ÌÇÐÄTV

 debut novel, Coconut Unlimited, was published by Quartet Books and shortlisted for the Costa First Novel Award 2010 and longlisted for the Desmond Elliott Prize 2011. In 2013 he released a novella about food with Galley Beggars Press, The Time Machine, donating his royalties to Rot Castle Lung Cancer Foundation. The book won Best Novella at the Sabotage Awards. His second novel, Meatspace, was published by The Friday Project. It's been lauded by the New Statesman, BBC Radio 4, the Independent on Sunday, and the Daily Mail. Most recently, Nikesh is the editor of the essay collection, , where 21 British writers of colour discuss race and immigration in the UK.

Global Shakespeare Director's Seminar - all welcome!

Giulia Champion, 'The Empire Bites Back: Literary Cannibalism in African, Caribbean and South American Postcolonial Rewritings of the 'Western Literary Canon'

This paper focuses, on the one hand, on questioning the notion of canonicity and how literature is taught in higher education, and on the other hand, how rewriting these 'classics' through the creative process of literary cannibalism aims to construct a proper identity for former colonies and insert it into the intellectual and cultural sphere.

Giulia is an alumna of Global Shakespeare, and is currently undertaking a PhD at ÌÇÐÄTV.

Thursday 2 March, 17:00 - 19:00, H5.22, Humanities Building

The third of this year's ÌÇÐÄTV Seminars in American Studies will take place on Thursday 2nd March at 5.15pm in the Ramphal Building (Room 3.41). Daniel Kane, Reader in American Literature at the University of Sussex, will be giving a talk titled 'I Saw the Best Minds of My Generation Rock: Punk and Poetry in New York City.' All welcome.

Abstract:

During the late 1960s, throughout the 1970s, and into the 1980s, New York City poets and musicians played together, published each other, and inspired one another to create ground-breaking art. In this talk, I'll read deeply across poetry and punk music to capture this compelling exchange and its challenge to the status of the visionary artist, the cultural capital of poetry, and the lines dividing sung lyric from page-bound poem. I'll reveal how the new sounds of proto-punk and punk music found their way into the poetry of the 1960s and 1970s downtown scene, enabling writers to develop fresh ideas for their own poetics and performance styles. Likewise, groups like The Fugs and the Velvet Underground drew on writers as varied as William Blake and Delmore Schwartz for their lyrics. Drawing on a range of archival materials and oral interviews, I'll show how and why punk musicians and downtown poets drew on and resisted French Symbolist writing, the vatic resonance of the Beat chant, and, most surprisingly and complexly, the New York Schools of poetry.