Immigrant Literature

Paris is a metropolitan city with its urban characteristics that have been shaped by its artistic monuments and history. There was a wave of immigration by white Americans to Paris at the beginning of the twentieth century. This wave of immigrants included several artists, journalists, and writers, who were disillusioned by the promises of the New World, America. These were as Gertrude Stein's described created a 'lost generation' in Europe. At the second half of the twentieth century, there appeared another wave of immigration to Europe, this time mainly by African-Americans. Their experiences and conditions differed from that of white pioneers. They were more liberal and stood for freedom rather than getting lost in Paris. Their previous situation in America was one of restlessness; they had to run away from hatred levelled against their skin colour or sexuality. They pointed to social problems back in America and pronounced the freedom of speech they earned Paris. This article aims to explore the extent to which the African-American literary experience of Paris after World War II differed from that of white American writers earlier in the century. The paper critically compares the selected fiction by accomplished authors such as Ernest Hemingway's The Sun Also Rises (1926), F. Scott Fitzgerald's 'Babylon Revisited' (1931), Richard Wright's The Outsider (1953) and James Baldwin's Giovanni's Room (1956). This article concludes that the two literary experience that were shaped in Paris vigorously differed in their motives and motivations in reflecting the expectations of exile, the experience of sexuality and the treatment of women.

Transoceanic passage brought nearly 189,000 immigrants from Japan to Brazil between 1908 and 1941. They were often geographically isolated in Japanese “colonies” as coffee plantation workers and thus able to maintain their Japanese linguistic and cultural identity. A new imagined community coalesced in the several Japanese-language immigrant newspapers that also published locally produced serial fiction. This paper reads two representative works by Sugi Takeo, pen name of Takei Makoto (1909-2011), who was a prolific contributor of original content to the Burajiru Jihô newspaper. In the short stories, “Kafé-en o uru” (Selling the coffee plantation, 1933) and “Tera Roshya” (Terra rossa, 1937), it is the moonshine sellers who see steady profits from every race and type of immigrant laborer while the Japanese newcomers who naively dream of riches by bringing coffee to market reap only a bitter brew of poverty for their efforts.

Behold the Dreamers follows the path of a Cameroonian family whose members, like many newcomers to America, harbor dreams of success unavailable to them back home. Undocumented immigration, the widening gulf between rich and poor, and the thinly veiled racism of an avowedly “post-racial” culture converge as major themes in this new generation of immigrants’ painful encounter with the American Dream. Yet Mbue’s novel is also a distinctly New York story, capturing the particular experiences of the city.

The aim of this study is to present one of conceptual issues in the context of legal challenges on comprehensive and accurate policies for education vital to be developed and executed ensuring that immigrants in Turkey can be trained and educated very efficiently, in other word, it aims to emphasize main legal basis of immigrants in Turkey and education or training references in those legal documents. Firstly, introduction part provides an overview of concept of main themes from different holistic perspectives systematically referring to literature. Furthermore, problem statement of current study is emphasized subsequently. In main part, firstly, main outline of special national and international laws, regulations, signed action plans, protocols and other policies concerning just directly refugees and immigrants after the establishment of Republic of Turkey will be put forwarded and secondly they will be analyzed and discussed in terms of themes referring to education and training o...

Literature written in Rusyn for the immigrant community by first-generation Rusyn-American authors is of interest as a cultural indicator, a record of the values and concerns of the Rusyn immigrant community, and to a lesser degree, of the experiences and conditions of immigrant life.

Through Shaun Tan’s award-winning graphic novel The Arrival (2006), the journey and arrival into the imagined home are examined in terms of the narrative characteristics within the immigrant genre. In ‘the traditional immigrant journey’, states academic Madelaine Hron, ‘it is assumed the immigrants will eventually ‘arrive’ and successfully integrate or assimilate into their new host society’ (2009: 16). Although Tan’s work depicts the immigrant journey and success story solely via images, it ‘is far from a facile narrative about [the] immigrant experience’ (Boatright 2010: 470). In fact, the visual re-presentation is the narrative, embodying many metaphoric and silenced fears, and trauma associated with immigration. This paper examines how Tan reinterprets silenced trauma in The Arrival, and how in his wordless novel, the narrative is able to be read by first- and post-generations as a re-presentation of their own personal, familial, and cultural journeys. The paper also addresses how the immigrant’s new home has been re-presented in a ‘time and place … impregnated with a sense of unreality’ (Bachelard 1994: 58). Set in a dreamlike, imaginary ‘utopian city’ (Tan 2010: 20), the postmemorial home I argue, is one based on ‘imaginative investment, projection and creation’ (Hirsch 2008: 107). While Tan’s ‘new-world metropolis’ is shown ‘through the bewildered eyes of a newly arrived immigrant’ (Tan 2010: 20) suffering the pain of arrival, it is also a postmemorial reinterpretation of the new home that can exist for future immigrants.

