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South/South, South/North Conversations: South Africa, India, the West

South/South, South/North Conversations: South Africa, India, the West ??? COMPAKATLST SOUTH/SOUTH, SOUTH/NORTH CONVERSATIONS: Michael Chapman The new century might have suggested new possibilities for comparative study. The end of the Cold War, the symbolic end of racism in the demise of apartheid, the potential of information-age communication, taken together, could have been conducive to comparison as a mode of constructing, enlarging, and enriching the cultural life. Instead of flexible interchanges, however, millennial reactions often remind us of Charles Bern- heimer's observation that comparison is "anxiogenic," or too frequently productive of anxiety (1, 2). Certainly it was the competitive model of the comparative enterprise that prevailed in the heated exchange that followed Salman Rushdie's remarks in a special fiction issue of The New Yorker that appeared in 1997. The issue, "India Focus," marked the fiftieth anniversary of Indian independence and provoked the comment by Rushdie that Indian literature in English represents perhaps the most valuable contribution India has yet made to the world of books. In his response in the IndiaStar Review of Books C. J. S. Wallia points angrily to the condescending title of Rushdie's article ("Damme, This Is the Oriental Scene for You!") and concludes that not only does Rushdie disdain India's thirteen highly developed http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

South/South, South/North Conversations: South Africa, India, the West

Chapman, Michael (Michael J. F.)
The Comparatist , Volume 26 (1) – Oct 3, 2002
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Publisher
University of North Carolina Press
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Copyright © Southern Comparative Literature Association.
ISSN
1559-0887
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Abstract

??? COMPAKATLST SOUTH/SOUTH, SOUTH/NORTH CONVERSATIONS: Michael Chapman The new century might have suggested new possibilities for comparative study. The end of the Cold War, the symbolic end of racism in the demise of apartheid, the potential of information-age communication, taken together, could have been conducive to comparison as a mode of constructing, enlarging, and enriching the cultural life. Instead of flexible interchanges, however, millennial reactions often remind us of Charles Bern- heimer's observation that comparison is "anxiogenic," or too frequently productive of anxiety (1, 2). Certainly it was the competitive model of the comparative enterprise that prevailed in the heated exchange that followed Salman Rushdie's remarks in a special fiction issue of The New Yorker that appeared in 1997. The issue, "India Focus," marked the fiftieth anniversary of Indian independence and provoked the comment by Rushdie that Indian literature in English represents perhaps the most valuable contribution India has yet made to the world of books. In his response in the IndiaStar Review of Books C. J. S. Wallia points angrily to the condescending title of Rushdie's article ("Damme, This Is the Oriental Scene for You!") and concludes that not only does Rushdie disdain India's thirteen highly developed

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The Comparatist – University of North Carolina Press

Published: Oct 3, 2002

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