By Ian Baucom
Mr Baucom likes the falsely clinical vocabulary of concept quite a bit that he either sometimes says the most obvious in a manner that sounds useful and in addition occasionally follows the common sense of a wrongly framed argument far-off from the first textual content he purports to discuss.
For instance, rather than writing the most obvious undeniable fact that maps have been very important to the Raj, the reader unearths this: "Within that archive, the map occupies a place of privilege."
A few paragraphs later, the reader learns that Kim's turning into a British intelligence agent someway erases Kim's identification because the little buddy of all of the global. Kim is then resurrected as "the zombielike R17." not anything may be farther from the particular depiction of Kim within the novel. Kim's identification as a British agent continues to be as shiny because it was once ahead of he is taking carrier with the Raj and his devotion to the lama as extreme. or even on the book's commencing Kim unwittingly enforces British dominance in bullying an Indian baby.
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It also manifests itself as a visible expression of a people’s cultural identity and, even more important, as the curator of national memory. This last suggestion meant that for Ruskin, as for Wordsworth and Burke, the need to define English culture entailed a struggle to define the national past, to secure the obedience of the present and the 36 INTRODUCTION future to that past, and to defend that privileged past from the depredations of a metropolitan and imperial modernity. It also meant that these struggles would hinge on the nation’s ability to preserve, inhabit, and read those public spaces which physically located England’s past—and with that past its true identity.
The two poems, as Chandler indicates, exhibit a common narrative form and a common didactic purpose. In each, Wordsworth draws the attention of the reader, whom he figures in both poems as someone wandering across the English countryside, to an apparently inconsequential “spot” (Margaret’s dilapidated cottage and the collapsed sheepfold Michael built for his wayward son), whose melancholy narrative he then delivers. And in both poems the poet’s purpose is not only to rehearse these particular stories but, more important, to teach his readers a “strange discipline,”55 which is, precisely, the discipline of reading—and in reading being bettered by—the locale.
But clearly, for Powell, that is not the case. Throughout his speeches and writings the growth of Britain’s black population coincides with the need to abandon a spatial theory of identity. 37 And in remaking that street, in transforming it into a place of “noise and confusion,” the island’s immigrants, he bitterly admits, remake England and Englishness. 38 But the entire tenor of Powell’s polemic is that England can no longer take its essence for granted, that a black population is promising to fundamentally alter England and what it means to be English.