While memory guarantees a degree of continuity between past and present, it is not without shortcomings. Powerless in the face of the future and threatened by oblivion, memory has the ability to imprison individuals and communities alike in a version of the past that has been promoted to the level of historical truth. This is why the work of Lebanese-Canadian playwright Wajdi Mouawad (a rising figure in the world of French-language theatre) generally prefers the international kind of memory provided by literature to the historical ties commonly invoked in family retellings of the past. Mouawad’s reworking of memory is particularly present in his best-known play,Littoral (1997), which addresses the various ways in which institutionalized forms of memory prevent the development of individual identities. This article concentrates on his more recent playIncendies (2003), where historical memory no longer yields to literary memory, but rather superimposes itself on an intertextual canvas. While obviously rewriting the Oedipus myth as told by Sophocles (whoseOedipus Rex becomes a “palimpsestuous” plot forIncendies), Mouawad’s text is also replete with references to the civil war in his native Lebanon. Most historical episodes (e.g. the burnt-out bus of 1975, the Sabra and Chatila refugee camp massacres of 1982) are reworked in function of the dramatic plot, and it would be unfair to reduceIncendies to a “message” or any other traditional form of “commitment”. Yet Mouawad does not fit the profile of Jean-Paul Sartre’s “irresponsible” writer either: Lebanon’s civil war, far from being a mere screen onto which the action is projected, informs this play as much as the oedipal plot does. It is indeed the combination of both semantic networks that allows a real working through of memory, which is what is at stake here.

Transoceanic passage brought nearly 189,000 immigrants from Japan to Brazil between 1908 and 1941. They were often geographically isolated in Japanese "colonies" as coffee plantation workers and thus able to maintain their Japanese linguistic and cultural identity. A new imagined community coalesced in the several Japanese-language immigrant newspapers that also published locally produced serial fiction. This paper reads two representative works by Sugi Takeo, pen name of Takei Makoto (1909-2011), who was a prolific contributor of original content to the Burajiru Jihô newspaper. In the short stories, "Kafé-en o uru" (Selling the coffee plantation, 1933) and "Tera Roshya" (Terra rossa, 1937), it is the moonshine sellers who see steady profits from every race and type of immigrant laborer while the Japanese newcomers who naively dream of riches by bringing coffee to market reap only a bitter brew of poverty for their efforts.

The aim of this paper is to analyse Mohsin Hamid's 2017 Exit West as a literary response to the 2015 migrant crisis. Hamid's fourth novel will be shown as, on the one hand, a formal departure from his previous works, but on the other, a continuation of the most important thematic threads in the author's output. The paper demonstrates how Hamid takes on the risky chal lenge of capturing the migrant experience by offering a nuanced response to the refugee crisis, which opens up the novel to interpretations from the perspectives of postcolonial studies, trauma theory, and socioliterature. Fur thermore, Hamid's use of the technique of magical realism will be examined as a metaphor and an ellipsis; however, it will be argued that the novel's politically subversive potential lies elsewhere: in the formally realist vision of an optimistic resolution to the migrant crisis. This ending, for many read ers unrealistic and fantastical, if not "magical," offers a "radical political en gagement with the future," as it provides the author's unflagging expression of support for what he calls "impurity," as well as his appeal for strategic hope and optimism in the face of the currently dominant political discourse of fear and division. http://pjes.edu.pl/issues/6-1-2020/

This paper examines foreignness in Mohja Kahf’s poetry volume, E-mails from
Scheherazad (2003), as a celebratory commodity rather than a literary trope to resist Arab women representations or to accentuate exilic voices. Drawing on Julie Kristeva’s conceptualization of foreignness as internal personae and not a projection of an external locus of identity, this paper explores how the speakers in some of Kahf’s poems view foreignness as festive rather than negative. In sharp contrast to the traditional conception of difference as publicly alienating, foreignness to the Arab-American speakers becomes a distinctive mark that they uphold and celebrate. Examining foreignness in Kahf’s poems through Kristeva’s lens provides a sense of uniqueness to the immigrant’s experience. The notion of recognizing the foreigner in ourselves, that Kristeva provides, subverts the general perception of foreignness as external and intruding. Kahf’s poetry can be perceived as a negotiation of foreignness, which is not an estranging element that incurs resistance but rather as a celebratory part of the human consciousness that should be jubilantly defined rather than politically defended.

