one the rise, the precarious position of women (especially in the global south) has become a prevalent concern of postcolonial feminist novels. Common themes include women's roles in globalized societies and the impact of mass migration to metropolitan urban centers. Pivotal texts, including Nawal El Saadawi's The Fall of the Iman about the lynching of women, Chimamanda Adichie's '' Half of a Yellow Sun'' about two sisters in pre and post war Nigeria, and Giannina Braschi's United States of Banana which declares the independence of Puerto Rico. Other major voices include Maryse Condé, Fatou Diome, and Marie NDiaye.

Postcolonial feminist cultural theorists include Rey Chow, Maria Lugones, Gayatri Chakravorty Spivak, and Trinh T. Minh-ha.

Pacific Islands

The '' Pacific Islands'' comprise 20,000 to 30,000 islands in the Pacific Ocean. Depending on the context, it may refer to countries and islands with common Austronesian origins, islands once or currently colonized, or Oceania.

There is a burgeoning group of young pacific writers who respond and speak to the contemporary Pasifika experience, including writers Lani Wendt Young, Courtney Sina Meredith and Selina Tusitala Marsh. Reclamation of culture, loss of culture, diaspora, all themes common to postcolonial literature, are present within the collective Pacific writers. Pioneers of the literature include two of the most influential living authors from this region: Witi Ihimaera, New Zealand's first published Māori novelist, and Samoan poet Albert Wendt (born 1939). Wendt lives in New Zealand. Among his works is ''Leaves of the Banyan Tree'' (1979). He is of German heritage through his paternal great-grandfather, which is reflected in some of his poems. He describes his family heritage as "totally Samoan", even though he has a German surname. However, he does not explicitly deny his German heritage.

Another notable figure from the region is Sia Figiel (born 1967), a contemporary Samoan novelist, poet, and painter, whose debut novel ''Where We Once Belonged'' won the Commonwealth Writers' Prize ''Best First Book of 1997,'' ''South East Asia and South Pacific Region''. Sia Figiel grew up amidst traditional Samoan singing and poetry, which heavily influenced her writing. Figiel's greatest influence and inspiration in her career is the Samoan novelist and poet, Albert Wendt.

Australia

At the point of the first colonization of Australia from 1788, Indigenous Australians ( Aboriginal and Torres Strait Islander people) had not developed a system of writing, so the first literary accounts of Aboriginal peoples come from the journals of early European explorers, which contain descriptions of first contact, both violent and friendly. Early accounts by Dutch explorers and the English buccaneer William Dampier wrote of the "natives of New Holland" as being "barbarous savages", but by the time of Captain James Cook and First Fleet marine Watkin Tench (the era of Jean-Jacques Rousseau), accounts of Aboriginal peoples were more sympathetic and romantic: "these people may truly be said to be in the pure state of nature, and may appear to some to be the most wretched upon the earth; but in reality they are far happier than ... we Europeans", wrote Cook in his journal on 23 August 1770.

While his father, James Unaipon (c. 1835–1907), contributed to accounts of Aboriginal mythology written by the South Australian missionary George Taplin, David Unaipon (1872–1967) provided the first accounts of Aboriginal mythology written by an Aboriginal person in his ''Legendary Tales of the Australian Aborigines''. For this he is known as the first Aboriginal author.

Oodgeroo Noonuccal (born Kath Walker, 1920–1995) was an Australian poet, political activist, artist and educator. She was also a campaigner for Aboriginal rights. Oodgeroo was best known for her poetry, and was the first Aboriginal Australian to publish a book of verse, ''We Are Going'' (1964).

Sally Morgan's novel '' My Place'' (1987) was considered a breakthrough memoir in terms of bringing Indigenous stories to wider notice. Leading Aboriginal activists Marcia Langton ('' First Australians'', 2008) and Noel Pearson (''Up From the Mission'', 2009) are active contemporary contributors to Australian literature.

