Notes

175

The Gothic, Postcolonialism and Otherness

1. I use the word ‘post-colonial’ to suggest a historical and political demarcation, and the term ‘postcolonial’ to suggest a discourse and/or a branch of study.

2. ‘Other’, used as a term, has been capitalised in order to distinguish it from ordinary usages of the same word, though of course the Other is always an other.

3. I use the word ‘racial’ and the word ‘race’, unless otherwise specified, in the broad sense of a ‘medium’ denoting a (changing) sense of physical and/or cultural Otherness in the post-Enlightenment context. A narrow definition of ‘race’ is avoided even by scholars in the field. For instance, Kenan Malik notes in The Meaning of Race: “The concept of race is too complex and multi-faceted to be reduced to single, straightforward definitions. Different social groups and different historical periods have understood race in radically dif-ferent ways. The concept of race arose from the contradictions of equality in modern society but it is not an expression of a single phenomenon or relationship. Rather it is a medium through which the changing relationship between humanity, society and nature has been understood in a variety of ways” (p. 71).

4. McEwan’s Saturday, Rushdie’s Shalimar the Clown, Foer’s Extremely Loud and Incredibly Close, and Amis’s ‘The Last Days of Muhammad Atta’.

5. It should be noted that there are contemporary works, by younger or newer writers, which do a more complex (to my mind) job of engaging with the ‘war on terror’: for instance, Mohsin Hamid’s The Reluctant Fundamentalist and Adams’s Harbor.

6. It might also exist, at least in phases, in other cultures, but that is not my concern here.

7. Fredric Jameson correctly notes that “evil is ... the emptiest form of sheer Otherness ... into which any type of social content can be poured at will” (Jameson, p. 290). However, while I share this perception, I do not dismiss the concept of Otherness, as Jameson tends to do, for reasons that are clear from my definition and employment of the term.

8. In this book, I often refer to this ‘reduced Other’ as the negative Other (nega-tivised Otherness), colonialist Other etc. It should be noted that my use of ‘colonial/racial Other’ (as a historical marker) need not coincide with the Eurocentric meanings of ‘colonialist Other’.

9. Which is not to say that I do not accept the substantial (even dominant) role that the ‘dialectic of privilege and shelter’ plays in the world and, particularly, in the narrative logic of a largely bourgeois genre like the novel. While accepting that role, I argue that the negotiation of sameness and difference in the world, and even in the novel, cannot be reduced to simply the dialectic of privilege and shelter. (And hence, once again, the concept of ‘Otherness’, however dangerous and misused, cannot be discarded).

176 Notes

10. ‘Otherness’ should not be conflated entirely with ‘difference’, and yet the two examine related and at times overlapping areas of perception, cogni-tion and experience.

11. I am not making the point that this ambivalence was only a middle-class phe-nomenon: it was more a spirit that emanated from those classes, but could also be picked up by, say, aristocrats who were in sympathy with that spirit.

12. Two of the earliest travel accounts of modern Europe by Indians were writ-ten in this period: the first in English by Dean Mahomet, basically a ‘busi-ness associate’ who came over and settled down in Britain, and the second in Farsi (Persian) by Abu Taleb, a minor aristocrat from India who travelled to England and returned to pen his account.

13. Even a safely conservative estimate by Jerry White, who specifically scoffs at revisionist historians who suggest tens of thousands of non-Europeans in nineteenth-century London, allows for the presence of at least a few thou-sand (see White’s London in the 19th Century).

14. Originally written in French, with the later English translation revised and corrected by the author.

15. Though sometimes the other side of the coin tends to be neglected in some post-colonial circles: what Critchley calls “the acceptance of the impossibility of a pure outside to the European tradition for ‘we Europeans’ ” (Critchley, p. 137).

16. The quotation, earlier on, from Spivak also suggests a similar understanding of the ‘Other’.

17. Otherness, writes Jameson, is “a dangerous category, one we are well off without” (Jameson, p. 290). While, no doubt, Otherness is a dangerous cat-egory, largely for reasons outlined above, it is not, in my opinion, a category one can erase – or one can erase it only at the risk of capitulating to the other, greater, danger of an easy and hegemonic assumption of transpar-ency, legibility, reducibility, sameness.

18. It need hardly be noted that the shadow appears as the Other of the self in many different Gothic texts: it may appear directly, as in H. C. Andersen’s story, ‘The Shadow’, where a man is visited by his shadow, lost in the “hot” countries of the East, (Andersen, p. 376), or as an absence (most famously perhaps in the case of Dracula and the evil Mocata in The Devil Rides Out (Wheatley, p. 185), but also more symbolically, as in the relationship of Jekyll and Hyde).

19. Though there are radical exceptions using different terminology; one can argue that Karl Marx gave the ‘Other’ as the proletariat (and, in an earlier historical context, the ‘aristocracy’) a decisive and finally independent role in the negotiations and contestations of bourgeois Selfhood under Capitalism.

20. Which is not to say that it cannot be “limit and menace” too.21. We have encountered this position also in different literature, such as the

discourse of the ‘War on Terror’ and the texts by Amis, Rushdie et al men-tioned at the start of this chapter.