Though very little of Gone with the Wind focuses on the marriage of Gerald O’Hara and Ellen Robillard, their union is a crucial component of the novel and of Scarlett’s character development. Margaret Mitchell employs the marriage between Gerald and Ellen O’Hara to promote the incorporation of white ethnics into the fabric of American citizenry. In fact, she goes so far as to suggest that this incorporation is necessary for Americans to survive the modern world. I contrast Scarlett and the dark-featured Rhett Butler with the weaker, inbreeding
Wilkes/Hamilton families. Finally, I illustrate how the racial
politics of the novel, while portraying the assimilation of white ethnics and the interracial relations of nonwhite ethnics, nevertheless increase the imagined distance between whites and nonwhites. This discussion includes an analysis of the film version of the novel as well as the mixed race character of Dilcey. Through her Civil War novel, Mitchell prescribes a code of acceptable intermarriage (and thus assimilatory) practices for
her contemporary culture.

Muslim societies, and especially Muslim women, have often received fetishized attention in (neo-)Orientalist literature. However, opening up spaces for the voices of Muslim women especially those wearing the hijab is long overdue. Therefore,
the representation of diasporic Muslim women and their multiple identities in Leila Aboulela’s Minaret and Shelina Janmohamed’s Love in a Headscarf is of paramount importance. These two texts show how, face to face with possibilities and pitfalls of diaspora, Muslim women negotiate and prioritize Islamic identity in the metropolis. While immigrant Muslim men are racked with somewhat unacknowledged exilic anxieties, the challenge and possibility of Muslim women largely concern gender and religion. For a group of Muslim women, the West facilitates a critical interrogation of their feeling of identity vacillation and creates a useful framework for thinking about their religious observances, which eventually helps them conceptualize and articulate their sense of belonging. For many others, it provides
a third space in which they can confidently engage in a reinterpretation of the Islamic texts and thus reclaim an identity which liberates them from culturally enacted practices of their countries of origin.

This essay explores the theory and praxis applied when translating Conrado Espinoza's novel, El sol de Texas.  Written in the 1920's, in the wake of the Mexican Revolution, El sol de Texas is one of the earliest examples of the literature depicting the Mexican immigrant experience in the United States.  This paper explores the various challenges faced with rendering a faithful translation of the novel.

XX. yüzyıl Azerbaycan Muhaceret edebiyatı şairlerinden biri olan
Alazan Baycan, 1933’te Sovyetler Birliği’ndeki siyasî baskılar nedeniyle
tıp eğitimini yarım bırakıp ülkesi Azerbaycan’ı terk etmek durumunda
kalmış; önce İran’a, kısa bir süre sonra da Türkiye’ye gitmiştir.
Türkiye’deki tıp eğitimini tamamladıktan kısa bir süre sonra Almanya’ya
göçen Alazan Baycan, 1943’te Berlin Üniversitesi’nde çalışmaya
başlamış; bir yandan da edebî faaliyetlerini sürdürmüştür.

Azerbaycanlı diğer muhacir şairler gibi, Alazan Baycan da ana
vatanından ayrı yaşamak durumunda kalmış ve bu ayrılık temasını
şiirlerinde geniş bir şekilde işlemiştir. Muhacir bir şair olarak yaşamı
hakkında çok fazla bilginin henüz mevcut olmadığı Baycan, şiirlerinde
dünyaya bakış açısını ve felsefesini açıkça yansıtmıştır. Daha çok
toplumsal temalarda şiirler yazan şair, iki şiir kitabı yayımlamıştır.
Bunlardan “Gönül Sazından” kitabı 1983 yılında; “Dağ Çiçekleri” adlı
kitabı ise 1987 yılında Ankara’da yayımlanmıştır. Kitapta bulunan
şiirlerde hem Azerbaycan, hem Türkiye Türkçesi özellikleri
görülmektedir.

Bu çalışmada Alazan Baycan’ın Azerbaycan Muhaceret
edebiyatındaki yeri irdelenerek şiirlerinde yer verdiği bağımsızlık arzusu,
ana vatan özlemi ve özellikle ana diline olan düşkünlüğü gibi temalar
üzerinden hem üslup özellikleri, hem de mücadelesini verdiği dünya
görüşü ele alınmıştır. Şairin dünyasındaki sosyal ve siyasi gelişmelerin
eserlerine olan yansımalarını ortaya koyabilmek için, şiirleri sosyolojik ve
tarihî boyutları ile değerlendirilmiştir. Dolayısıyla Baycan’ın sanat
anlayışı edebiyat – toplum ilişkisi içinde değerlendirilmiştir.

