Biography

Writing

In Aboulela’s fiction, we witness how an engagement with colonial history can help to make sense of the present, particularly the often-fraught relationship between Islam and the West. River Spirit (2023) and The Kindness of Enemies (2015) are historical fictions that explore the evolution of the term jihad before and after colonization to illustrate the West’s changing perspectives on Islam, shaped by the specifics of conflicts in Sudan, Russia, and Afghanistan. The works consider the possibility of fostering meaningful dialogue between these two old adversaries through the experiences of Muslim women. Aboulela positions her female Muslim protagonists in Aberdeen, Khartoum, and London as they tell stories of love, migration, terrorism, jihad, loss, and war. Characters like Sammar in The Translator, Najwa in Minaret, or Salma in Bird Summons, struggle to develop a bond with their adopted homes due to the rise in Islamophobia in Britain. However, their eventual success in finding love and home through faith even while living in a secular environment, suggests the difficulty of sustaining a distinct secular-religious binary.

Aboulela’s fiction does not shy away from religious themes. The presence of Islam in her work lays down a challenge to postcolonial theorists who privilege categories of race, gender, class, and empire in their analyses of literary texts, and overlook the impact of religion in colonial history. The post-secular aesthetic of her work, and her engagement with various versions of history, especially in the representation of Muslim women, have made her writing both controversial and compelling. She is one of a number of modern writers for whom faith and fiction are intertwined, comparable in this sense to Catholic writers like Muriel Spark, Graham Greene, Evelyn Waugh, Anthony Burgess and Flannery O’Connor. Aboulela’s characters do not adhere to strictly orthodox interpretations of Islam, however. For Aboulela, sharia is “something personal […] something you would follow yourself. It does not need anyone else to implement it” (Aboulela 2009, 97). Faith is central to Najwa’s life and identity in Minaret, even if she does not always adhere to the tenets of her religion. During her difficult and occasionally traumatic sexual relationship with Anwar, it is faith that helps her: “I reached out for something new. I reached out for spiritual pleasures […]. Sometimes the tears ran down my face. I sweated and felt a burning along my skin, in my chest. This was the scrub I needed” (Aboulela, 2005, 243, 247). Islam does not give answers to all of Najwa’s questions, but it does provide her with a sense of solace and peace.

Aboulela also demonstrates through her work that Islam has been hijacked by corrupt postcolonial governments and extreme right-wing groups who have reduced its complexity to a reductive religious ideology. By contrast, a more nuanced understanding of Islam can ultimately lead to the demise of despotic rulers and egotistical Imams, as Sammar, the protagonist of The Translator, points out to Rae:

‘One hadith that says, “The best Jihad is when a person speaks the truth before a tyrant ruler.” It is not often quoted and we never did it at school. I would have remembered it.’ 

‘With the kind of dictatorship with which most Muslim countries are ruled’, he said, ‘it is unlikely that such a hadith would make its way into the school curriculum’                                                                                                             

‘But we should know. . .’ (Aboulela, 1999, 105)

In her interview with Sadia Zulfiqar, Aboulela discusses in detail her creative process, what inspires her as a writer, and how the historic love-hate relationship between Islam and the West is portrayed in her work. Aboulela emphasises that ‘women’s interior lives matter, and they know that it matters. The text gives them the space to explore, to move at their own pace, to zigzag back and forth. It is not necessary to leave the world of Islam to achieve this—the tradition is rich, and the geography is limitless’. As the interview shows, Aboulela’s work also contributes in important ways to a better understanding of the Western gaze as it is cast onto North Africa, in particular, and to debates about how we might decolonise the curriculum. Informed by her early reading of Frantz Fanon and Edward Said, as well as the work of fellow Sudanese author Tayeb Salih, she has carved out a path distinguished by a subtle engagement with the daily lives of Muslim women, both at home and abroad, whom she portrays in all their richness and complexity.