1 Ghosts from the Colonies

1. The sublime, as Vijay Mishra puts it, is always “an overglutted sign, an excess/abscess, that produces an atmosphere of toxic breathlessness”

Notes 177

(Mishra, p. 19) and it always carries in itself the potential for “desecration/decreation” (Mishra, p. 187). Above all, it is always beyond the ‘beautiful’, ‘normal’, ‘ordered’ and such positivist attributes of rationality.And yet, from the perspective of British colonisation of regions in Asia and 2. Africa, Ireland – or at least its privileged classes – cannot be put outside the bracket of British colonising projects.Elsewhere, Brantlinger correctly notes that the “Imperial Gothic frequently 3. expresses anxiety about the waning of opportunities for heroic adventure” (Brantlinger, p. 239). This implicitly suggests the trajectory and space of its ‘action’, with the ‘hero’ leaving the United Kingdom in search of adventure elsewhere.All references to the text in Judith Wilt, Ed., 4. Making Humans, which also con-tains the text of Shelley’s Frankenstein.Though this is a slightly later ‘discovery’; not before Edward reaches the 5. island.One should not generalise too much about the European response to ‘other 6. races’, for parallel to a dominant discourse of civilisational and/or ‘racial’ superiority there also ran some contradictory and ambivalent responses to the perception of ‘racial’ difference. Even when the discourse of European civilisational superiority was maintained, other races were not placed on an equal pedestal of inferiority, for instance. Wheatley in The Devil Rides Out, for instance, has a very different response to Indian and Tibetan ‘magic’ and peoples than to African and Creole ‘magic’ and peoples: the former being sometimes ranked with Europeans and Christianity and, in the case of those mythical Tibetan ‘yogis’, even placed on a higher spiritual platform, but the latter being relegated to brutishness, animalism and Satanism (Wheatley, pp. 40–1).

2 The Devil and the Racial Other

1. Apart from historical accounts, S. I. Martin’s novel, Incomparable World (1996), is based on the often ignored fact that thousands of American Blacks – mostly males, as the soldiers were not allowed to bring their families with them – who had fought for the British during the American War of Independence were living in and around London in the late eighteenth century.

2. This does not mean that people were no longer religious; it simply means that religiosity was increasingly premised upon Reason, or made subservi-ent to it. This assumption of the ‘correct’ relationship between Reason and Religion can itself be considered, to a degree, a kind of belief, and it definitely owed much to the trajectory of Protestant thought and theology, as well as the politics of theological conflict in Europe.

3. Once again, it is necessary to stress that I am not talking of colonial texts that took the European reader out into the Empire, such as Taylor’s Confessions of a Thug or Kipling’s works. This is another matter altogether and not the main concern of this book. I am also leaving out North America, and in par-ticular the frontier Gothic, which can be said to have been launched in the late eighteenth century with Charles Brockden Brown’s Wieland. Once again, such texts, written by people from outside the colonial centre or dealing

178 Notes

with experiences in the colonial periphery, are not my direct concern in this book.

4. Satan, in Book 2 of Milton’s Paradise Lost, is portrayed in the colours of a ‘modern’ terrorist, plotting revenge and destruction, trying to penetrate into the common ‘crowd’ of humanity in order to confuse and destroy, heading for earth on a mission of destruction: “Thither full fraught with mischievous revenge,/Accursed, and in a cursed hour, he hies.”

5. Refer, for instance, to the rhetoric surrounding such recent political events as the Iraq War and the ‘War on Terror’.

6. From Inferno: The Divine Comedy of Dante Alighieri (pp. 1265–321), Canto XXVIII, lines 22–36:

“No barrel, even though it’s lost a hoopor end-piece, ever gapes as one whom Isaw ripped right from his chin to where we fart:his bowels hung between his legs, one sawhis vitals and the miserable sackthat makes of what we swallow excrement.While I was all intent on watching him,He looked at me, and with his hands he spreadHis chest and said: ‘See how I split myself!See now how maimed Mohammed is! And heWho walks and weeps before me is Ali,Whose face is opened wide from chin to forelock.And all the others here whom you seeWere, when alive, the sowers of dissensionAnd scandal, and for this they now are split.”

(Trans. Allen Mandelbaum)See, for instance, Philip D. Curtin’s 7. The Image of Africa, for a discussion of the continuity and changes in British perception of Africa and Africans.See the papers by Hulme, Arens and Obeyesekera in Barker, Hulme and 8. Iversen, Ed., Cannibalism and the Colonial World.A less obvious way to highlight this equation would be to consider the 9. European response to Indian iconography in the eighteenth and nineteenth centuries. As Partha Mitter illustrates in Much Maligned Monsters, appreci-ation of Hindu iconography was hobbled by both aesthetic and religious preconceptions, Hindu idols being considered evidences of superstition and false belief and sometimes termed ‘devilish’. Probably the first European who overcame aesthetic provincialism in order to appreciate Hindu sculpture – a rare accomplishment until the twentieth century – had to answer for it in the sphere of religious belief:

“The most impressive work of this genre was written ... in 1713 by the Royal Danish missionary, Batholomaeus Ziegenbalg, at Tranquebar in south India ... Unfortunately, [Ziegenbalg’s] Geneology of the Malabar Gods, a work of great usefulness even today, was not welcomed in the eighteenth century. The hostility of Ziegenbalg’s colleagues prevented its publica-tion, for it was pointed out that the duty of missionaries was to extirpate Hinduism and not to spread heathenish nonsense” (Mitter, p. 59).

Both being characteristics associated with animals, and also with the 10. Beast, Satan.