ALMANYA’DAKİ TÜRK YAZARLARIN HİKÂYELERİNDE TÜRKLERİN ALMANYA’YA UYUMU

Göç, insan hayatında önemli değişiklikler oluşturur. Göçmenler farklı bir dil, din ve kültüre sahip bir ülkede hayatlarına devam ederken kendi değerlerini bir anda bırakamazlar. Bu nedenle onların göç ettikleri topluma uyumu uzun soluklu bir süreci kapsar. 1961 yılında Türkiye’den Almanya’ya işgücü nedeniyle çalışmaya giden Türkler uyum konusunda ciddi sorunlar yaşamışlardır. Almanların, gelenlerin insani özelliklerini görmezden gelip onları sadece işgücü olarak görmesi Türklerin kendi içlerine kapanmalarına neden olmuştur. Göç sonucu Almanya’ya giden Türk yazarların, göç konusunu ve sonuçlarını edebi eserlerinde işlemeleri bu eserlerin Göçmen Edebiyatı’na dâhil edilmelerini sağlamıştır. Bu çalışmada ekonomik, siyasi, ailevi gibi nedenlerle Almanya’ya göç eden on altı Türk yazarın 23 eserindeki 39 hikâyede uyum konusunun nasıl ele aldıkları incelenmiştir. Türk yazarlarının, eserlerinde; Türklerin Almanya’ya uyum konusunda yaşadıkları sorunları, Almanların göçmen karşıtı politikalarının Türkler üzerindeki etkileri ve buna karşı gelişen tepkiler, kuşak çatışmasından dolayı Türklerin Almanya’ya uyum sağlamalarında ortaya çıkan sorunları nasıl ele aldıkları incelenmiştir.

Anahtar Kelimeler: Göç, Almanya’ya Göç, Göçmen Edebiyatı, Uyum, Hikâye.

Among the many extravagant aspects of one of mid-twentieth century America’s most prolific and famous writers, William Saroyan (1908-1981), was his near obsession of recording every detail of his life.  Beyond his dozen volumes of collected stories, his ten published novels, dozens of plays (most performed on Broadway), and some ten or twelve volumes of memoirs, his archives at Stanford University contain more than forty years of assiduously kept daily personal dairy-journals (most of them typed) and more than 20,000 personal letters as well as scores of unpublished plays, novels, essays, and miscellaneous writing.  In this process of ‘writing a life’ he was much influenced by the Swiss diarist, Henri-Frédéric Amiel (1821-1881), who also fastidiously recorded his every movement and thought.  Using both Saroyan’s published remarks and passages from his unpublished journals, a commentary and analysis of Saroyan as a memorialist is presented.

Mikhail Noaima, the iconoclast Arab Christian Romantic poet, great critic and apologist, mystic, essayist, biographer, translator, novelist, famous orator and dramatist, is a major figure in modern Arabic literature, and particularly within what came to be known as the Mahjar School of thought , referring to the literary movement which evolved in the United States among emigrant Syro- Lebanese poets and writers, who operated through a literary gathering in New York by the name "الرابطة القلمية"(The Pen Association), during the second and third decades of the 20th century, and until his death in 1931 of Jibran Khalil Jibran, its guiding spirit. The present article is consisted on abstract, two sub-chapters i.e Life of Mikhail Noaima and Critical study of impact of Mikail Noaima workson Modern Poetry, result and the Bibliography. May Allah shower His blessings on us through knowledge. Ameen.

This paper explored how the subaltern modernism of three working-class Russian Jewish immigrant writers, involved with socialist and feminist movements, might provide different perspectives, traditions and paradigms with regards 'experimental literature'.

In this paper the authors outline the images of violence that portray the city of Montreal as a ‘discomfort zone’ in Rawi Hage’s novel􏰀􏰁􏰂􏰃􏰄􏰁. Petra Sapun Kurtin and Gordan Matas argue that through the portrayal of the disintegrating concepts of immigrant displacement, discomfort and disillusionment with the use of violent distorted imagery of the urban surroundings, Rawi Hage
depicts Canadian urban setting as the space of (contested) multiculturalism policy. Furthermore, the authors argue that the novel is not just an example of uncompromising immigrant prose that emerges as a result of a globalized world, but that within the transnational paradigm and in the context of postcolonial and postmodernist readings, it is also distinctly Canadian.

