Lyn Jacobs


In a climate of review of historical cartographies and narrative methodologies post-colonial writers have modified their fictional strategies to demonstrate diverse and relative ways of seeing and saying. In this liberation from textual imperialism the capitalised voice of English has been more properly located as 'one among others' and its authorised forms of literary expression reassessed as post-colonial writers reconsider 'not just the tradition but the episteme which underpins it'.2



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