The voices of Indigenous Australians continue to be increasingly noticed, and include the playwright Jack Davis and Kevin Gilbert. Writers coming to prominence in the 21st century include Kim Scott, Alexis Wright, Kate Howarth, Tara June Winch, in poetry Yvette Holt and in popular fiction Anita Heiss.

Indigenous authors who have won Australia's high prestige Miles Franklin Award include Kim Scott who was joint winner (with Thea Astley) in 2000 for '' Benang'' and again in 2011 for '' That Deadman Dance.'' Alexis Wright won the award in 2007 for her novel '' Carpentaria''.

Bruce Pascoe's '' Dark Emu: Black Seeds: Agriculture or Accident?'' (2014), which, based on research already done by others but rarely included in standard historical narratives, reexamines colonial accounts of Aboriginal people in Australia and cites evidence of pre-colonial agriculture, engineering and building construction by Aboriginal and Torres Strait Islander peoples. The book won much acclaim, winning the Book of the Year in the NSW Premier's Literary Award and others, as well as selling very well: by 2019 it was in its 28the printing and had sold over 100,000 copies.

Many notable works have been written by non-Indigenous Australians on Aboriginal themes. Eleanor Dark's (1901–1985) '' The Timeless Land'' (1941) is the first of ''The Timeless Land'' trilogy of novels about European settlement and exploration of Australia. The narrative is told from European and Aboriginal points of view. Other examples include the poems of Judith Wright, ''The Chant of Jimmie Blacksmith'' by Thomas Keneally, ''Ilbarana'' by Donald Stuart, and the short story by David Malouf: "The Only Speaker of his Tongue".

Africa

Amadou Hampâté Bâ (1901–1991), a Malian writer and ethnologist, and Ayi Kwei Armah (born 1939) from Ghana, author of '' Two Thousand Seasons'' have tried to establish an African perspective to their own history. Another significant African novel is ''Season of Migration to the North'' by Tayib Salih from the Sudan.

Doris Lessing (1919–2013) from Southern Rhodesia, now Zimbabwe, published her first novel '' The Grass is Singing'' in 1950, after immigrating to England. She initially wrote about her African experiences. Lessing soon became a dominant presence in the English literary scene, frequently publishing right through the century, and won the Nobel Prize in Literature in 2007. Yvonne Vera (1964–2005) was an author from Zimbabwe. Her novels are known for their poetic prose, difficult subject-matter, and their strong women characters, and are firmly rooted in Zimbabwe's difficult past. Tsitsi Dangarembga (born 1959) is a notable Zimbabwean author and filmmaker.

Ngũgĩ wa Thiong'o (born 1938) is a Kenyan writer, formerly working in English and now working in Gikuyu. His work includes novels, plays, short stories, and essays, ranging from literary and social criticism to children's literature. He is the founder and editor of the Gikuyu-language journal '' Mũtĩiri''.

Bate Besong (1954–2007) was a Cameroonian playwright, poet and critic, who was described by Pierre Fandio as "one of the most representative and regular writers of what might be referred to as the second generation of the emergent Cameroonian literature in English". Other Cameroonian playwrights are Anne Tanyi-Tang, and Bole Butake.

Dina Salústio (born 1941) is a Cabo Verdean novelist and poet, whose works are considered an important contribution to Lusophone postcolonial literature, with a particular emphasis on their promotion of women's narratives.

Nigeria

Nigerian author Chinua Achebe (1930–2013) gained worldwide attention for ''Things Fall Apart'' in the late 1950s. Achebe wrote his novels in English and defended the use of English, a "language of colonisers", in African literature. In 1975, his lecture " An Image of Africa: Racism in Conrad's ''Heart of Darkness''" featured a famous criticism of Joseph Conrad as "a thoroughgoing racist". A titled Igbo chieftain himself, Achebe's novels focus on the traditions of Igbo society, the effect of Christian influences, and the clash of Western and traditional African values during and after the colonial era. His style relies heavily on the Igbo oral tradition, and combines straightforward narration with representations of folk stories, proverbs, and oratory. He also published a number of short stories, children's books, and essay collections.