Abstract— Identity formation is integral to every human being where by a person locates oneself in society. However, in the case of immigrants, many of them undergo identity transformations as part of their adjustments with the host society. Bharati Mukherjee’s ‘Jasmine’ is the story of a village girl from India who immigrates to America and undergoes multiple identity transformations to assert her place in the American society. This paper is an exploration into Jasmine’s journey of transformed identities and how she emerges not only as a survivor but also a successful immigrant in America. It explains why these different identities are integral for her survival as an immigrant and ultimately throws light into the fact that for immigrants if the past is replete with sufferings and hopelessness, it is better to discard the past and move forward in life.


Index Terms— Identity, transformations, immigrant, survival, Bharati Mukherjee

Nostalgia is part of a migrant's everyday life: although lived, imagined, invented and re-invented in dramatically different ways. In this article, I use an interdisciplinary approach and base my analysis upon two components of research: 1) Firstly, data collected at the Queens Museum of Art in Queens, New York City, through the multimedia installation "Al Locro Lado", whereby, my voice and that of my Ecuadorian anthropology colleague María Fernanda Moscoso were brought together with those of the audience while exploring material elements related to food, nostalgia, identities, symbols, nationhood and migration. 2) And secondly, data collected between 2009 and 2010 within the Ecuadorian community mostly in Queens, New York. I use these findings to re-think notions of space and the continuum of transnational identities in relation to food and citizenship.

This piece will be walking, writing, meditating in in-between spaces with me. I call this act queer walking meditation, which blended autohistoria, the Coatlicue State, and meditation to examine my own queer self. This queer walking meditation helps me move between stories, initiates dialogues with a self, recognizes my self’s confusion, and leads to a series of actions to fight against the struggles and complicatedness in my identities. As a result, I learned how to mediate and take actions for myself and with my students from the standpoint of a Vietnamese queer, accented, Teaching English to Speakers of Other Languages (TESOL) teacher and Chicana-feminist writer. This walk witnesses the cathartic process through which I came to understand intersectional identities and how I used them into teaching, researching, and writing in a white gay world. I came up with another question, Is that the feeling of intersectionality?, at the end of this walk in order to open another walk in the future.

The Cronaca Sovversiva (Subversive Chronicle) was an anarchist newspaper, known today for the views of editor Luigi Galleani, whose ideas are associated with multiple bombings carried out in the United States throughout the 1910s and 1920s, the First Red Scare and the executed anarchists Nicola Sacco and Bartolomeo Vanzetti. A broad reading of the Cronaca Sovversiva, which focusses on more than its connections to controversy, violence and repression, reveals how a periodical produced by a wide range of artists, writers and activists became central to how many Italian immigrants understood and engaged with industrial capitalism. This paper argues that the Cronaca Sovversiva built an audience over time by incorporating a wide range of perspectives, addressing local and global issues and linking readers with other forms of literature as well as community events and projects. Diverse works of radical literature, art and announcements in the periodical, set within the predictable, repetitious framework of a weekly community paper, allowed a germinating militant movement to develop throughout and outside the Cronaca Sovversiva's pages.

Among the papers left in the house in San Francisco that William Saroyan (1908-1981) built for his mother and sister after his first successes on Broadway in 1939-1940 was a totally unknown first novel, written in 1929 upon return from his first great travel experience, a failed pilgrimage to New York City.  He arrived in Manhattan by bus from San Francisco on his twentieth birthday, 31 August 1928, determined to make a breakthrough as a young writer.  He titled the work Follow and until its discover less than a decade ago, it was assumed he had not ventured into writing novels until after his early success in the short story (ten collected volume from 1934 to 1941) and the theater, starting in 1938.  The work dates five years before his story “The Daring Young Man on the Flying Trapeze,” which launched his literary career with great fanfare and became the title of his first book, The Daring Young Man on the Flying Trapeze and other Stories (1934).  Follow, a thinly veiled autobiographical account of his first attempt to break away from home, was serialize in the Fresno Bee in 2008 during the centenary of his birth.  It was then recommended to the Press at California State University, Fresno, by Dickran Kouymjian, who divided the manuscript into two parts and wrote a long Introduction-Foreward contextualizing the work within Saroyan’s very prolific writing career.  William B. Secrest, Jr. edited the final volume and added to it five unpublished early stories from the dark New York experience he found in Saroyan’s archives at Stanford University.  Included in this excerpt from the book are its covers, the title pages, and the detailed Foreward.

