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This text focuses solely on the writing of British writers of South Asian descent born or raised in Britain. Exploring the unique contribution of these writers, it positions their work within debates surrounding black British, diasporic, migrant and postcolonial literature in order to foreground both the continuities and tensions embedded in their relationship to such terms, engaging in particular with the ways in which this ‘new’ generation has been denied the right to a distinctive theoretical framework through absorption into pre-existing frames of reference. Focusing on the diversity of contemporary British Asian experience, the book deals with themes including gender, national and religious identity, the reality of post-9/11 Britain, the post-ethnic self, urban belonging, generational difference and youth identities, as well as indicating how these writers manipulate genre and the novel form in support of their thematic concerns.

This book demonstrates the crucial role of aesthetics in defining the relationship between race, gender, and location. Thinking beyond national identity to include African, African American, Afro-Caribbean, and Black British literature, it brings together an innovative archive of twentieth-century texts marked by their break with conventional literary structures. These understudied resources mix genres, as in the memoir/ethnography/travel narrative Tell My Horse by Zora Neale Hurston, and eschew linear narratives, as illustrated in the book-length, non-narrative poem by M. Nourbese Philip, She Tries Her Tongue, Her Silence Softly Breaks. Such an aesthetics, which protests against stable categories and fixed divisions, both reveals and obscures that which it seeks to represent: the experiences of Black women writers in the African diaspora. Drawing on postcolonial and feminist scholarship the book argues for the critical importance of cultural form and demands that we resist the impulse to prioritize traditional notions of geographic boundaries. Locating correspondences between seemingly disparate times and places, and across genres, the book fully engages the unique possibilities of literature and culture to redefine race and gender studies.

The first book to critically redefine and reexamine West Indian literature of the 1950s, Beyond Windrush challenges the myth that an elite cohort of male novelists based in postwar London single-handedly produced Anglophone Caribbean literature and broadens our understanding of Caribbean and Black British literary history. Writers of this cohort, often reduced to George Lamming, V.S. Naipaul, and Sam Sevlon, are referred to “the Windrush writers,” in tribute to the S.S. Empire Windrush, whose 1948 voyage from Jamaica inaugurated the large-scale Caribbean migration to London. They have been properly celebrated for producing a complex, anti-colonial, nationalist literary tradition, but, as this collection demonstrates, their uncritical canonization has obscured the diversity of postwar Caribbean writers and produced a narrow definition of West Indian literature. The fourteen original essays in this collection here make clear that already in the 1950s a wide spectrum of West Indian men and women—Afro-Caribbean, Indo-Caribbean and white-creole—were writing, publishing (and even painting)—and that many were in the Caribbean, Canada, and the United States, rather than London. Moreover, they addressed subjects omitted from the masculinist canon, such as queer sexuality and the environment. The collection offers new readings of canonical authors (Lamming, Roger Mais, and Andrew Salkey); hitherto marginalized authors (such as Ismith Khan, Elma Napier, and John Hearne); commonly ignored genres (such as the memoir, short stories, and journalism); as well as alternative units of cultural and political unity, such as the Pan-Caribbean as well as potentially trans-hemispheric, trans-island conceptions of political identity.

At a time when monolingualist claims for the importance of ‘speaking English’ to the national order continue louder than ever, even as language diversity is increasingly part of contemporary British life, literature becomes a space to consider the terms of linguistic belonging. Bad English examines writers including Tom Leonard, James Kelman, Suhayl Saadi, Raman Mundair, Daljit Nagra, Xiaolu Guo, Leila Aboulela, Brian Chikwava, and Caroline Bergvall, who engage multilingually, experimentally, playfully, and ambivalently with English’s power. Considering their invented vernaculars and mixed idioms, their dramatised scenes of languaging – languages learned or lost, acts of translation, scenes of speaking, the exposure and racialised visibility of accent – it argues for a growing field of contemporary literature in Britain pre-eminently concerned with language’s power dynamics, its aesthetic potentialities, and its prosthetic strangeness. Drawing on insights from applied linguistics and translation studies as well as literary scholarship, Bad English explores contemporary arguments about language in Britain – in debates about citizenship or education, in the media or on Twitter, in Home Office policy and asylum legislation – as well as the ways they are taken up in literature. It uncovers both an antagonistic and a productive interplay between language politics and literary form, tracing writers’ articulation of linguistic alienation and ambivalence, as well as the productivity and making-new of radical language practices. Doing so, it refutes the view that language difference and language politics are somehow irrelevant to contemporary Britain and instead argues for their constitutive centrality to the work of novelists and poets whose inside/outside relationship to English in its institutionalised forms is the generative force of their writing.