Notes 179

A “Silver Man”, Kipling’s text tells us, and then quotes the Bible: “a leper 11. as white as snow”. Both these references highlight the physical and moral degeneracy associated with lepers in Kipling’s time, as well as notions of ‘uncleanness’, deracination and pollution, which cut across much of nineteenth-century colonialist thought, but is there also a reference here to Lucifer, the archangel of light before his fall? As Frank S. Kastor points out in Bloom’s Satan, Lucifer as archangel was depicted as luminous, as the name suggests; it is only in his other two roles, as Satan, the ruler of Hell, and Devil, the tempter, that Lucifer assumes other and darker shapes.Though mostly in his journalism and public poetry.12. As deficiency, they become a source of nuisance and potential terror; as 13. negativity they can hardly be anything other than the very face of terror. Hence, the binarism that opposes reason to religion, or sanity to mad-ness (etc), does not diminish the terror of their Otherness. If anything, it increases the terror.I allude to Aquinas’s influential claim that nothing in faith is opposed to 14. reason.One complicating factor in this novel – Ireland – has been perforce brack-15. eted in this discussion, though it should be noted that Maturin writes from an England-facing Protestant Anglo-Irish position and not that of Catholic or nationalist ‘Irishness’.As the hero of Wheatley’s 16. The Devil Rides Out puts it, “didn’t I tell you that there is little difference between this modern Satanism and Voodoo?” (p. 124).Maturin came from a family of distinguished clergymen and was himself 17. an ordained minister. Here he quotes from his sermon preached on the death of Princess Charlotte.For a balanced version of the debate, the reader is referred, in particular, to 18. Hulme’s introduction to Cannibalism and the Colonial World.Introduction, Williams, Ed., 19. Three Vampire Tales, p. 7.“The delimitation of east and west within Europe has long been a conven-20. tional one for historians. It goes back, in fact, to the founder of modern positive historiography, Leopold Ranke ... [who] drew a line across the con-tinent excluding the Slaves of the east from the common destiny of the ‘great nations’ of the West” (Perry Anderson, Passages from Antiquity to Feudalism, p. 15).

3 Heathcliff as Terrorist

1. Unlike Nurse Nelly, who is simply frightened of the difference of the Other, Ishmael, the protagonist–narrator of Herman Melville’s Moby-Dick, recognises the centrality of the Other to the Self, as I shall (diverting from my focus on ‘British’ fiction) illustrate elsewhere. As such, it is not surprising – and quite against nineteenth-century currents – to find the word ‘gibberish’ applied to European languages, as heard by the ‘canni-bal’ Queequeg: “And thus an old idolator at heart, he [Queequeg] yet lived among these Christians, wore their clothes, and tried to talk their gibber-ish” (p. 101).

2. Godzich, Foreword, in Michel de Certeau’s Heterologies, p. xiii.

180 Notes

4 Smoke and Darkness: The Heart of Conrad

1. First given as a lecture by Achebe at the University of Massachusetts in 1975, later published in The Massachusetts Review, 1977. The version referred to in this chapter is taken from The Massachusetts Review, as anthologised in the Norton Critical edition of Heart of Darkness.

2. All references to the text of Heart of Darkness from the Oxford World Classics edition of Conrad’s Heart of Darkness and Other Tales.

3. It has to be added that most of the more ordinary ‘notions’ that people hold in the novella are often exposed as having nothing behind them.

4. After all, can ‘decency’ that is not founded on an equal and ethical relation with the Other be anything but sham?

5 Emotions and the Gothic

1. Eudaimonistic: “Concerned with the person’s flourishing” (Nussbaum, p. 31).

2. Similar points have been made earlier, though not as fully pursued or elu-cidated as in Nussbaum. Sartre, for instance, noted that emotion “signi-fies ... the totality of the relations of the human-reality to the world” (Sartre, p. 63).

3. Note: Frankenstein does not, as yet, have any objective evidence of his emo-tional conviction that the monster has murdered his brother and, hence, caused the death of the woman accused and convicted of that murder.

4. Another literary classic, with Gothic elements, that presents a complex example of the interplay of emotion and reason in the encounter between the Self and the Other is the American Herman Melville’s Moby-Dick: there are various such encounters in the novel, the most prominent ones being between Ishmael and Queequeg, and between Ahab and the whale.

5. A corollary to this discussion is the fact, noted by Marina Warner in a recent essay that “in order to inspire terror in the audience you do not show the object of terror but the terrified face of the person witnessing it – Janet Lee in [Hitchcock’s] Psycho, shrieking, eyes bulging” (Warner, p. 4). My point is not just that, as Warner rightly notes, this is a device central to fiction and cin-ema which expects us “to make up the pictures in our mind’s eye in response to the words” that we read or hear. My point is that the Other can only be narrated without incorporation, reduction or distortion in its effects on the Self. In horror films these effects are, given the genre, basically terrifying, but they need not always be negative in other narrative genres.

6. As a poem by one of the most popular colonial writers of the late nineteenth century in India puts it:

“Old Colonel Thunder used to say,And fetch his bearer’s head a whack,That if they’d let him have his way,He’d murder every mortal black.”The poem proceeds to end with:“In fact, throughout our whole dominion,No honest nigger could be got,

Notes 181

And never would, in his opinion,Until we’d polished off the lot.”(‘Those Niggers’, from Major Walter Yeldham’s Lays of Ind, published in 1871, quoted from Charles Allen’s Kipling Sahib, 2007, p. 20.) Similar senti-ments, in neutral reportage or direct espousal, can also be obtained from colonial texts about ‘natives’ in Australia, Africa etc.

7 Negotiating Vodou: Some Caribbean Narratives of Otherness

1. Once again, I wish to state that I do not attribute rationality to Europe or religion to non-Europe. I am talking of a dominant discourse, rather than my own perception of the matter.