Wole Soyinka (born 1934) is a playwright and poet, who was awarded the 1986 Nobel Prize in Literature, the first African to be honored in that category. Soyinka was born into a Yoruba family in Abeokuta. After studying in Nigeria and Great Britain, he worked with the Royal Court Theatre in London. He went on to write plays that were produced in both countries, in theatres and on radio. He took an active role in Nigeria's political history and its campaign for independence from British colonial rule. In 1965, he seized the Western Nigeria Broadcasting Service studio and broadcast a demand for the cancellation of the Western Nigeria Regional Elections. In 1967 during the Nigerian Civil War, he was arrested by the federal government of General Yakubu Gowon and put in solitary confinement for two years.Theresia de Vroom
"The Many Dimensions of Wole Soyinka"
, ''Vistas'', Loyola Marymount University. Retrieved 17 April 2012. Soyinka has been a strong critic of successive Nigerian governments, especially the country's many military dictators, as well as other political tyrannies, including the Mugabe regime in Zimbabwe. Much of his writing has been concerned with "the oppressive boot and the irrelevance of the colour of the foot that wears it".

Chimamanda Ngozi Adichie (born 1977) is a novelist, nonfiction writer and short story writer. A MacArthur Genius Grant recipient, Adichie has been called "the most prominent" of a "procession of critically acclaimed young anglophone authors hatis succeeding in attracting a new generation of readers to African literature".

Buchi Emecheta OBE (1944–2017) was a Nigerian novelist based in Britain who published more than 20 books, including ''Second-Class Citizen'' (1974), '' The Bride Price'' (1976), '' The Slave Girl'' (1977) and '' The Joys of Motherhood'' (1979). Her themes of child slavery, motherhood, female independence and freedom through education won her considerable critical acclaim and honours.

South Africa

Elleke Boehmer writes, "Nationalism, like patriarchy, favours singleness—one identity, one growth pattern, one birth and blood for all ... ndwill promote specifically unitary or 'one-eyed' forms of consciousness." The first problem any student of South African literature is confronted with, is the diversity of the literary systems. Gerrit Olivier notes, "While it is not unusual to hear academics and politicians talk about a 'South African literature', the situation at ground level is characterised by diversity and even fragmentation". Robert Mossman adds that "One of the enduring and saddest legacies of the apartheid system may be that no one – White, Black, Coloured (meaning of mixed-race in South Africa), or Asian – can ever speak as a 'South African. The problem, however, pre-dates Apartheid significantly, as South Africa is a country made up of communities that have always been linguistically and culturally diverse. These cultures have all retained autonomy to some extent, making a compilation such as the controversial ''Southern African Literatures'' by Michael Chapman, difficult. Chapman raises the question:

ose language, culture, or story can be said to have authority in South Africa when the end of apartheid has raised challenging questions as to what it is to be a South African, what it is to live in a new South Africa, whether South Africa is a nation, and, if so, what its mythos is, what requires to be forgotten and what remembered as we scour the past in order to understand the present and seek a path forward into an unknown future.

