Here are 97 books that Shame On Me fans have personally recommended if you like
Shame On Me.
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Since I first visited Africa in 2004 I’ve found it difficult to tear myself away. I’ve lived in South Africa, Ghana, Tanzania, and Sudan and travelled in all corners of the continent. I’ve participated in a revolution, hung out with the illegal fishermen of Lake Victoria, been cursed—and protected—by witch doctors, and learned Swahili. I’ve also read extensively about the place, written three books about it, and broadcast from it for the BBC World Service. In my other life I research and write about international development for universities and global organisations. This too has a focus on Africa.
This is a beautifully written tale of the author’s time living in rural Egypt in the 1980s.
Ghosh’s accounts of his meetings and friendships with Egyptians unused to foreigners resonate with my own experiences in rural Africa, and the way he pieces together the long-forgotten history of an anonymous twelfth-century Indian slave and his Arab Jewish trader master and weaves it into the story is astonishingly deft.
I read it again recently and enjoyed it just as much as the first time.
Once upon a time an Indian writer named Amitav Ghosh set out an Indian slave, name unknown, who some seven hundred years before had traveled to the Middle East. The journey took him to a small village in Egypt, where medieval customs coexist with twentieth-century desires and discontents. But even as Ghosh sought to re-create the life of his Indian predecessor, he found himself immersed in those of his modern Egyptian neighbors. Combining shrewd observations with painstaking historical research, Ghosh serves up skeptics and holy men, merchants and sorcerers. Some of these figures are real, some only imagined, but all…
I love reading history that is told in an experimental, interesting manner – history merged with travel, fiction, magical realism, etc. I began my writing career as a travel writer, bringing together history with travel but increasingly I have begun to experiment more. My book Walking with Nanak brings together 4 genres. One intellectual question that I have pursued through my writing is challenging modern notions of national, religious, and ethnic identities. I see my writing style as an extension of that pursuit, breaking away from the neat compartmentalization of genres.
This book introduced a whole new way of travel and history writing for me. It beautifully merges the experiences of the author, his interactions with people, and the history of the city he is engaged with. I loved how he used everyday conversations and experiences to link it back to historical moments and told a chronological story of an amazing city. The book is important to me because it also taught me that travel writing can happen within one’s home and one’s own city. One doesn’t need to travel hundreds of miles, in a foreign country, to engage in travel writing. It helped me conceptualize travel writing in a new way.
Indraprastha is the Hindu name for the first, mythical Delhi. In this book the author peels back the successive encrusting layers of Delhi's history, using both the material and the human remains of each period as a touchstone with the present. With each of the six cities of Delhi being revealed in respective chapters, the climax, the final chapter, tells of the mythical first city, whose beginnings, told in the Mahamarata, form the principle Hindu creation myth. This book is a portrait of Delhi, the mother of all cities. Its dry plains are the fertile meeting point of all the…
I love reading history that is told in an experimental, interesting manner – history merged with travel, fiction, magical realism, etc. I began my writing career as a travel writer, bringing together history with travel but increasingly I have begun to experiment more. My book Walking with Nanak brings together 4 genres. One intellectual question that I have pursued through my writing is challenging modern notions of national, religious, and ethnic identities. I see my writing style as an extension of that pursuit, breaking away from the neat compartmentalization of genres.
I loved this book because this was the first time I came across history in this way. Of course, historical fiction has a long history but this book moves away from that tradition and tells a story of a city in a manner that is somewhere between history and historical fiction, creating a genre of its own. The book is riveting and true to a lot of fascinating historical detail.
I return to Delhi as I return to my mistress Bhagmati when I have had my fill of whoring in foreign lands...' Thus begins Khushwant Singh's vast, erotic, irrelevant magnum opus on the city of Delhi. The principal narrator of the saga, which extends over six hundred years, is a bawdy, ageing reprobate who loves Delhi as much as he does the hijda whore Bhagmati-half man, half woman with sexual inventiveness and energy of both the sexes. Travelling through time, space and history to 'discover' his beloved city, the narrator meets a myriad of people-poets and princes, saints and sultans,…
I have long been fascinated by what makes us human. Great art is about the human condition. We are very quick to reject art that gets that human condition wrong. I’m a poet, a playwright, and a scientist. While my science has found itself at the center of fields such as computational psychiatry and neuroeconomics, I find myself turning again and again to the insights from great novels to understand the subtleties of the human condition. So to complement the scientific questions of morality (because morality is all about the human condition), one should start with great novels that ask who we are and why we do what we do.
In 1989, Salman Rushdie he had to go into hiding because of the fatwa against his life. In trying to explain this decision to his young son, Rushdie spins a magical tale of a storyteller who decides to stop telling stories.
The hero, Haroun, always wondered where his father's stories came from. His father always said “I drink from the ocean of stories. They install a spigot in the wall for me to drink from.” (Yeah, right.) Until, on that one fateful day, Haroun catches the water genie uninstalling the spigot.