2. Though that conflict is also there. Take, for example, the conflict between Mass Levi’s magic and Miss Gatha’s tabernacle. As the text tells us, “Miss Gatha had no audience. But Miss Gatha spoke and that was how her private hurricane became a public event.” But while Miss Gatha turns her private hurricane into a public event, Mass Levi’s magic – whose effects are public on Anita – is performed in that most private of places, a toilet!

8 Can the ‘Other half’ Be Told? Brodber’s Myal

1. See Michael de Certeau, ‘On the Oppositional Practices of Everyday Life’. Social Text, 3, pp. 3–43, 1980.

2. While any such act of tagging is partly arbitrary, it is justified as an emblem-atic device to aid discussion and conceptualisation.

3. It is, after all, ‘the global language’ – English! 4. In spite of being in English, the first chapter is not at all transparent – lin-

guistically or descriptively. 5. See, e.g., M. M. Bakhtin, ‘The Bildungsroman’, from Speech Genres and Other

Essays. 6. This is what makes the spiritual such a fertile bed of subversion: a fact that

is obvious in the differences between mystical movements (often popular ones) and religious establishments as well as in the links between antico-lonialist movements and religion. However, this should not lead us to a postmodernist celebration of the subjectivity of the spiritual experience, for non-verifiable subjectivity can be just as oppressive an instrument of control as a narrowly causal rationality.

7. Salman Rushdie’s The Satanic Verses presents a very good example of all these tendencies.

8. This is another of Bakhtin’s precursors of the bildungsroman, and again illus-trates the transgeneric character of Myal. But, unlike the typical novel of ordeal in which “events shape not the man but his destiny” (Bakhtin, ibid., p. 19), in Myal events shape the woman and her people’s destiny.

9. Which enacts the ritual that rescues Anita from Mass Levi’s spiritual attempts at physically raping her.

10. This, however, can and should be read in the light of my critique of ‘beyond aporia’ in the previous chapter. I have avoided exploring that aspect because

182 Notes

it will distract us from the purpose of this chapter. But I have been able to avoid that aspect only by implicitly reading the spiritual elements in Myal in a highly metaphorical manner. Having taught the novel for four years, I am aware that most students adopt a much more literal approach and explain away the ‘spirituality’ with the help of colonialist dichotomies.

11. For example, creolised Englishes creep into the narrator’s speech as well as that of the characters in Myal. This is in direct contrast to, say, the practice of V. S. Naipaul, who makes his characters speak Creole while the (superior) narrative voice resonates with the privilege of standard, literary English.

12. In Jamaica, too, a contemporary account states that the 1776 slave uprising alarmed the Whites much more than previous uprisings not because it was more effective or more violent but because it marked the first rebellion by Creole slaves. Almost all Jamaican slave uprisings before and after 1776 had a distinctive African character and did not witness much, if any, participa-tion by Creole slaves.

13. Note not just the “rugged cross” but the biblical echoes of stoning and of Jesus bleeding from his crown of thorns and his nailed feet and hands.

14. Though that conflict is also there. Take, for example, the conflict between Mass Levi’s magic and Miss Gatha’s tabernacle. As the text tells us, “Miss Gatha had no audience. But Miss Gatha spoke and that was how her private hurricane became a public event.” But, while Miss Gatha turns her private hurricane into a public event, Mass Levi’s magic – whose effects on Anita are public– is performed in that most private of places, a toilet!

15. See Orlando Patterson, The Sociology of Slavery and Wade Davis, Passage of Darkness: The Ethnobiology of the Haitian Zombie. Chapel Hill & London: The University of North Carolina Press, 1988 (first published, in “essentially the same form”, by Simon and Schuster as The Serpent and the Rainbow in 1985). See also Richard D. E. Burton’s Afro-Creole: Power, Opposition and Play in the Caribbean. Ithaca and London: Cornell University Press, 1997.

16. It need hardly be pointed out that the definition of memory is always a mat-ter of contention in all societies.

9 The Option of Magical Realism

1. This was in keeping with ‘Faust’ and related myths, going back at least to the earliest years of the Renaissance. Marlowe’s Dr Faustus, for instance, is a similar character, torn between God and the Devil – though in his case the Devil appears to have a more mature and complex perception of the elements involved than the prank-playing doctor.

2. As an aside, one can hardly help noting that Vikram Chandra’s fiction grew in depth and complexity when he moved away from magical realism in a simple sense.

3. For an interesting analysis of the significance of the ‘linguistic incoherence’ (my term) of this novel, see Charles Lock.

4. Though he does not use the term, and the term had not yet come into vogue even in 1975.

5. Because, if the colonial discourse on Otherness often obscured the promise and possibility in favour of the threat posed by the Other, we can also do injustice to Otherness by simply seeing it in terms of a ‘friend not yet met’.

Notes 183

6. Or even compare, for instance, with Burroughs’s ‘schizo/dead’ in Naked Lunch: “I was standing outside myself trying to stop those hangings with ghost fin-gers ... I am a ghost wanting what every ghost wants – a body – after the Long Time moving through odourless alleys of space where no life is, only the colorless no smell of death ... Nobody can breathe and smell it through pink convolutions of gristle laced with crystal snot, time shit and black blood fil-ters of flesh” (Burroughs, p. 8).

10 Narration, Literary Language and the Post/Colonial

1. I am not denying the fact of caste oppression in many parts of India. What I am suggesting is that the version one finds in Mistry’s novel is highly text-ual, and based on a largely colonial and anglophone understanding of the mechanism and nature of caste in India. The attempt is brave and admir-able; the result is strangely comforting to the anglophone reader – because it presents difference in eminently understandable terms. Something similar happens to the terrorist in Rushdie’s novel, though from another stylistic region.

