Chapters in this book

1. Frontmatter i
2. CONTENTS vii
3. ACKNOWLEDGEMENTS xi
4. INTRODUCTION xiii
5. I HISTORICIZING THE POSTCOLONIAL BILDUNGSROMAN 1
6. 1 READING THE CLASSICAL BILDUNGSROMAN AS A COLONIAL GENRE 1
7. 2 “COULDN’T YOU BE BROKEN AND STILL BRING CHANGE?” 29
8. II COLONIALITY, POSTCOLONIALITY, COSMOPOLITANISM, AND THE BILDUNGSROMAN
9. 3 CONTEXTUALIZING THE POSTCOLONIAL BILDUNGSROMAN 55
10. 4 “SONO UN CROCEVIA” 83
11. 5 THE COSMOPOLITAN BILDUNGSROMAN 107
12. III CHILDHOOD, NATION, AND NARRATION
13. 6 HISTORY AS MURMUR 131
14. 7 UPENDRANATH ASHK’S FALLING WALLS 159
15. 8 RECOVERING THOSE WHO “TROD” 183
16. 9 THE TRUTH AND RECONCILIATION COMMISSION, THE BILDUNGSROMAN, AND THE “NEW” SOUTH AFRICAN SUBJECT 207
17. 10 "WE COME TOO LATE TO THE SCENE" 227
18. IV MODERNITY AND THE POSTCOLONIAL BILDUNGSROMAN
19. 11 BAD MODERNIZATION 251
20. 12 "FOR EVERY CHILD, EVERY RIGHT" 271
21. 13 ORGANI(CI)ZATION OF THE AFRICAN INTELLECTUAL 299
22. 14 (BE)COMING OF AGE IN POSTMILLENNIAL HONG KONG LITERATURE 323
23. V IDENTITY POLITICS AND THE POSTCOLONIAL BILDUNGSROMAN
24. 15 AMOS TUTUOLA AND THE NOVEL OF TRANSFORMATION 349
25. 16 COMING OF AGE WITH AMBIGUOUS IDENTITIES AND A SENSE OF SHAME 371
26. 17 "NO SIGN OF IMPROVEMENT ANYWHERE" 391
27. 18 REPLOTTING THE BILDUNGSROMAN THROUGH A QUEER POETICS 415
28. 19 CHILDLESSNESS AND THE FEMALE NIGERIAN BILDUNGSROMAN 437
29. AFTERWORD 465
30. CONTRIBUTORS 473
31. INDEX 481