On his way to save the ocean of stories, Haroun finds wonderful friends and the power of teamwork. The moral contrast between the Guppees (who argue all the time, but in the end work together) and the Chupwalas (who never disagree because they live in fear, but are so unable to work together, they fight with their own shadows)…
A captivating fantasy novel for readers of all ages, by the author of Midnight's Children and The Satanic Verses
"This is, simply put, a book for anyone who loves a good story. It's also a work of literary genius." -Stephen King
Set in an exotic Eastern landscape peopled by magicians and fantastic talking animals, Haroun and the Sea of Stories inhabits the same imaginative space as The Lord of the Rings, The Alchemist, The Arabian Nights, and The Wizard of Oz. Twelve-year-old Haroun sets out on an adventure to restore his father's gift of storytelling by reviving the poisoned Sea…
I am a Caribbean-American literary scholar who has spent many years studying, lecturing and writing about the interrelated fields of African Diaspora literature and culture, meaning the creative and theoretical productions of writers from Africa, the United States, Latin America, Brazil, and the Caribbean. I teach a variety of these subjects and enjoy the combinations of politics, creativity, and cultural expression that they contribute. These books provide you with a good cross-section of what is available in the Caribbean and the Caribbean diaspora.
Kamugisha, is an able representative of a new generation of scholars who offers a contemporary examination which presents some of the theoretical issues and ideas that inform Caribbean studies and history. The reader will get a good sense of some of the major historical contributors who have shaped Caribbean history, philosophy, and culture as they attempted to move “beyond” the colonial experience.
Against the lethargy and despair of the contemporary Anglophone Caribbean experience, Aaron Kamugisha gives a powerful argument for advancing Caribbean radical thought as an answer to the conundrums of the present. Beyond Coloniality is an extended meditation on Caribbean thought and freedom at the beginning of the 21st century and a profound rejection of the postindependence social and political organization of the Anglophone Caribbean and its contentment with neocolonial arrangements of power. Kamugisha provides a dazzling reading of two towering figures of the Caribbean intellectual tradition, C. L. R. James and Sylvia Wynter, and their quest for human freedom beyond…
Nobody’s Magicbegan, not as the series of novellas it became, but as a collection of stories I couldn’t stop telling. And it wasn’t just my characters’ comings and goings that enthralled me. It was the way they demanded I let them tell their own stories. I enjoy reading and writing novellas because they allow space for action, voice, and reflection, and they can tackle manifold themes and conversations in a space that is both large and small. At the same time, they demand endings that are neither predictable nor neat, but rather force the reader to speculate on what becomes of these characters they’ve come to know and love.
I sometimes see this book discussed as a YA novel, and it’s true that its protagonists, Tee and her younger brother Toddan, are facing some very typical kid-lit crises: the death of one parent and the departure of another, aunts and uncles with conflicting ideas about child-rearing, and the impossible choice of leaving home for what they’ve been told will be a better life, but what’s better than living on an island with everyone you already know and love? Even so, this impressive novella, penned by a Black woman who happens to be a Caribbean literary scholar, is rich with conversations about colonialism, respectability politics, and the importance of preserving one’s familial and African histories—in other words, remembering your ‘true-true name.’ Important lessons for every age.
The cultural and linguistic complexity of postcolonial Trinidadian society is cleverly portrayed in this beautifully written West Indian novel. Hodge uses the voice of the central character, Tee, to tell a story that begins with two young children forced to live first with their aunt Tantie and then with Aunt Beatrice. Tantie’s world overflows with hilarity, aggression, and warmth. Aunt Beatrice’s Creole middle-class world is pretentious and exudes discriminatory attitudes toward people of color in the lower classes. As we follow Tee from childhood to young adulthood, we share the diversity and richness of her struggle to exist in two…
I began college as a science major, but then switched to literature from a minor to my major. In graduate school, as I worked on my dissertation (which became my first book), I found that metaphors of the body and health were everywhere in the literary field in the mid-nineteenth century. Suffice it to say that the sciences, including the rapid development of modern medicine, are both fundamental to this period and deeply shape its literary culture. In Mapping the Victorian Social Body, I became fascinated with the history of data visualization. Disease mapping completely transformed the ways we understand space and how our bodies exist within it.
This book begins with cholera and the Indian Rebellion of 1857 and vampire novels, and then moves forward in time to examine the longstanding continued use of epidemic disease as a metaphor to describe political revolt and terror. Kolb argues that the colonial state has long positioned itself as a hygienic "doctor" treating political "disease," and shows clearly why understanding political activity within the frame of disease is so damaging. Moving through the mid-twentieth century with Camus and Algeria, to Rushdie, 2001, and the shameful history of the US torture memo, Kolb's argument is both historically sweeping and persuasive.
