By Ann Coulter
Ann Coulter is again, extra fearless than ever.
In Adios, the USA she touches the 3rd rail in American politics, attacking the immigration factor head-on and flying within the face of l. a. Raza, the Democrats, a media decided to hide up immigrants' crimes, church buildings that receives a commission via the govt. for his or her "charity," and grasping Republican businessmen and crusade consultants—all of whom are profiting handsomely from mass immigration that's tearing the rustic aside. employing her trademark biting humor to the catastrophe that's U.S. immigration coverage, Coulter proves that immigration is crucial factor dealing with the United States this day.
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Extra resources for Adios, America
Sample text
Using the fiction of Toni Morrison, Salman Rushdie and Wilson Harris as case studies, it is clear that, regardless of the specifics of geographical location, postcolonial fiction can be seen to problematise the use of national space as the signifier of political engagement. The relationship between the contemporary postcolonial novelist and the nation must be set within the context of an anticolonial history that has seen ideas of independent nationhood as integral to liberation. The concept that liberation from colonial power has most notably been enacted on a national scale, rather than through local politics, has ensured the prominence of the nation in postcolonial discourses.
What exists is on one level a body, on another level an international community, but on no level a nation. However relevant the political analysis, to ignore this perspective in Harris’s work is to underestimate the originality of his vision. And whilst Johnson’s comments may be pertinent, they exist within a field that is more reluctant to take on Harris’s own message in readings of his fiction. Robert Carr, for example, provides a detailed and fascinating reading of The Guyana Quartet (1960–63).
The Politics of Post-Space 21 they highlight the very crucial sense in which order is always an imposition, and how chaos reflects the state of space everywhere, rather than a reading which would facilitate the exoticisation of colonised spaces. Writing in English, and what are to different degrees magical narratives, their texts provide particularly powerful engagement with the elements of counter-realism and language that I have identified as central to postcolonial subversion. Finally, writing novels that move from colonial occupation to postcolonial independence, they capture precisely the sense of post-space as relevant to both colony and postcolony – to the legacy of colonial power and its very real continued operation – that is central to my concerns.