This book explores the geopolitical and symbolic borders of Europe through the concept of the semi-periphery. Focusing on the North Atlantic island nations, Iceland and the Faroe Islands, and Turkey a set of very different social and cultural landscapes the book compares the semi-peripheral aesthetics of Halldór Laxness's and William Heinesen's novels with the semi-peripheral city and borderscapes in works by Orhan Pamuk and Latife Tekin. It offers new readings of texts such as Laxness's The Atom Station and Pamuk's Snow , and provides original readings of works that little has been written about in English, such as Heinesen's The Black Cauldron and Tekin's Swords of Ice. Making use of the theory of uneven and combined development and world systems theory, the book illustrates that the experience of nation-building and capitalist modernisation in the semi-periphery results in a particular realist aesthetic that is remarkably similar across different regional literatures. The book's world-literary method shows that the semi-periphery constitutes a vital and productive area of study both for world literature and for broadening our understanding of colonialism and imperialism on the margins of continental Europe.

Offers an original study of Nordic postcolonial literature Contributes to the discussion about the borders of Europe Creates a dialogue between two literary cultures that have not yet been explored in tandem

Autorentext

Christinna Hazzard is a Lecturer in the Humanities and Social Sciences at Liverpool John Moores University, UK. She is based in the department of International Relations and Politics where she researches and teaches in the areas of world-literature, postcolonial theory, Scandinavian politics, and popular culture. She has published articles and book chapters on Nordic colonialism, Nordic Noir, and Halldór Laxness.

Inhalt
0 Introduction.- 1 'A History-with-Holes'?: Magical Realism and National Allegory in Halldór Laxness's Iceland's Bell and William Heinesen's The Good Hope .- 2 Between Nation and World: Peripheral Nationalism and Global Capitalism in Halldór Laxness's The Atom Station and William Heinesen's The Black Cauldron .- 3 The Semi-Peripheral City: Orhan Pamuk's Istanbul and Latife Tekin's Dear Shameless Death .- 4 Semi-Peripheral Borderscapes: Latife Tekin's Swords of Ice and Orhan Pamuk's Snow .- 5 Conclusion: Uneveness as 'Hidden Symmetry' <p