Rushdie’s implied reader is a global postcolonial migrant sharing filmic and literary echoes

Evidence

I believe the Hindi film industry is the world’s largest film industry, and it’s been the popular international medium now for twenty, thirty years, or perhaps more? … It seems to me, then, that the implied reader of The Satanic Verses is this international, global, postcolonial migrant person. This is not the Christian Enlightenment person for whom British literature is written; nor the jaded European of The Waste Land. — Donna Landry and Gerald MacLean, The Spivak Reader, 200

Categorization

• XREF: Connects to the reader’s interest in strategic identity — the implied reader who holds multiple cultural echoes without literalism is a site of strategic positioning. — connects to: Rushdie shifted from a myth of unbelonging to one of excess belongings. — Aijaz Ahmad, In Theory: Classes, Nations, Literatures, 493; Narrated language shifts place readers inside a polyglot world beyond Anglo-English hegemony — Peter Morey, Islamophobia and the Novel, 421; Migration makes diaspora the paradigmatic postmodern and postcolonial experience. — Stuart Hall, Essential Essays, Volume 2: Identity…, 769

Broader Connections

• Narrated language shifts place readers inside a polyglot world beyond Anglo-English hegemony #expands (0.85) — Peter Morey, Islamophobia and the Novel, 421
• Migration makes diaspora the paradigmatic postmodern and postcolonial experience. #complicates (0.75) — Stuart Hall, Essential Essays, Volume 2, 769