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12 India, Inc.?

Nostalgia, memory and the empire of things
  • Antoinette Burton
View more publications by Manchester University Press
British culture and the end of empire
This chapter is in the book British culture and the end of empire

Abstract

The re-domestication of the end of the British Raj in and around the production of Indian Ink has, moreover, an intimately familial history. In the case of empire, the danger is not that it will disappear as a subject, but rather that the staging of its end will produce heroes and heroines in new, and newly seductive, romances of empire. In the case of Raj nostalgia, the challenge is to understand the ways in which the loss of India offers an apparently endless opportunity to see empire. In addition to being an orientalist production, the Aldwych version of Indian Ink was clearly an exercise in feeding what was left of the Raj nostalgia machine in the 1990s. White women are the keepers of imperial memory, and in the end, like many memsahibs before 1947, they remain guarantors of empire's reproduction for future generations.

Abstract

The re-domestication of the end of the British Raj in and around the production of Indian Ink has, moreover, an intimately familial history. In the case of empire, the danger is not that it will disappear as a subject, but rather that the staging of its end will produce heroes and heroines in new, and newly seductive, romances of empire. In the case of Raj nostalgia, the challenge is to understand the ways in which the loss of India offers an apparently endless opportunity to see empire. In addition to being an orientalist production, the Aldwych version of Indian Ink was clearly an exercise in feeding what was left of the Raj nostalgia machine in the 1990s. White women are the keepers of imperial memory, and in the end, like many memsahibs before 1947, they remain guarantors of empire's reproduction for future generations.

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