WHAT EXACTLY IS ‘WORLD FICTION’?

In literary studies, especially comparative literary studies that bridge the gap between various language literatures, this concept is starting to gain some traction. What is still referred to as postcolonial literature studies is experiencing some fascinating push-pull contestation, and both are being driven by various critical interest groups. Additionally, there is definitely a third stream that is sort of mediating between the two because each can yield important profits; in other words, they aren't performing the same crucial tasks. Therefore, there is room for cooperation, and I believe that some of these important interest groups are underestimating this space.

Therefore, the long-running discussion concerning international literature vs national literature gives rise to the interest in "world writing." This is seen, for instance, in certain African literary communities where literature is frequently viewed as a means of national expression and voice. That perspective is undoubtedly still highly relevant in English literary studies; writers like Wordsworth, Milton, and Shakespeare all seem to have something to say about Britain or England as a whole. In contrast, Goethe's 1839 writings on the subject of world writing provide us with a thread of broader literary importance.

After reading a Chinese novel, he became aware of the world beyond Europe and became excited about the prospect of a new era in global literature. Thus, one could argue that Goethe is the source of contemporary interest in and criticism of world writing. People like Pascale Casanova, the author of the well-known book The globe Republic of Letters, have recently pushed it; oddly and paradoxically, though, her perspective is mostly from Paris and looks out to the rest of the globe. She genuinely discusses francophone literature when she speaks about international literature, thus even beneath the surface of the criticism, one can still detect national interests.

The post-structuralist criticism of the 1980s and the growth of national and diasporic writing from South Asia and Africa coincided to give rise to the postcolonial strand of interest. While world literature primarily focuses on aesthetic questions such as style, form, and genre and whether or not these things actually migrate across language and national borders, as well as how much they change or adapt during the process of being moved, postcolonial literature and criticism tends to be much more political in its interests and focus.

Nobody in a position of authority, an academy, or a university limits or enforces policies regarding what you can and cannot do. It's absolutely fascinating how people who studied postcolonial studies and were maybe less engaged in national and political issues have a tendency to associate themselves with international literary circles, conferences, teaching groups, and reading clubs. They may have moved across because they were drawn to consider formal and book historical problems rather than political ones, such as Ngugi's question of whether or not we can fire with a pen and whether or not we may use pens as weapons in conflict. When you look at debates and conferences on international literature, those questions are very definitely not at the forefront.

In light of everything, I suppose I should clarify my personal stance. Although postcolonial writing is my area of expertise and where my career began, my title as Professor of World Literature in English does not specifically mention it, which may make it appear unclear.I'd venture to guess that the current form of the term was chosen because it seems less "political" or more conventional than "Professor of Postcolonial Literature." Additionally, there's a feeling that "postcolonial" has an expiration date. After all, we shall pass beyond the postcolonial era at some point. It's possible that this led to the perception that "postcolonial" will become obsolete faster than world literature.
After that, the 10 years I spent teaching at the University of Leeds, which, with Kent, was at the forefront of postcolonial studies (or Commonwealth Studies as it was first called, helped to shape my postcolonial perspective). I have always been interested in the literary theory of otherness, thus I was drawn to postcolonial theory and criticism when it was still in its infancy. One may argue that this initial stage and my career developed together. These days, at least one postcolonial expert can be found in any English department that is worth its salt.

Is there a sense in which you act as a personal bridge between the two strands?

Indeed, without a doubt. I consider myself to be straddling postcolonial and global literature structures in some respects because so many of these concerns of demarcation, or of critical, ideological, and pedagogic limits, originate through institutional structures. I mention this because Pierre Bourdieu and others have affected me: a lot of these focus questions are determined by institutional decisions. It may be pertinent to note that the Oxford English Faculty currently offers a Masters in World Literature in English. Notably, a number of instructors on the program identify as postcolonialists.We started it three years ago, and despite the challenges, it has been a fantastic success. In fact, one could argue that Oxford's recent introduction of a Masters program in World Literature in English positions us as a mediator between postcolonial and World Literature critical interests. Oxford has emerged as a location where critical points of view and views are frequently brought together and worked out.

There are still certain postcolonial literature master's programs that are flourishing across the nation, such those at Kent and Leeds, for instance. I think Warwick offers a master's degree in world literature.

How about the United States? Our volume One World has been a consistent seller because so many universities have adopted it as a course material, merely introducing students to the idea that there is a broader world out there. Many African writers who achieve success through the Caine Prize also secure university positions in the United States.

Another characteristic of the US is that departments of Comparative Literature or Modern Languages are typically the ones teaching international literature as a field or method, rather than the English department. In Comparative Literature, you will find international literature; in English departments, you will typically find a distinct postcolonial offering. A multi-chapter story is suspended there.

Indeed, however, creative writing programs in the US mark a whole new trend. Additionally, there seems to be a strong desire to include African writers—possibly Nigerian writers in particular—in those creative writing programs; I believe this is partially due to the glamor that Chimamanda has generated.