After the Last Ship illustrates the author’s own history, as well as its connection to the history of other women and children who left India and made the journey across the Kala Pani, the Indian Ocean, and lived as migrants in other countries. In this book the author brings greater understanding of how subjectivities are shaped through embodied experiences of ‘mixed race’. She bears witness to the oppressive policies of the fascist government in Portugal in the 1960’s and 1970’s and the effects of displacement and exile, by reconstructing her own passage from India to Mozambique and finally to Australia. Further, the author shows the devastation that labels such as ‘half-caste’, ‘canecos’ and ‘monhe’ can cause, when they eat at your flesh, your being, and your body. She sheds light on how identity and culture can serve as vehicles of empowerment, how experiences of belonging can germinate and take root post-diaspora.

Anglo-Indians are the human legacy of European colonialism. These descendants of European men and Indian women regularly appear as disconsolate and degenerate figures in colonial and postcolonial literature, much to the chagrin of contemporary Anglo-Indians. Many significant writers, such as Rudyard Kipling, Maud Diver, John Masters, Salman Rushdie and Hari Kunzru, have created Anglo-Indian characters to represent the complex racial, social and political currents of India’s colonial past and postcolonial present.This book is the first detailed study of Anglo-Indians in literature. Rather than simply dismissing the representation of Anglo-Indians in literary texts as offensive stereotypes, the book identifies the conditions for the emergence of these stereotypes through close readings of key novels, such as Bhowani Junction, Midnight’s Children and The Impressionist. It also examines the work of contemporary Anglo-Indian writers such as Allan Sealy and Christopher Cyrill.Presenting a persuasive argument against ‘image criticism’, the book underscores the importance of contextualizing literary texts, and makes a timely contribution to debates about ‘mixed race’ identities, minoritarian literature and interculturalism.

After the Last Ship illustrates the author’s own history, as well as its connection to the history of other women and children who left India and made the journey across the Kala Pani, the Indian Ocean, and lived as migrants in other countries. In this book the author brings greater understanding of how subjectivities are shaped through embodied experiences of ‘mixed race’. She bears witness to the oppressive policies of the fascist government in Portugal in the 1960’s and 1970’s and the effects of displacement and exile, by reconstructing her own passage from India to Mozambique and finally to Australia. Further, the author shows the devastation that labels such as ‘half-caste’, ‘canecos’ and ‘monhe’ can cause, when they eat at your flesh, your being, and your body. She sheds light on how identity and culture can serve as vehicles of empowerment, how experiences of belonging can germinate and take root post-diaspora.

Anglo-Indians are the human legacy of European colonialism. These descendants of European men and Indian women regularly appear as disconsolate and degenerate figures in colonial and postcolonial literature, much to the chagrin of contemporary Anglo-Indians. Many significant writers, such as Rudyard Kipling, Maud Diver, John Masters, Salman Rushdie and Hari Kunzru, have created Anglo-Indian characters to represent the complex racial, social and political currents of India’s colonial past and postcolonial present.This book is the first detailed study of Anglo-Indians in literature. Rather than simply dismissing the representation of Anglo-Indians in literary texts as offensive stereotypes, the book identifies the conditions for the emergence of these stereotypes through close readings of key novels, such as Bhowani Junction, Midnight’s Children and The Impressionist. It also examines the work of contemporary Anglo-Indian writers such as Allan Sealy and Christopher Cyrill.Presenting a persuasive argument against ‘image criticism’, the book underscores the importance of contextualizing literary texts, and makes a timely contribution to debates about ‘mixed race’ identities, minoritarian literature and interculturalism.