Terrorism is a cancer, an infection, an epidemic, a plague. For more than a century, this metaphor has figured insurgent violence as contagion in order to contain its political energies. In Epidemic Empire, Anjuli Fatima Raza Kolb shows that this trope began in responses to the Indian Mutiny of 1857 and tracks its tenacious hold through 9/11 and beyond. The result is the first book-length study to approach the global war on terror from a postcolonial literary perspective.
Raza Kolb assembles a diverse archive from colonial India, imperial Britain, French and independent Algeria, the postcolonial Islamic diaspora, and the neo-imperial…
I am a professor of pop culture, so I know personally that talking about race can be so incredibly awkward at times – but it does not always have to be! Often, many restrict themselves from fully participating in these necessary dialogues only because of a profound fear of “saying the wrong thing.” As individuals responsible for preparing a new generation of thinkers prepared to innovate improved solutions for the society we share, inevitably, the topic of race must not only be broached, but broached productively. I write to provide tools to help make such difficult conversations less difficult.
This book is both valuable and important primarily because whenever most conversations get started about race relations, magically white people as a group are “left out” as attention is turned to black, indigenous, Latino, or other people of color.
This book prompts readers to reconcile with whiteness as a larger category of analysis to deepen our understanding of complex race relations.
Explores how whiteness is culturally constructed in American films.
Performing Whiteness crosses the boundaries of film study to explore images of the white body in relation to recent theoretical perspectives on whiteness.
Drawing on such diverse critical methodologies as postcolonial studies, feminist film criticism, anthropology, and phenomenology, Gwendolyn Audrey Foster examines a wide variety of films from early cinema to the present day in order to explore the ways in which American cinema imposes whiteness as a cultural norm, even as it exposes its inherent instability.
In discussions that range from The Philadelphia Story to Attack…
We approached our book, theme, and recommendations as readers and lovers of Melville’s work who were inspired by following in his footsteps to places “whole oceans away,” as he describes the Pacific in Moby-Dick. Melville traveled widely and kept up his travels throughout a lifetime of further exploration, as well as voluminous writing. We want to share the exhilaration of traveling witha writer: that is, by reading of Melville’s travels, traveling to the places he visited, and also hearing from people who know those places too. We hope our book gives readers contact with the many dimensions of global travel, in whatever form they find for themselves.
Sanborn’s is one of the best books for tracing a thought process experienced by Melville, or many a Western traveler in the Pacific trying to make sense of challenging cultural differences. Focusing on the taboo topic of cannibalism, Sanborn breaks down Western anxieties and fears of the unknown, showing how Melville balanced different cultural perspectives against his own experience. The result is a profoundly informative guide to how one may rethink cultural norms and how Melville’s later works reflected on his foundational early experiences and travels.
In The Sign of the Cannibal Geoffrey Sanborn offers a major reassessment of the work of Herman Melville, a definitive history of the post-Enlightenment discourse on cannibalism, and a provocative contribution to postcolonial theory. These investigations not only explore mid-nineteenth century resistance to the colonial enterprise but argue that Melville, using the discourse on cannibalism to critique colonialism, contributed to the production of resistance. Sanborn focuses on the representations of cannibalism in three of Melville's key texts-Typee, Moby-Dick, and "Benito Cereno." Drawing on accounts of Pacific voyages from two centuries and virtually the entire corpus of the post-Enlightenment discourse on…
I embody the “American Dream” mythology: I came to the United States as a child who did not speak English and had few means. And now I am the Chair of the English Department at Harvard. But I am the exception, not the rule. So many migrants die on perilous journeys or survive only to live marginal lives under surveillance. Yet we don’t always ask why people risk their lives and those of their children to migrate. And when we do, we don’t often go beyond the first layer of answers. The list of books I recommend allows us to think deeply about the roots of forced migration.
In this book, Stoler rightly warns us against assuming that colonial violence existed only in the past. But she also shows that it is hard to grasp the effects of colonial power in our contemporary world.
This is because that power wraps “around contemporary problems,” including “toxic dumping in Africa, devastated ‘waste lands,’ precarious sites of residence, ongoing dispossession, or pockets of ghettoized urban quarters,” as well as migration crises the world over.
Imperial formations of power have transformed, adhering “in the logics of governance,” plaiting “through racialized distinctions,” and holding “tight to the less tangible emotional economies of humiliations, indignities, and resentments that manifest in bold acts of refusal to abide by territorial restrictions.”
Empires, old and new, intentionally conceal and silence their brutality, failures, and disorderliness and thus keep us in the dark while making us complicit in their violence.
How do colonial histories matter to the urgencies and conditions of our current world? How have those histories so often been rendered as leftovers, as "legacies" of a dead past rather than as active and violating forces in the world today? With precision and clarity, Ann Laura Stoler argues that recognizing "colonial presence" may have as much to do with how the connections between colonial histories and the present are expected to look as it does with how they are expected to be. In Duress, Stoler considers what methodological renovations might serve to write histories that yield neither to smooth…