2. It should be noted that Rushdie’s bravery had a past. It is informed by various literary ghosts, not just those that are visible, such as the ghosts of Kipling’s literary language and of G. V. Desani’s experiments in All About H. Hatterr (1948), from which Rushdie has obviously learnt much, but also those that cannot be seen by Rushdie or his critics. These include the many Indians who in different ways struggled with a problem that Raja Rao conceptualised in the Foreword to his Kanthapura (1938), a major experiment with English in the Indian context of other languages. But Rushdie’s bravery also had a present. It was something that could have happened only in a certain phase of the relationship of English with India and Indians. While Rao’s injunc-tion to write neither as the English nor ‘only as Indians’ still held, a number of Indians in the big cities and abroad had grown into adulthood capable of ‘thought-movements’ only or largely in English. English – and a less self-conscious, more exuberant version of it, as evident in the film columns of Shobha Dé around that time – had pervaded the fabric of professional mid-dle-class life in the bigger cities, and particularly the circuit of ‘diasporic Indians’ that Rushdie inhabited.

3. There is, no doubt, some truth in this interpretation of Rushdie’s ‘slips’. But, given the heavily associative nature of Rushdie’s oeuvre, one has to note that ‘Is Jailko Todkar Rahenge’ was the slogan on a poster put out by the Women’s Liberation Group to mark International Women’s Day in Bombay in 1982 (the poster was reproduced on p. 107 of Kumar’s illustrated history of women’s movements in India, published in 1993). Rushdie’s slips, unlike the errors of lesser writers, carry interesting echoes.

4. But again, before one makes this an argument against Rushdie, it has to be noted that such compound words – combining an English word with a Hindustani equivalent – are not uncommon in Urdu and Hindustani. And Rushdie, at his best, can combine or superimpose Indian and English words with devastating effectiveness: for example, the ‘mainduck’ (‘menduk’ or ‘frog’ in Hindustani) of The Moor’s Last Sigh is not only explained within the

184 Notes

text but is also meant to be read in English (Main Duck = Big Boss), with an added load of significance.

5. I am not blind to the fact, to which I will return in the next chapter, that this moment in the novel – and Coetzee in general in his works – recognises the identification of selfhood with language and hence the alterity of the Other to both.

6. “Of Petrus there is no sign, nor of his wife or the jackal boy who runs with them” (Disgrace, p. 217). For instance, here ‘Petrus’, the probably good and inscrutable African, is subtly made transparent by the text. As the ‘jackal boy’ is one of the rapists of Lucy (and is later revealed to be related to Petrus’s wife), the fact that he ‘runs’ with Petrus and his wife turns the latter into a pack of wolves or dogs, thus making their aims vis-à-vis Lucy and her farm quite transparent.

Summing Up

1. Of course, the colonialist imagination was also aware of the potential (real) alterity of such peasants when any particular context brought colonialist power into conflict with them – an awareness coded into the British legend of the mysterious circulating ‘rotis’ (common Indian flat bread) supposedly used to instigate the mutiny of 1857.

2. I am obviously leaving out recent philosophers, such as Levinas or Buber, who have addressed the matter, and to whom I refer elsewhere.

3. I owe my example of the cycle to a conversation with Dr Kevin Cahill, University of Bergen, Norway.

4. Especially in Alterity and Transcendence (1995).5. C. B. Wadström, Observations on the Slave Trade (1789) p. 60 (Quoted from

Curtin, p. 105).6. An argument that can be extended to ‘madness’ in the Gothic text.7. McEwan’s Saturday, Rushdie’s Shalimar the Clown, Foer’s Extremely Loud and

Incredibly Close, and Amis’s ‘The Last Days of Muhammad Atta’.

Main Texts Cited

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193

Index

Achebe, Chinua, 73, 74, 75, 79, 81, 85, 180

Adams, H., 63, 175Africa, 23, 44–50, 54, 55, 73, 74, 79,

81, 82, 84, 112, 113, 116, 118, 127, 137, 143–4, 153, 177, 181

African, 9, 40, 44–50, 76, 78, 79, 80–4, 87, 89–91, 116, 118–20, 126–9, 143, 153, 177, 178, 182, 184

Alford, F., 54Allen, C., 158–9Allen and Trivedi, 149Alleyne, M., 120, 127, 129

Root of Jamaican Culture, 129Al Qaeda, 64America, 12, 16, 40, 55, 136–8

American, 33, 39, 40, 68, 85, 136, 159, 177, 180

American Literature, 17American War of Independence, 8

Amis, Martin, 3, 4, 175, 184Andersen, H. C., 176

‘The Shadow’, 176anti-semitism, 42–6, 50, 59Appiah, A. K., 66Aquinas, 48, 179Aristotle, 94Asia, 23, 39, 42–6, 55, 57, 74, 76, 137, 177Asian, 40, 42, 49, 59, 126Atwood, M., 102–4, 106

Alias Grace, 102–4, 106Austen, Jane, 24, 33

Mansfield Park, 25

Bakhtin, M. M., 5, 138, 139, 181Barker, Hulme and Iversen, 178Baudrillard, J., 145Bauman, Zygmunt, 3, 140, 145

Liquid Modernity, 140, 145Beckford, William, 6, 8

Vathek, 6, 8Bernal, Martin, 95

Black Athena, 95

Bhabha, Homi K., 11, 13, 14, 16, 108, 109, 145

Blackwood’s Magazine, 72Bloom, H., 43, 44, 45, 49, 179Botting, F., 4, 5, 6Brantlinger, P., 9, 24, 32, 72, 88, 90,