South Africa has 11 national languages: Afrikaans, English, Zulu, Xhosa, Sotho, Pedi, Tswana, Venda, SiSwati, Tsonga, and Ndebele. Any definitive literary history of South Africa should, it could be argued, discuss literature produced in all eleven languages. But the only literature ever to adopt characteristics that can be said to be "national" is Afrikaans. Olivier argues: "Of all the literatures in South Africa, Afrikaans literature has been the only one to have become a national literature in the sense that it developed a clear image of itself as a separate entity, and that by way of institutional entrenchment through teaching, distribution, a review culture, journals, etc. it could ensure the continuation of that concept." Part of the problem is that English literature has been seen within the greater context of English writing in the world, and has, because of English's global position as ''lingua franca'', not been seen as autonomous or indigenous to South Africa – in Olivier's words: "English literature in South Africa continues to be a sort of extension of British or international English literature." The African languages, on the other hand, are spoken across the borders of Southern Africa - for example, Tswana is spoken in Botswana, and Tsonga in Zimbabwe, and Sotho in Lesotho. South Africa's borders were established during the colonial era and, as with all other colonies, these borders were drawn without regard for the people living within them. Therefore: in a history of South African literature, do we include all Tswana writers, or only the ones with South African citizenship? Chapman bypasses this problem by including "Southern" African literatures. The second problem with the African languages is accessibility, because since the African languages are regional languages, none of them can claim the readership on a national scale comparable to Afrikaans and English. Sotho, for instance, while transgressing the national borders of the RSA, is on the other hand mainly spoken in the Free State, and bears a great amount of relation to the language of Natal for example, Zulu. So the language cannot claim a national readership, while on the other hand being "international" in the sense that it transgresses the national borders.

Olivier argues that "There is no obvious reason why it should be unhealthy or abnormal for different literatures to co-exist in one country, each possessing its own infrastructure and allowing theoreticians to develop impressive theories about polysystems". Yet political idealism proposing a unified "South Africa" (a remnant of the plans drawn up by Sir Henry Bartle Frere) has seeped into literary discourse and demands a unified national literature, which does not exist and has to be fabricated. It is unrealistic to ever think of South Africa and South African literature as homogenous, now or in the near or distant future, since the only reason it is a country at all is the interference of European colonial powers. This is not a racial issue, but rather has to do with culture, heritage and tradition (and indeed the constitution celebrates diversity). Rather, it seems more sensible to discuss South African literature as literature produced within the national borders by the different cultures and language groups inhabiting these borders. Otherwise the danger is emphasising one literary system at the expense of another, and more often than not, the beneficiary is English, with the African languages being ignored. The distinction "black" and "white" literature is further a remnant of colonialism that should be replaced by drawing distinctions between literary systems based on language affiliation rather than race.

The first texts produced by black authors were often inspired by missionaries and frequently deal with African history, in particular the history of kings such as Chaka. Modern South African writing in the African languages tends to play at writing realistically, at providing a mirror to society, and depicts the conflicts between rural and urban settings, between traditional and modern norms, racial conflicts and most recently, the problem of AIDS.

In the first half of the 20th century, epics largely dominated black writing: historical novels, such as Sol T. Plaatje's '' Mhudi: An Epic of South African Native Life a Hundred Years Ago'' (1930), Thomas Mofolo's '' Chaka'' (trans. 1925), and epic plays including those of H. I. E. Dhlomo, or heroic epic poetry such as the work of Mazizi Kunene. These texts "evince black African patriarchy in its traditional form, with men in authority, often as warriors or kings, and women as background figures of dependency, and/or mothers of the nation". Female literature in the African languages is severely limited because of the strong influence of patriarchy, but over the last decade or two society has changed much and it can be expected that more female voices will emerge.

The following are notable white South African writers in English: Athol Fugard, Nadine Gordimer, J. M. Coetzee, and Wilbur Smith. André Brink has written in both Afrikaans and English while Breyten Breytenbach writes primarily in Afrikaans, though many of their works have been translated into English. Dalene Matthee's (1938–2005) is another Afrikaner, best known for her four ''Forest Novels'', written in and around the Knysna Forest, including '' Fiela se Kind'' (1985) (''Fiela's Child''). Her books have been translated into fourteen languages, including English, French, and German. and over a million copies have been sold worldwide.

The Americas

Caribbean Islands

Maryse Condé (born 1937) is a French ( Guadeloupean) author of historical fiction, best known for her novel ''Segu'' (1984–1985).

West Indies

The term "West Indies" first began to achieve wide currency in the 1950s, when writers such as Samuel Selvon, John Edgar Colwell Hearne, Edgar Mittelholzer, V.S. Naipaul, and George Lamming began to be published in the United Kingdom. A sense of a single literature developing across the islands was also encouraged in the 1940s by the BBC
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