the 19th-century English novels stress the continuing existence (as opposed to revolutionary overturning) of England.
“The novel,” he writes, “as a cultural artifact of bourgeois society, and imperialism are unthinkable without each other.” As support for this sweeping charge he offers little beyond the vulgar-Marxist statement that:
Then, in a final, disjointed (in every sense) chapter, Said indulges in a prolonged diatribe against United States foreign policy, as manifested especially in the Gulf war.īefore getting down to individual cases, Said floats the hypothesis of a genetic linkage between the fact of empire and the genre of the novel. After locating the virus, he offers his remedial medicine: something he calls “contrapuntal reading,” which comes down to confronting these European artists with political texts from the third world. In Culture and ImperialiAussm, Said undertakes to examine strains of “imperialism” as found in such 19th- and 20th-century English and French writers as Jane Austen, Rudyard Kipling, Joseph Conrad, Albert Camus, and E.M. Said has also been more than a literary critic as “America’s foremost spokesman for the Palestinians” (in the words of the New York Observer), he served from 1977 to 1991 as a member of the Palestine National Council, an arm of the PLO, and he has written indefatigably celebrating the Palestinian agenda and attacking Israel. His first book was Joseph Conrad and the Fiction of Autobiography his best-known work, Orientalism, is a panoramic denunciation of the ways Europe has seen the East. Edward Said, who teaches literature at Columbia University, has specialized in writers about colonialism.
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