91, 177Rule of Darkness, 9

Britain, 7, 9, 17, 24, 37, 40, 52, 55, 72, 73, 74, 75, 76, 79, 84, 102, 157, 176

British, 8, 9, 10, 17, 25, 32, 38, 51, 56, 73, 76, 89, 106, 119, 129, 153, 157, 177, 178, 179, 184

British Empire, 59, 73British Gothic, 25, 31, 49Brodber, Erna, 64, 120, 121,

122–31, 181Myal, 64, 120, 122–31, 181

Bronfer, E., 142Death, Femininity and the

Aesthetic, 142Brontë, Charlotte, 6, 32, 37–8, 60,

64, 114Jane Eyre, 6, 32, 37, 60, 64, 114

Brontë, Emily, 6, 37, 38, 47, 54, 60–70, 114

Wuthering Heights, 6, 23, 60–70, 88, 168

Buber, Martin, 16, 41, 169, 184Burke, Edmund, 63Burton, R. D. E., 182

Afro-Creole, 182Byron, Glennis, 4, 51, 52, 53Byron, Lord, 56, 58

The Giaour, 56

Caminero-Santangelo, M., 172Cannadine, D., 23cannibal, 4, 45, 54–5, 58, 59, 80, 81,

84, 90, 105, 159–61, 179cannibalism, 8, 28, 45, 54–5, 56,

59, 80, 90, 105, 153, 160–1, 165, 171, 178, 179

194 Index

cannibal – continuedcannibalist/ic, 12, 55, 59, 90

Carey, P., 104–6Jack Maggs, 104–6

Carpentier, Alejo, 136–7Chandra, Vikram, 134, 182Chariandy, D., 121

Soucouyant, 121Chatterjee, Upamanyu, 144, 145

English, August, 144–5Coetzee, J. M., 104, 153, 154, 173, 184

Disgrace, 153–4, 173Foe, 104

Cohen, R. A., 162Coles, R. W., 26Collins, Wilkie, 6, 25, 32–6, 104

The Moonstone, 32, 34–5, 37The Woman in White, 25, 33, 35–6

colonialism, 79, 84, 150colonial Other/ness, 10, 18, 22, 27,

32, 34, 42, 43, 49, 52, 57, 60, 72, 79, 83, 89, 93, 101, 105, 106, 145, 154, 163, 169

colonisation, 4, 6, 14, 22, 25, 26, 31, 43, 46, 47, 64, 74, 76, 77, 78, 79, 82, 84, 85, 124, 125, 130, 138, 171, 177

Columbus, C., 12, 138Conrad, Joseph, 8, 21, 24, 27, 30, 47,

64, 72–85, 87, 101, 131, 180Heart of Darkness, 21, 24, 27, 30, 64,

72–85, 87, 101, 131, 180Critchley, S., 11, 95, 96, 176Curtin, P. D., 54, 56, 178, 184

The Image of Africa, 178

Dacre, Charlotte, 6, 165–6Zofloya, or the Moor, 6, 165–6

Dallmayr, F., 13, 15Dangor, A., 143–4

‘The Devil’, 143–4Darwin, Charles, 27

Darwinism, 26, 76, 78Davis, W., 182De Certeau, M., 18, 21, 38, 48, 122,

131, 169, 170, 179, 181De Lisser, H. G., 11, 112, 113

The White Witch of Rosehall, 111–13, 118

Derrida, J., 96Devil, 6, 25, 28, 36, 39, 42–63, 66, 70,

73, 92, 103, 111, 132, 143, 144, 161, 162, 165, 166, 176, 177, 179, 182

Diamond, M., 102Victorian Sensation, 102

Dickens, Charles, 6, 22, 25, 34, 104, 105, 106

Bleak House, 25, 34Great Expectations, 25, 34, 104–6The Mystery of Edwin Drood, 34

Dostoevsky, F., 135The Brothers Karamazov, 135

Doyle, Arthur Conan, 6, 31, 32, 47, 163‘The Brown Hand’, 32‘The Case of Lady Sannox’, 31–2The Lost World, 163–5‘Lot No. 249’, 32

Dracula, 54, 55, 57, 58, 59, 62, 70, 107, 176

Eaglestone, Robert, 3, 4Eagleton, Terry, 23, 61Edwards, Justin D., 82, 121, 134, 150England, 7, 8, 9, 21–46, 64, 66, 73, 89,

106, 107, 111, 112, 114, 117, 128, 133, 157, 176, 179

Englishes, 126, 182Englishness, 23, 27, 28, 73

Enlightenment, 5, 40, 41, 62, 79, 84, 86, 87, 124, 127, 157, 175

Enlightenment rationality, 62, 124, 125

Enlightenment Reason, 5Europe, 8, 9, 15, 22, 26, 40, 42–4,

51, 55, 57, 64, 71–3, 79, 82, 83, 107, 117, 133, 136, 137, 149, 176, 179, 181

evil, 4, 6, 12, 38, 51–4, 56, 61, 62, 70, 79, 80, 92, 103, 104, 107, 119, 120, 132, 133, 143, 144, 159, 175, 176

Fanon, Frantz, 14Faulkner, W., 33

Absalom, Absalom, 33Faust, 48, 49, 182

Dr Faustus, 182Faustian, 50Faustulus, 49

Index 195

feminist, 5, 58, 96, 151, 172Flammenberg, L., 6

The Necromancer, 6Foer, Jonathan Safran, 3, 4, 175, 184Forster, E. M., 144, 145

A Passage to India, 144Foucault, M., 14, 40, 42, 48Freeland, C., 54Freudian, 5, 48