Jonas Hassen Khemiri, born in 1978, is one of the most interesting contemporary Swedish and European writers with a Tunisian immigrant background. His second novel "Montecore: en unik tiger (Montecore: The Silence of the Tiger)," published in 2006, has got an epistolary form deducted from the exchange of letters between Kadir and Jonas. However, the main character of the novel is Abbas Khemiri - the disappearing, estranged father of Jonas-a figure close to the real writer. Khemiri's book has got an innovative linguistic form and contains many erudite references to the phenomena of popular culture. It is also a complex portrayal of the different generations of (mainly Arab-based) immigrant and post-immigrant communities in Sweden coupled with a nuanced look on bright and dark sides of the Swedish state, model of identity and integration. This material is enriched by the examples taken from Khemiri's novel "Everything I Don't Remember and short story As You Would Have Told It To Me (Sort Of) If We Had Known Each Other Before You Died."

What do Jonas Hassen Khemiri from Sweden and Yahya Hassan from Denmark have in common? Apart from the visual commonalities – they both have a non-white physical appearance – they share an outstanding commercial and critical success. Using these young, highly hyped, bestselling authors as examples, this paper aims at discussing the iconic function of the 'immigrant writer's' authentic body in the public discourse on 'national' and 'immigrant' identities. The emphasis lies on the marketability of an 'immigrant writer', which derives its commercial value from the ico-nicity based on ethnic visibility, recognizability and exemplarity. I want to draw a connection between the existing fixed iconography of an 'immigrant' in the mass media and the visual ethnicized representations of Khemiri and Hassan in the daily press and put their literary performance into the socio-political context. This paper considers their popular author-images as objected icons of hege-monic normative discourses on national culture, while it simultaneously understands their subversive literary and extra-textual renegotiations of national self-imagery as iconoclasms of traditional order of 'Swedishness' resp. 'Danishness'. Rather than going into deep textual analysis, I focus on the para-texts such as newspaper articles and book covers as iconic performances of the discourse on the ‘immigrant literature’.

Artykuł poświęcony jest rozmaitym sposobom prezentowania, omawiania i wartościowania dorobku polskiej literatury emigracyjnej w ukazującym się na początku lat 90. XX wieku „Tygodniku Literackim” (1990-1991). W tekście przybliżono, jakie było miejsce literatury emigracyjnej w strukturze i hierarchii treści periodyku. Przedstawiono przekrój publikowanych tam tekstów dotyczących literatury emigracyjnej i emigracyjnego życia literackiego, w tym: omówień, szkiców, recenzji, polemik czy wywiadów. Ukazano zjawiska emigracyjności i postemigracyjności jako kategorie regularnie poddawane literackiej i krytycznoliterackiej refleksji (zwłaszcza w recenzjach) twórców omawianego pisma. Scharakteryzowano, jakie fragmenty poezji, prozy czy tekstów scenicznych twórców emigracyjnych były prezentowane w poszczególnych wydaniach „Tygodnika Literackiego”. Podjęto próbę zdefiniowania różnych strategii redakcji pisma odnośnie do prezentowania dorobku pisarstwa emigracyjnego. Nakreślone zostały najważniejsze dyskusje i spory dotyczące literatury emigracyjnej, które miały miejsce na łamach czasopisma. Podkreślono aktywny udział redakcji periodyku w toczących się na początku lat 90. XX wieku sporach o miejsce i rolę literatury emigracyjnej w całokształcie literatury polskiej po upadku systemu komunistycznego. Wskazano najważniejsze – z punktu widzenia środowiska twórczego „Tygodnika Literackiego” – postacie emigracyjnego życia literackiego, z Gustawem Herlingiem-Grudzińskim na czele.

CREATIVE LIFE AND IMMIGRANT LITERATURE IN THE TYGODNIK LITERACKI (1990–1991)

The article offers an overview of various ways of presenting, discussing and assessing Polish immigrant literature in the Tygodnik Literacki [Literary Weekly] published in the early 1990s (1990–1991). It demonstrates the significance of immigrant literature in the structure and hierarchy of the periodical. It shows the variety of the published texts concerning immigrant literature and the creative life of the Polish diaspora, including reports, drafts, reviews, polemics and interviews. The concepts of emigration and postemigration were phenomena of utmost significance both for writers and literary critics publishing their texts in the periodical under consideration (in reviews, in particular). The article presents which extracts of prose, poetry and plays by immigrant writers were presented in specific issues of the Tygodnik Literacki. Moreover, the author attempts to define the strategies used in the periodical to present immigrant literature. He also refers to the most significant discussions and conflicts concerning Polish immigrant literature, as presented in the periodical. Furthermore, he emphasizes the crucial role of the periodical’s editors in the discussion concerning the significance of immigrant literature in Polish literature in general after the collapse of the communist system. Finally, the article shows whom the editors and contributors of the Tygodnik Literacki perceived to be the most important Polish immigrant writers, with Gustaw Herling-Grudziński at the top of the list.