—Sadia Zulfiqar, 2024

Cite this: Zulfiqar, Sadia. “Leila Aboulela .” Postcolonial Writers Make Worlds, 2024, https://writersmakeworlds.com/leila-aboulela. Accessed 17 April 2026.

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Biography

Writing

Diran Adebayo, photographed by Lawrence Watson for his exhibition, In Darkness, Light, 2016 (image © Lawrence Watson)

Adebayo’s 1996 debut novel Some Kind of Black was heralded as signalling the rise of a new generation of Black British authors whose work was simultaneously self-critical and critical of the society in which it was incubated. The novel portrays a fictional alter-ego of the author in a shadowy coming-of-age tale set in the protagonist’s sex and drugs-fuelled youth in Oxford and London. Zadie Smith has praised Adebayo’s work for its self-aware portrayal of the flawed human condition, while other critics have suggested that it does not go far enough to interrogate the tensions between different Black British identities that the novel raises at its outset. Adebayo’s work is crucially influenced by black-on-black gang violence and racial politics. Some Kind of Black won the inaugural SAGA prize, the Writers Guild of Great Britain’s New Writer of the Year Award, a Betty Trask Award, and The Authors’ Club’s ‘Best First Novel’ award. It was long-listed for the Booker Prize and has since become a Virago Modern Classic.

His second novel My Once Upon a Time traces an ambiguously named detective, Boy, as he seeks out an abstract concept (love) for a mysterious client. This novel deploys magical realist techniques to explore black masculinity and relationships. Adebayo’s more recent work as an essayist concentrates on providing social commentary on race in Britain and he is also currently writing a sport-accented memoir.

—Chelsea Haith, 2019

Cite this: Haith, Chelsea. “[scf-post-title].” Postcolonial Writers Make Worlds, 2019, [scf-post-permalink]. Accessed 17 April 2026.

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Biography

Writing

Patience Agbabi (CC BY-SA 4.0) via Wikimedia Commons

Patience Agbabi came to prominence in the spoken word scene in the late 1990s. This followed her acclaimed debut collection R.A.W., her collaboration with Adeola Agbebiyi and Dorothea Smart on FO(U)R WOMEN, and the success of Atomic Lip, touted as poetry’s first pop group. Mixing rap with a poetic style influenced by writers and performers as diverse as Sylvia Plath, Samuel Taylor Coleridge, and Public Enemy, Agbabi’s work is inflected by what she terms a ‘bicultural’ upbringing and outlook.

In the introduction to Agbabi’s debut collection R.A.W., Merle Collins describes her work as ‘poetry in the tradition of social commentary, informed by techniques of the oral performance mode,’ (9) reminding the reader that performance is Agbabi’s primary communication method. Yet she is equally adept at writing poems meant specifically to be read rather than heard. The poem ‘One Hell of a Storm’, for example, relies on visual structure to convey its meaning, evoking the rush of turbulent weather within a narrative of feminist resistance. Her 2000 collection Transformatrix brought Agbabi particular renown and she undertook writing residencies at institutions as diverse as Eton College, Oxford Brookes University, and ‘Flamin’ Eight’ tattoo parlour.

Her third collection, Bloodshot Monochrome (2008), deals most explicitly with themes of sexuality and race: poems such as ‘Comedown,’ ‘Skins’ and ‘Eat Me’ evoke the transnational anxieties of marginalisation and uncertain belonging in one’s own body and in social space. Literary critic Manuela Coppola notes that ‘as she steps beyond safe boundaries of literary conventions in a creative interplay of formal constraint and experimentation, Agbabi queers the sonnet form, destabilizing normative gay, lesbian, black, men’s and women’s identities’ (369). The comment gestures to the multiple influences on Agbabi’s work and her adept reshaping of traditional poetic forms so as to produce new conceptions of intersections between race, gender, and sexuality—conceptions that are loaded with social and political critique.