Gair, C., 167ghost, 5, 6, 9, 10, 21–5, 27, 31–7, 42,

48, 63–5, 70, 79, 83, 88, 89, 106, 111, 112, 120, 121, 125, 130, 141, 150, 159, 169, 183

Gilman, C. P., 172, 173‘The Yellow Wallpaper’, 172–3

Godwin, William, 6The Adventures of Caleb Williams, 6

Godzich, Wlad, 21, 67, 170, 179Gogol, Nikolai, 139Goldberg, D. T., 95

Racist Culture, 95Gothic Other, 23, 31, 33, 43, 88,

133, 142Gothic Otherness, 27, 57, 72

Haggard, Rider H., 6, 21, 24, 47, 59, 111She, 24, 47, 59

Haining, Peter, 24Hall, Stuart, 11, 12, 167, 168Hamel, the Obeah Man, 111, 116, 117Hayat, P., 13, 170Hegel, G. W. F., 15, 41, 77, 170Hindu, 33, 34, 35, 141, 147, 178

Hinduism, 178Hindustani, 33, 150, 151, 183

Hogg, J., 48Hogle, J. E., 9, 10, 22, 23, 110Howard, Jacqueline, 5Howell, Carol Ann, 5Huggan, Graham, 101Hulme, Arens and Obeyesekera, 178Hulme, P., 179Husserl, Edmund, 15, 170

Husserlian, 170

imperialism, 6, 56, 74, 77, 79, 81, 83, 91, 162

India, 23–5, 32, 34, 36, 112, 141, 144, 149, 150–2, 158, 176, 178, 180, 183

Indian English, 148, 150–3Islam, 44

Islamic, 45, 107Ireland, W-H., 88

Gondez, the Monk, 88

Jack, the Ripper, 9Jackson, Rosemary, 5Jameson, Frederic, 5, 6, 175, 176Jansenism, 48Jews, 6, 7, 40, 43–6, 50, 59Jha, R. K., 141, 142, 143

Fireproof, 141–3

Kachru, B, 152Kastor, F. S., 43, 44, 179Kelly, H. A., 44

Satan: A Biography, 44Khair, et al, 8, 150Kipling, Rudyard, 8, 21, 24–5, 46–7,

64, 75, 116, 158, 159, 177, 179, 181, 183

‘The Dream of Duncan Parrenness’, 75, 159

‘Haunted Subalterns’, 24‘The House of Suddhoo’, 24‘An Indian Ghost in England’, 25Kim, 47‘The Mark of the Beast’, 24, 46–7‘The Phantom Rickshaw’, 24, 25‘The Return of Imray’, 24‘The Strange Ride of Morrowbie

Jukes’, 25‘The White Man’s Burden’, 123, 130

Knox, R., 54Kristeva, Julia, 16

Powers of Horror, 16Kundnani, A., 3

Langland, W., 45Piers Plowman, 45

Larsen, S. E., 18Latin/Central America, 35, 136, 137Lee, H, 88

The Mysterious Marriage, 88Leer, Martin, 150

196 Index

Le Fanu, Sheridan, 6, 54, 57–9, 166Carmilla, 54, 57, 59, 166–7

Legenda Aurea, 44Leroux, Gaston, 22

The Phantom of the Opera, 22–3Levinas, E, 13–16, 41, 47, 82, 85, 93,

96, 140, 145, 148, 162, 168, 169, 170, 171, 173

Alterity and Transcendence, 15, 16, 170, 173, 174

Humanism and the Other, 162Levinasian, 82, 93

Lewis, M. G., 6, 49, 53, 61, 62, 63, 88, 132, 144

The Monk, 6, 48, 49, 53, 61–3, 88, 132, 144

Lindqvist, S., 25, 26, 60The History of Bombing, 25

Lives of the Saints, 44Lock, Charles, 182London, Jack, 167Luckhurst, R, 31, 46, 47

Late Victorian Gothic Tales, 31, 46, 47

MacAndrew, Elizabeth, 5Macaulay, T. B., 56, 149, 150

‘Minute on Education’, 149Malchow, H. L., 9, 31, 54, 55, 56, 59,

88, 89, 90Gothic Images of Race in Nineteenth

Century Britain, 9Malik, Kenan, 11, 13, 157, 167,

168, 175The Meaning of Race, 157, 175

Marquez, G. G., 134Marx, K., 176

Marxist, 5, 10, 139Matar, Nabil, 7, 40Maturin, C. R., 6, 47, 49–53, 179

Melmoth the Wanderer, 6, 49–53McEwan, Ian, 3, 4, 175, 184McGinn, C., 133Melville, H., 159–63, 179, 180

Moby-Dick, 159–63, 179, 180Menchen, H., 85Meyer, Susan, 66, 68Midgley, M., 61, 62, 70, 132, 133

Wickedness, 132Mishra, V., 176, 177

Mitter, P., 178Moody, S., 103, 104

Life in the Clearings, 103Moor, 6, 7, 40, 51, 66, 150, 151,

165, 183Mootoo, S., 120, 121, 122, 123

Cereus Blooms at Night, 120–3Muslim, 35, 43, 141

Naipaul, V. S., 150, 154, 182Nasta, Susheila, 40

Home Truths, 40Ngûgî, wa Thiong’o, 127non-European, 6, 8, 10, 11, 13, 14, 32,

36, 42, 45, 47, 51, 55, 56, 57, 62, 66, 77, 82, 88, 89, 90, 91, 97, 111, 113, 116, 131, 132, 134, 137, 138, 157, 160, 170, 171, 176