İnsanlar tarih boyunca; siyasi, ekonomik, dini ya da bireysel nedenlerden
dolayı yaşadıkları yerlerden göç etmişlerdir. Bu nedenle insanlık tarihinin
göçler tarihi olduğu söylenir. Göç sonucunda bireylerin hayatlarında köklü değişiklikler ortaya çıkar. 1961’de Türkiye ile Almanya arasında imzalanan işgücü anlaşmasından sonra Almanya’ya çalışmaya giden Türk işçiler de burada birçok sorunla karşılaşmışlardır. İşte göçün ve onunla ilişkili sorunların göçmen yazarlar tarafından edebi eserlerde tema olarak işlenmesi sonucunda Göçmen Edebiyatı ortaya çıkmıştır. Eserlerinde göçü anlatmış olsalar da göç sürecini yaşamayan ya da göçün sonuçlarından bizzat etkilenmeyen yazarların eserleri ise ancak Göç Edebiyatı içerisinde değerlendirilebilir. Değişik nedenlerle Almanya’ya göç eden; Bekir Yıldız (1933-1998), Dursun Akçam (1930-2003), Fakir Baykurt (1929-1999), Fethi Savaşçı (1930-1989) gibi birçok yazar eserlerinde Almanya’ya göçten ve göçle ilişkili birçok sorundan bahsetmişlerdir. Toplumcu gerçekçi bir yazar olan Fakir Baykurt da eserlerinde Türkiye’de iken köy gerçekliğinden, köy hayatından; Almanya’ya gittikten sonra da Almanya’daki Türklerin yaşadıkları sorunlardan bahsetmiştir. Biz de bu çalışmada Fakir Baykurt’un Almanya’yı anlatan hikâyelerinde Türk çocuklarının yaşadıkları eğitim sorunlarını nasıl ele aldığını, Türkiye’den Almanya’ya olan göç sürecinin sonuçlarının eğitim ile olan ilişkisini inceledik. Bu kapsamda onun; Gece Vardiyası (1982), Duisburg Treni (1986), Barış Çöreği (1986) ve Bizim İnce Kızlar (1993) adlı eserlerindeki eğitimle ilgili olan yirmi iki hikâyesini inceledik.

Of course, my novel “Goodbye, M.K. Gandhi” is a political satire. I had not written it to impress anyone by speaking about various issues openly. Currently, COVID-19 has taught us that there are not only health crises but also political crises. But the Governments cannot be blamed alone. We must forget our own joy and sorrow where our children’s future is concerned. What we have turned many of our politicians into a monster. In this belief it is my hope to allow the intellectual mind to Think or Rethink.
I have arrived at my home in Patna after quite a dangerous journey. There were men, women and children on their journey on foot. Many children had died on the way. There were also migrant workers stuffed in overcrowded lorries rolling in dust. But there was only one road to follow for all of them. Whether rich or poor, but there was only one hope to follow. The time has come to think or imagine. This is not something we should ever think to amuse oneself but to regret the losses already occurred on the road. I have since learnt to understand the life of the poor people of India. Undoubtedly, they are the best people in the world. Now we began to become acquainted with the heart of poor. How they might have felt without food, water, shelter, security and health?
Immigration or migration is the key to the country’s future. As COVID-19 lockdown unlocks, migrants on another journey – back to work in the novel.


"Tens of thousands of daily-wage migrant workers suddenly found themselves without jobs or a source of income when India announced a lockdown on 24 March. Overnight, the cities they had helped build and run seemed to have turned their backs on them, the trains and buses which should have carried them home suspended. So with the looming fear of hunger, men, women and children were forced to begin arduous journeys back to their villages - cycling or hitching rides on tuk-tuks, lorries, water tankers and milk vans. For many, walking was the only option. Some travelled for a few hundred kilometres, while others covered more than a thousand to go home. They weren't always alone - some had young children and others had pregnant wives, and the life they had built for themselves packed into their ragtag bags. Many never made it."
Source: https://www.bbc.com/news/world-asia-india-52672764

