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S. ethnic—but not as empty containers that simply peddle a spiced-up exotic. His use of self-reflexivity, parody (even of the magicorealist mode itself ) and pastiche, and his complexly evolving, oft-contradictory characterizations sidestep the dilution process seen in the Rushdietis aftermath. His novels continue to prove foundational in the constant evolution of contemporary South Asian English-language novels. Where critic Pankaj Mishra judges negatively any South Asian writing that is not of the social-realist mold (Amit Chaudhuri and Rohinton Mistry would be contemporary examples for Mishra), critic Adib Khan celebrates Rushdie’s magicorealism and its positive impact on literature in India and Sri Lanka, which, as a result of contact with Rushdie, has begun to ‘‘breathe more easily and has even learned to chuckle at the flaws in its own indigenous cultures’’ (‘‘Shadows of Imperfection,’’ ).

However, within this production/consumption dialectic there is the undeniable side effect of diversifying cultural landscapes. In Consuming Fictions, Richard Todd celebrates the positive side effects of the otherwise moneygenerating, colonial-inscribed institution of the Booker Prize: The unprecedented exposure of fiction from Englishspeaking countries other than the United Kingdom or the United States led to an increasingly global picture of fiction in Britain during the course of the s. It is now the case that the line-up of half or more of a typical late s or s Booker shortlist is not centered on Britain.

Yasmine Gooneratne’s magicorealist novel The Pleasures of Conquest () is a positive example of Rushdietis in its modeling after Rushdie’s use of the comical epic form that both allows readers to, as Khan writes, ‘‘laugh at those crucial moments when the principal characters are at their most vulnerable’’ () and allows the novel to convey a serious critique of the subaltern’s colonial heritage. Magicorealism exists within a world where both heterogenizing and homogenizing forces are at work.

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An introduction to the Irish language. by William Neilson


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