Nussbaum, Martha C., 17, 87, 91, 94, 95, 180

Upheavals of Thought, 17, 87

Obeah, 111–31Odell, S. W., 26

The Last War, or the Triumph of the English Tongue, 26

Paravisini-Gebert, L., 9, 110, 116Patterson, Orlando, 127, 129, 182

The Sociology of Slavery, 127, 182Pike, D. L., 7, 53Polidori, John, 6, 54, 56, 57, 58, 59

The Vampyre, 6, 54–7post-colonial, 3, 15, 18, 38, 175postcolonialism, 3, 10, 11, 13, 14, 17,

18, 95, 96, 99, 101, 108, 122, 123, 138, 145, 147, 148, 149, 163, 167, 169, 175

Punter, D., 4, 9, 24, 30, 51, 52, 53, 86, 88, 90, 91

racial Other/ness, 10, 12, 17, 18, 21, 22, 23, 26, 29, 31, 39–60, 72, 107, 171, 175, 177

Radcliffe, Ann, 6, 53, 88The Italian, 53, 88

Revelation of St John the Divine, 46Rhys, Jean, 37, 64, 110–19, 123

Wide Sargasso Sea, 64, 110–19, 123

Index 197

Rushdie, Salman, 3, 4, 107, 129, 134, 142, 143, 147–53, 175, 176, 181, 183, 184

East, West, 150Haroun and the Sea of Stories, 150Midnight’s Children, 134, 150, 151The Moor’s Last Sigh, 150, 151The Satanic Verses, 107–8, 150, 181Shalimar, the Clown, 140, 143, 147,

175, 184Russell, J. B., 43, 44, 45

Said, Edward, 11, 13, 14, 21, 23, 95Orientalism, 11, 14

Saki, 38‘The Music on the Hill’, 38‘Sredni Vashtar’, 38

Sandhu, S., 40London Calling, 40

Satan, 4, 6, 42, 43–60, 144, 166, 178, 179

Satanic, 45, 46, 107, 150, 181Satanist/ism, 37, 45, 52, 177, 179

Scott, Sir Walter, 33The Bride of Cammermoor, 33

Sedberry, J. H., 26Under the Flag of the Cross, 26

Shakespeare, William, 7, 68The Tempest, 68

Shiel, M. P., 26, 59The Yellow Danger, 26, 59

Singh, F. B., 79Smeed, J. W., 48, 49Smith, Angela, 37, 116, 117Smith, Charlotte, 9

The Story of Henrietta, 9Smith, Zadie, 147

White Teeth, 147Snodgrass, M. E., 6, 39Spielhagen, 49

Faustulus, 49Spivak, Gayatri, 11, 95, 108, 171,

172, 176Steeves, H. R., 86Stevens, David, 5, 9Stevenson, R. L., 6, 24, 27, 30, 47, 62,

73, 88, 89, 90, 91Dr Jekyll and Mr Hyde, 27, 30, 62,

88–91, 176

Kidnapped, 90Treasure Island, 90‘The Beach of Felesá’, 24, 47, 73‘The Bottle Imp’, 47

Stoker, Bram, 6, 24, 47, 54, 57, 58, 59, 62, 107

Dracula, 54, 55, 57–9, 62, 70, 107–8, 176

Sweet, Mathew, 33

Tacky Rebellion/Uprising, 110, 111Taine, H., 157Taylor, E. B., 157Taylor, M., 88, 177

Confessions of a Thug, 88, 177terror, 3, 4, 6, 16, 22, 23, 26, 30, 31,

33, 40, 41, 42, 43, 45, 46, 47, 48, 49, 52, 53, 60, 61, 62, 63, 64, 65, 69, 70, 73, 78, 82, 83, 85, 87, 94, 101, 109, 110, 112, 116, 131, 132, 133, 134, 141, 142, 145, 147, 153, 159, 165, 166, 169, 173, 174, 175, 176, 178, 179, 180, 183

terrorism, 173terrorist, 4, 42, 61, 69, 140, 143, 174,

178, 179Theunissen, M., 10, 13, 15, 16Thieme, John, 37, 104, 147Todorov, T., 12, 16, 17, 134, 135, 136,

137, 138, 139, 140, 169The Conquest of America, 12, 16The Fantastic, 135

Tompkins, J. M. S., 86Trivedi, Harish, 149Turk, 31, 40, 44

Turkey, 23Turkish, 32, 57

Tutuola, Amos, 136

vampire, 6, 23, 54–60, 63, 67, 107, 112, 166, 179

Visram, R, 8, 40Vodou, 111–31

Wallace, A. R., 54Walpole, Horace, 6, 7, 42, 144

The Castle of Otranto, 6, 7, 144War on Terror, 3, 173, 175Wasafiri, 3

198 Index

Webster, R., 44, 45, 48A Brief History of Blasphemy, 44

Wells, H. G., 26, 27, 31, 32, 45‘The Country of the Blind’, 32‘The Empire of Ants’, 32The Island of Dr Moreau, 27–9, 45–6The Time Machine, 32‘The Truth about Pyecraft’, 32–3‘A Story of the Stone Age’, 31War of the Worlds, 26, 32

Wheatley, D., 36, 176, 177, 179The Devil Rides Out, 36, 176, 177, 179

Whitehead and Rivett, 9

Young, R. J. C., 84, 85, 138, 139, 146, 157

Colonial Desire, 138

Zamora and Faris, 136Ziegenbalg, B., 178