ہجرت روزِاوّل سے ہی انسان کا مقدر رہی ہے۔ یہ ایک ایسا عمل ہے جس کا سامنادُنیا کے پہلے انسان حضرت آدم علیہ السلام اور ان کی اہلیہ حضرت حواّکو بھی کرنا پڑا۔ اُردو میں لفظ مہجری عربی زبان سے لیا گیا ہے جس میں ہجرت کو موضوع بنایاجاتا ہے۔انگریزی میں مہجری کے لیے ”Diaspora“ کی اصطلاح کا استعمال کیا جاتا ہے جس کا اصل ماخذیونانی لفظ ”Diaspeirein“ ہے جس کا معنی منتشر ہونے یاپھیلنے کے ہیں۔مختصر یہ کہا جاسکتا ہے کہ مہجری ”Diaspora“ کا مفہوم منتشر”Dispersal“ہونا یا پھیلنے scatterکے ہیں۔اجمالاً یہ کہ مہجری میں ہجرت کے مختلف پہلوؤں پر گفتگو کی جاتی ہیں۔ ابتداء میں اس اصطلاح کو صرف مذہبی سیاق و سباق میں دیکھا جاتا تھا بالخصوص یہودیوں کی ہجرت ’jews migration“تک ہی اس کا دائرہ محدود تھا۔بیسویں صدی میں مہجری Diasporaکی اصطلاح کو محدود دائرے سے نکال کر ایک وسیع تناظر میں دیکھا گیا۔اس اصطلاح مہجری کو مختلف ادوار میں کئی نشیب و فراز سے گذرنا پڑا اور اس کے الگ الگ معنی اور مفاہیم بیان کئے گئے۔بیسویں صدی کی ساتویں دہائی کے بعد اس اصطلاح کادائرہ کار وسیع کر کے ہر طرح کی ہجرت کو اس میں شامل کیا گیا۔اس نے علم کے ہر شعبے کو متاثر کیا جس میں،عمرانیات،اقتصادیات،سیاسات،تاریخ، ادب اورادبی تنقید وغیرہ خاص طور پر قابل ذکر ہیں۔مہجری فکراپنا ایک الگ وجوداورفکری اساس رکھتی ہیں جس نے علم کے باقی شعبوں کے پہلو بہ پہلو ادب پر بھی گہرے اثرات مرتسم کئے، علاوہ ازیں مہجری ادب کو ”and Expatirate litreature immigrant  جیسی اصطلاحوں سے بھی جانا جاتا ہے۔
عالمی سطح پر مہجری ادب کا دائرہِ کا ربہت وسیع ہے۔دنیاکی ترقی آفتہ زبانوں کی طرح اُردو میں بھی مہجری ادب کاایک قیمتی سرمایہ موجود ہیں۔یہاں اس بات کا ذکر ناگزیر ہے کہ دیار غیر میں رہنے والے اُدباء وشعراء کی ہر تخلیق کو مہجری ادب ”Diasporian litreature“کے زمرے میں نہیں رکھا جا سکتا بلکہ مہجری ادب کا اطلاق بالخصوص اس ادب پارے پر ہوتا ہے جس کی جڑیں فنکار کی پیدائشی سرزمین کی مٹی میں پیوست ہو

The post-colonial period brings a different form to the individuals and nations’ lives. The nations that were once colonized regain their independence, but the traces of colonialism can still be observed in their lives. In order to get adapted, people need to redefine the established ways of thinking, and this is the point where the subject matter of this dissertation, post-colonial juxtapositions and illusions, emerges.
As a writer who has an Anglo-Chinese background, Timothy Mo’s fiction is a true medium to analyse the juxtapositions and illusions within post-colonial context. Since the post-colonial illusion of having a new life engages the minds of the protagonists of the novels within the scope of this dissertation, they end up looking for ways out of their borders. Thus, discontented with their current circumstances, they leave their home and they set up a new life in a new environment. However, the post-colonial juxtapositions start to hunt their lives since they mostly live as immigrants or expatriates in a foreign setting. It appears to be a compulsion for them to be there for a better life, at the same time, they strive to go away since they cannot feel themselves as a part of the whole. Stuck in this vicious circle, people need to form new identities conforming to the post-colonial world. 
Being an outsider becomes an imposed identity on the people who live in post-colonial world. Hence, the cast away, discriminated, oppressed individuals; namely the outsiders form the basis of this dissertation, which is aimed at analysing Timothy Mo’s selected novels; The Redundancy of Courage, Renegade or Halo2, Sour Sweet and The Monkey King in terms of the post-colonial juxtapositions and illusions.