During her time as the Canterbury Poet Laureate, Agbabi produced her fourth collection, Telling Tales (2015), in which she satirically revises Chaucer’s fourteenth-century Canterbury Tales for modern times. Simon Armitage lauded Telling Tales as ‘the liveliest versions of Chaucer you’re likely to read.’ This collection was also shortlisted for the 2014 Ted Hughes for New Work in Poetry. In 2015, responding to the growing refugee crisis, Agbabi participated in the first Refugee Tales walks with Gatwick Detainees Welfare Group and Kent Refugee Help. The resulting collection of work from this project, published in 2016, reflects the capacity of the written word to capture otherwise inarticulable experiences of dislocation. Resistance to the dehumanising of refugees in the media and political narrative is encapsulated in the final line of Agbabi’s contribution to the collection: ‘The story ends where you put the frame: / but however it begins, remember my name’ (132).

—Chelsea Haith, 2019

Cite this: Haith, Chelsea. “[scf-post-title].” Postcolonial Writers Make Worlds, 2019, [scf-post-permalink]. Accessed 17 April 2026.

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Biography

Writing

Akala at the Hull Jazz Festival, 2015 (Photo: Ben Pugh CC BY 2.0)

Since the publication of Natives: Race and Class in the Ruins of Empire, Akala has become a prominent commentator on empire and race, both in Britain and globally. Written in the wake of a resurgent white nationalism, Natives is a tour de force of imperial history and anti-racist critique, and a must-read for anyone hoping to understand Britain today. Akala dropped out of college and did not attend university, valuing other forms of community-based knowledge and autodidacticism instead. He has spoken proudly of the pan-African Saturday school he attended as a child, and his aptly named 2012 two-part mixtape, Knowledge is Power, places an emphasis on knowing your own history and your place in the world (“when you hear somebody’s rapping, the base of it is African […] Don’t let them tell you ‘bout yourself”). In 2018, just months after Natives was published, he was awarded no fewer than two honorary doctorates – one from Oxford Brookes University and the other from the University of Brighton – for his book about anti-racist politics and history. As he joked in his Twitter handle for some time afterwards, he is now “Dr Dr Akala”.

Akala’s artistic career extends back far longer than this most recent book, however. His older sister is the ground-breaking female rap artist Niomi Arleen McLean-Daley MBE, otherwise known as Ms Dynamite. Because of his stepfather’s theatrical work, Akala saw “more theatre growing up than any rich child is likely to”, and the power of performance to make new worlds is a central theme in his work. Akala scatters Shakespearean references into much of his hip hop work; in fact, the fourth track on his first studio album, It’s Not a Rumour (2006), is named after the Bard. As he raps on “Shakespeare”:

It’s William back from the dead
But I rap about gats and I’m black instead
It’s Shakespeare, reincarnated.

The lyrics to his later track, “Comedy Tragedy History” (2007), build the titles of twenty-seven Shakespeare plays into its first two verses, which Akala wrote in less than half an hour during a live challenge on BBC Radio 1Xtra. In 2009, he established The Hip-Hop Shakespeare Company, an organisation leading live events, educational workshops, and theatre productions that reinterpret Shakespeare’s works while at the same time “expanding the Hip Hop art form as a medium of self-expression for the masses”.

Akala remains at once an activist and an artist, as captured once again in his epic poem, “The Ruins of Empires”, an abridged version of which he performed live for the BBC in 2018. Anti-imperialist in his politics and anti-racist in his practice, Akala’s is a holistic vision: he has the ability to see how disparate crises are connected by global histories and the ambition to build worldly solidarities in response. While recognising how tough the struggle for these solidarities can be, in his own life and practice Akala has demonstrated that theatre, performance, and writing must be central to any worthwhile attempt.

—Dominic Davies, 2020

Cite this: Davies, Dominic. “[scf-post-title].” Postcolonial Writers Make Worlds, 2020, [scf-post-permalink]. Accessed 17 April 2026.

