In the present paper a research has been done on the essay ‘Can the Subaltern Speak’ by’ Gayatri Chakravorty Spivak’. It has been explained into much simpler language about what the author conveys for better understanding and further references. Also the criticism has been done by various critiques from various sources which is helpful from examination point of view. The paper has been divided into various contexts with an introduction and the conclusions. Also the references has been written that depicts the sources of criticism.

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Can the Subaltern Speak

The Reality Effect

Flesh and fish blood

What do you do to start reading dirty little secret? Searching the book that you love to read first or find an interesting book that will make you want to read? Everybody has difference with their reason of reading a book. Actuary, reading habit must be from earlier. Many people may be love to read, but not a book. It's not fault. Someone will be bored to open the thick book with small words to read. In more, this is the real condition. So do happen probably with this dirty little secret.

Dirty little secret

The novel looms large on the horizon of global literary studies. It not only travels well, but is also widely perceived as futureoriented and open-ended, ready to absorb within its polymorphous ambit the indeterminacy of the present. In April 2019, New Literary History hosted a symposium on “The Global Novel: Comparative Perspectives,” with eight scholars who have expertise in various literary regions—East Asia, Europe, Latin America, the Middle East, North America, South Africa, and South Asia. This special issue has emerged out of the symposium. The contributors parse theories of the novel as a global form, and compare their relative provenance across diverse literary traditions. The collocation of terms “global,” “novel,” and “comparative” is a proverbial red-flag in a field beset with anxiety about untranslatability, incommensurability, and the contingent particularity of literary-linguistic worlds. The global is often perceived as a moniker of bad universalism; comparatism as the grammar of transnational biopower and a throwback to nineteenth-century evolutionary logics; and the novel as a malevolent form in an already fragile ecosystem of genres. Perceived as a form unbound by intricate aesthetic conventions, voraciously appropriative, and overwhelmingly marketable, the novel, in the words of Marthe Robert, “can do what it wants with literature; it can exploit to its own ends description, narrative, drama, the essay, commentary, monologue, and conversation; it can be, either in turn or at once, fable, history, parable, romance, chronicle, story and epic.”1 The conjunction of global with the novel generates considerable heartburn in some quarters about the form’s complicity with the forces of globalization, its rampant marketability, its abdication of its social role, and the banal professionalization through creative writing programs of a form that was once symptomatic of high aesthetic pursuit.2 Even as one registers this disquiet, literary scholars can scarcely miss the explosion of comparative scholarship on the global novel, a sure sign that this form is wide open for critical and historical evaluation. Recent scholarly work has embraced theories of comparative morphology

The Global Novel: Comparative Perspectives Introduction

Over the last two decades, a curious literary phenomenon has been taking shape in the American university system. The international writer has found a stable institutional home in the American creative writing program. While the postwar creative writing program consolidated itself as a national endeavor, the master of fine arts (MFA) program in the 2000s has nurtured cultural voices that supplement the standardized American MFA voice with a distinctly global perspective. A new writerly generation has routed itself through the American university, primarily as students but also as visiting writers, lecturers, and professors. Here is a brief catalog of some prominent international novelists who have passed through the winnowing process of the creative writing program in some influential way: Chimamanda Ngozi Adichie received an MFA from Johns Hopkins University; Bilal Tanweer received an MFA from Columbia University; Daniyal Mueenuddin received his writing degree from University of Arizona; Mohsin Hamid received an undergraduate degree from Princeton University, but he attended a crucial fiction writing workshop with Toni Morrison and Joyce Carol Oates, in which he drafted his first

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Kalyan Nadiminti

Papers

The Global Program Era: Contemporary International Fiction in the American Creative Economy