Claire Chambers is Professor of Global Literature at the University of York, where she teaches contemporary writing in English from South Asia, the Arab world, and their diasporas. She is the author of British Muslim Fictions: Interviews with Contemporary Writers, co-editor of Imagining Muslims in South Asia and the Diaspora and Translation and Decolonisation: Interdisciplinary Approaches, and co-author of Storying Relationships: Young British Muslims Speak and Write About Sex and Love. She published two paired monographs, Britain Through Muslim Eyes: Literary Representations, 1780−1988 and Making Sense of Contemporary British Muslim Novels. Together these books narrate a literary history of Muslim writing in Britain from the late eighteenth century to the present day. Claire has also brought out such anthologies as Rivers of Ink, A Match Made in Heaven, Desi Delicacies, and Forgotten Foods. Her forthcoming monograph is Decolonizing Disease: Pandemics, Public Health, and Decoronial Writing (Liverpool University Press, 2025). Claire’s research has been supported by funding from HEFCE, the British Academy, the Arts and Humanities Research Council, and the Leverhulme Trust. She publishes widely in such journals as Interventions and Contemporary Women’s Writing, and for over a decade acted as Editor-in-Chief of JCL: Literature, Critique, and Empire Today. Email: claire.chambers [at] york.ac.uk
by Claire Chambers I was delighted to learn that Abdulrazak Gurnah had been awarded the Nobel Prize for Literature. On 7 October 2021 it was announced that the prize had been bestowed on Prof Gurnah for‘his uncompromising and compassionate penetration of the effects of colonialism and the fate of the refugee in the gulf between…
by Claire Chambers In these dying days of summer, as I steel myself for the onslaught of an uncertain term ahead, I’ve been reading J. A. Mensah’s Castles from Cobwebs (Saraband, 2021). By way of a disclaimer I must note that J. A. – Juliana – is my colleague. However, she took up her creative…
by Claire Chambers Covid-19 has led to various reactions akin to the various phases in the process of grieving. Davide Bertorelli observes in his chapter for The World Before and After Covid that ‘people have experienced differing degrees of anxiety, panic and disruption in every aspect of their lives’. Given what Bertorelli calls our current…
by Claire Chambers Few twentieth-century books witnessed Silver Jubilee celebrations but, 25 years after the publication of Edward Said’s Orientalism (1978), the monograph was commemorated in this way at his faculty in Columbia University, New York. Just a few months later, in September 2003, the Palestinian-American literary critic and theorist would die at 67 after protracted…
by Claire Chambers I recently edited an anthology about food from Muslim South Asia. Published by Pan Macmillan in India as Desi Delicacies, the book’s first half is made up of life writing essays, while the second half comprises short stories. To give a taste of the volume, it opens with Bina Shah’s virtuosic Foreword:…
by Claire Chambers This has been a terrible year with almost no redeeming features. I have written elsewhere about Covid-19’s hardships, both personal and political. Today, with a vaccine on the horizon and Trump defeated, I want to find some other crumbs of comfort that, as with Hansel and Gretel, might take us somewhere. I…
by Claire Chambers At the time of writing President Donald Trump is an inpatient at the Walter Reed Medical Center. He is of course receiving treatment for coronavirus, a virus he has repeatedly downplayed as being ‘like the flu’. Influenza causes a temperature, achy muscles, often a headache, and some upper respiratory tract symptoms such…
by Claire Chambers Ghazal poetry is an intimate and relatively short lyric form of verse from the Middle East and South Asia. The form thrives in such languages as Arabic, Persian, Urdu, and now English. Like the Western ode, these poems are often addressed to a love object. Influenced by ecstatic Sufi Islam, the ghazal’s subject…
by Claire Chambers In my last post but one I pledged to continue my discussion of Benazir Bhutto’s two premierships and eventual assassination by examining the legacy she left behind for novelists to explore. Then, of course, the pandemic took hold, and I couldn’t not respond to the global health and welfare emergency. However, now…
by Claire Chambers The last book I edited was about love and desire, and then I was slowly turning my attention to that other great universal pastime: food. For food is love; love in a more complex sense than mere carnality, a relationship that is layered as a paratha. The Pakistani novelist Bina Shah wrote to…
by Claire Chambers In Owen Bennett-Jones’s ten-part podcast, The Assassination, which he made for the BBC World Service in 2017, listeners become immersed in the circumstances around the murder of Benazir Bhutto ten years earlier. They learn of the security concerns, sectarian hatred, and patriarchal demands faced by even this most privileged woman. Benazir, a dynastic…
by Claire Chambers A few tall, dreamy-eyed Sikh men were on my plane to Lahore. Guru Nanak’s 550th birth anniversary celebration was taking place nearby about a month later, on 12 November 2019, so I guessed their final destination was Nankana Sahib, Guru Nanak’s birthplace. The British-Indians’ presence was a reminder, if any were needed,…
by Claire Chambers I’m just back from a short trip to Lahore and, while the colours, tastes, and sounds are still vibrant in my mind, I want to write it all down. On my way to Pakistan I got talking to someone at Manchester Airport. We were both eager to charge our phones before the…
by Claire Chambers Today I ask to what extent it is a positive development that there are no discussions of race and religion in Danny Boyle’s and Richard Curtis’s film Yesterday, whose protagonist Jack Malik is from a South Asian, possibly Muslim, background. In his essay ‘Airports and Auditions’ for Nikesh Shukla’s The Good Immigrant,…
by Claire Chambers As I step, bleary-eyed, out of my PIA aeroplane from Manchester, UK, I notice a door sign warning of the danger of falling personnel. Partly amused, partly disconcerted, I head for the luggage carousel at Karachi's Jinnah International Airport. In the car on our way to my hotel, we follow a man…
by Claire Chambers At a Sheikh Zayed Book Award event in 2017, Marina Warner told the audience that the Arabic root word for water and story is the same. Both nouns, she claimed, relate to the verb 'to transfer', rawin being one way to say 'storyteller', while rawiya is 'to drink one's fill' or 'to…
by Claire Chambers In her 1989 memoir Meatless Days, Sara Suleri famously writes that 'leaving Pakistan was, of course, tantamount to giving up the company of women'. She goes on to explain that in Pakistan womanhood did not truly exist as a concept: 'we were too busy for that, just living, and conducting precise negotiations…
by Claire Chambers Today is the anniversary of 70 years of Pakistan, and tomorrow it will be Indians' turn to celebrate their nation's Independence Day. I recently wrote about South Asian cultural production that portrays Nehru, the Mountbattens, and the Edwina-Jawaharlal relationship or affair. Today I turn my attention to depictions of the Quaid-i-Azam or…
by Claire Chambers In discussions of postcolonial and diasporic literature, questions of faith and religious identity have until recently tended to be subsumed under such categories as ethnicity, nationality, hybridity, and race. Rae Isles, a character who lectures on Middle Eastern politics in Leila Aboulela's The Translator, accordingly asserts: 'Even Fanon, who I have always…
Authenticity is a term that often comes up in postcolonialism and especially my own subdiscipline of Muslim literary studies. But what does it mean to be authentic, and is the quest for authenticity a productive or stifling one? A fetishization of authenticity can trap apparently ‘authentic’ cultures in picturesque poverty and a pastoral past that never existed, ignoring their plural present. The anti-authenticity stance can also be challenged on academic grounds, because what is research if not a process of authentication? Authenticity cannot be so easily dismissed as a discourse of power, since it is one in the service of knowledge too.