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Biography

Writing

Monica Ali in 2011. Photo: Mon.Ali.1967 (CC BY-SA 4.0)

Besides Brick Lane, Monica Ali’s major works include the novels Alentejo Blue (2006), In the Kitchen (2009), and Untold Story (2011). In each of these works, she turns to a different social context to explore themes of domesticity, immigration, multicultural (dis)integration, linguistic difference, and cultural alienation.

Brick Lane is largely set amongst the eponymous Bangladeshi community in East London and shadows Nazneen, a young woman who has followed her UK-based husband from Bangladesh after an arranged marriage. Alentejo Blue, by contrast, slips effortlessly into a village in the south of Portugal, and tracks the lives and perspectives of an ensemble of characters through an inventive reformulation of the novel into a ‘novel-in-stories.’ Its form shapeshifts between a loosely clipped-together set of short stories and a novel whose membranes stretch between the characters’ interlinked worlds.

In the Kitchen stages a return to multicultural London, retracing the footsteps of Brick Lane, in some ways, but also looks at a broader sweep of characters to de-centre ideas about what constitutes contemporary British culture and identity. Set in a restaurant in central London, the novel manipulates the key metaphor of the kitchen to foreground the contours of this new Britain as a melting pot of flavours—one that simmers its discontents to the surface as frequently as it melds together despite differences. Ali sets up a spectrum of characters whose attitudes range from nostalgia for a bygone, ‘authentic’ Britain, to identification with the changing fabric of social life formed of robust new immigrant communities and movements. In so doing, she offers a carefully distilled meditation on ‘Britishness’ and cultural transition.

Ali’s most recent novel, Untold Story, edges into the realm of speculative fiction, albeit of a wholly unexpected kind. Ali imagines an alternative future for a character inspired by the life of Diana, Princess of Wales (1961-1997), who manages to escape the tragic fate of her real-life counterpart.

A preoccupation with the impact of interpersonal relationships, gender identity, and political change cuts across Ali’s versatile literary output. Women and their tense, constrained relationships with men and the larger world figure as important strands in her narratives, as does a fascination with language and its diverse idiomatic uses across different geographical spaces. Ultimately, as Ali has stated in a 2013 interview, ‘issues of identity, of what constitutes “self,” of belonging and not belonging’ are the pivotal questions which drive her work.

—C. S. Bhagya, 2021

Cite this: Bhagya, C. S. “[scf-post-title].” Postcolonial Writers Make Worlds, 2021, [scf-post-permalink]. Accessed 17 April 2026.

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Biography

Writing

Moniza Alvi, 2016, Poets & Players (CC BY 3.0)

‘If I think about my work as a whole’, Moniza Alvi has said, ‘I can see that there is a theme of a split, a split I try to mend, it could be between England and Pakistan, body and soul, or husband and wife’. The same word, ‘split’, reappears in the title of her major retrospective, Split World. It is a clearly a world that interested her.

A split can be a painful fracture, a stratification or division, or a productive or enabling duality, and all of these meanings are explored in Alvi’s verse. Split is also a verb, and many of Alvi’s poems dramatize the process of a mind cleaving from its immediate surroundings: a British schoolchild fantasising about a different life in Pakistan, or a woman imagining the life of her daughter upstairs.

Fantasy is central to Alvi’s work. ‘People misunderstood’ her first collection, she has claimed: they ‘thought I was writing about my memories of Pakistan. I was writing about my fantasies. I hadn’t been there’. Poems from The Country at My Shoulder – such as those in the ‘Presents from Pakistan’ sequence – extrapolate surreal fantasies about Pakistan based on the few glimpses of Pakistani life which have pierced the speaker’s suburban British world.

Travelling to the Indian subcontinent for her second book A Bowl of Warm Air enlarged Alvi’s canvas. Poems like ‘An Unknown Girl’ explore the split between British-Asian and (in this case) Indian experience: the Indian fetish for ‘Western perms’ intersecting with the British-Asian desire for an ancestral destination in which to escape from those same ‘Western’ fashions.

Some of Alvi’s finest poems from her later career, such as ‘Eine Kleine Nachtmusik’ from Souls (2002) explore parenthood, the split between parents and children, whilst her book-length poem At the Time of Partition revisits the tragic impacts of the historical ‘splitting’ of India from Pakistan in 1947.

—William Ghosh, 2017

Cite this: Ghosh, William. “[scf-post-title].” Postcolonial Writers Make Worlds, 2017, [scf-post-permalink]. Accessed 17 April 2026.

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Biography

Writing

Raymond Antrobus, 2017 (Photo: Robert Sharp / English PEN, CC BY-NC-SA 2.0 via Flickr)

A dynamic contemporary poet, Antrobus is fast becoming one of the most acclaimed of his generation. His effervescent work testifies to the power and sophistication of British verse today. Merging the worlds of spoken and written poetry, his poems deploy arresting sonic effects to offer often hard-hitting social commentary. As a poet who is deaf, Antrobus also often integrates sign language into his performances and grapples with questions of communication in lively and captivating ways. He has an unmistakable mode of address and whether they are heard on stage or read aloud, Antrobus’s poems are impossible to forget.

His compositions have a direct, conversational quality, a feature that owes much to the importance of spoken word to the formation of his career and to his status a poet who foregrounds the power of hearing and being heard.

One of his earliest publications was Shapes & Disfigurements of Raymond Antrobus (2012), which was succeeded in 2017 by another pamphlet, entitled To Sweeten Bitter. The latter unpacks the bonds between himself and his late father, who had passed away three years before. In 2018, his first book, The Perseverance, was released to wide acclaim. Named after a pub of the same name in his hometown of Hackney, Antrobus’s debut is grounded in his life growing up in London. Among its many themes, the collection explores his experiences as a deaf poet interested in the spoken word. As a child, he was bullied at school for his deafness and was briefly misidentified as dyslexic.

Now, as an adult, his writing features on school syllabuses and he maintains his passion for teaching by linking his poetry with education. For Antrobus, this is one of the most important facets of his career as, in his words: ‘I felt that I got more education outside the classroom. That was part of why I started working in schools’ and bringing modern poetry to students. He also notes the worrying statistic that 75% of young deaf people in the UK, and 95% of deaf Jamaicans, are raised illiterate due to failings and ignorance in their education systems. This concern is one he passionately aims to flag up and help resolve through both his poetry and his teaching.

—Daniele Nunziata, 2020

Cite this: Nunziata, Daniele. “[scf-post-title].” Postcolonial Writers Make Worlds, 2020, [scf-post-permalink]. Accessed 17 April 2026.

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Biography

Writing

Nadeem Aslam, Grand Openings, Oct. 21, 2008, by kinikkin reims (CC BY-NC-ND 2.0) via Flickr

Nadeem Aslam has spent the bulk of his writing life producing fiction and prefers to maintain a distance from non-fiction’s disconcerting tendency to reveal the authorial self. His published works have touched upon a wide array of topics, from honour killings and religious schisms in the global Muslim community, to the Soviet invasion of Afghanistan during the Cold War and 9/11.

His debut novel Season of the Rainbirds (1993) offers an intimate portrayal of a Pakistani community torn apart by the discovery of a murder. Aslam examines how such local tragedy intersects with wider political trends, with catastrophic results for the people involved. The emphasis on connections between local and global history is typical of Aslam’s oeuvre, especially so in The Wasted Vigil (2008), which traces the roots of 9/11 to the 1979–89 Soviet-Afghan war. His novels are informed by an acute awareness of the intertwining of seemingly disconnected histories – of both people and places – in an increasingly globalizing world. Within his works, this consciousness manifests in the form of a richly diverse cast of characters, of varying geopolitical origins and religious temperaments.

In their exploration of Islam, his novels draw upon its religious history and multiple aesthetic traditions, anatomizing the different ways in which it is practised globally – especially in Pakistan, Afghanistan and Britain. Aslam’s writing is particularly invested in revealing the violent misogynist underpinnings of the more conservative aspects of Islam: this forms the crux of his second novel Maps for Lost Lovers (2004), and his Granta short story Leila in the Wilderness (2010). He returns to his home country in his last two novels, The Blind Man’s Garden (2013) and The Golden Legend (2017).

Aslam’s novels are penned in a lush, poetic prose that has attracted the praise of critics for its vivid imagery and evocative tenor, while also raising questions about the twinning of beauty and terror. Not one gratuitously to underscore beauty for its own sake, he maintains that he uses it to ask ‘certain metaphysical and spiritual questions’: his works are preoccupied with interrogating whether ‘the horrors of the world diminish the beauty of the world, and ­– equally importantly ­– [if] the beauty of the world diminish[es] the horrors of the world’.

—C. S. Bhagya, 2018

Cite this: Bhagya, C. S. “[scf-post-title].” Postcolonial Writers Make Worlds, 2018, [scf-post-permalink]. Accessed 17 April 2026.

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Biography

Writing

Malorie Blackman, 2008 (photo: Dominic Turner, CC BY-NC 2.0 via Flickr)

Writing for children and teens, Malorie Blackman’s career has spanned over three decades and has been instrumental in diversifying representation in children’s fiction in Britain. In 1997 Blackman won the Excelle/Write Thing Children’s Author of the Year Award for her books for new and younger readers between the ages of 3 and 11. Her picture books for new readers feature children of colour, providing much needed diversity in a market that in the 1990s was white-washed, and unfortunately remains overwhelmingly so. Thanks to authors like Blackman, the under-representation of minorities in Britain in children’s literature is changing, helped in part by the current trends of advocacy for diverse representation across media and book publishing.

Blackman’s reputation was well-established by the time she wrote the first of the Noughts and Crosses novels. In 2020 the series brought the author into the eye of a media storm following the release of the BBC television adaptation of the five-part book series. Refusing accusations of baiting a race war, Blackman argued for the revisionist politics of the reversal of racial dominance in the novels, noting that Callum’s experiences are mapped directly on her own: ‘The things he goes through particularly in school happened to me, like asking my teachers where the black scientists were on the curriculum and being told there weren’t any.’ Blackman uses this provocative strategy of racial reversal that is also deployed in two of Booker Prize-winner Bernadine Evaristo’s novels, The Emperor’s Babe and Blonde Roots, using the effect of reversing race to highlight the illogic of racist ideology.

Blackman’s more well-known young adult fiction deals in particular with adolescent protagonists undergoing an experience of rapid maturity due to circumstances often beyond their control. Set in a dystopian world where one race rules over another, the five novels that comprise the Noughts and Crosses series offer a stark reversal of the long history of racial prejudice against people of colour. Noughts and Crosses was Blackman’s first and only series of novels in which she explored interracial relationships and the tensions of racial prejudice in Britain, thinly veiled as ‘Albion’ in the novels.

The characters in Blackman’s novels are usually black like the author herself, but their stories play out without their race being the major or most impactful aspect of the narrative, a choice that Blackman has intentionally made to resist being cast as a ‘black writer’. Following the release of Noughts + Crosses on BBC iPlayer in March 2020, Blackman refused to engage in accusations that she was ‘anti-white’ saying, ‘I’m not even going to dignify your absurd nonsense with a response.’ She experienced profound racism at school and during her young adult life, but worked hard to overcome these traumas, though recalls a deep regret that her first book by a person of colour was Alice Walker’s The Colour Purple at age 21. She has long been an advocate for diversity, facing racist abuse on social media in 2013 for expressing the importance of representation in children’s literature. Book Trust Represents statistics indicate that in the last 11 years, fewer than 2% of all authors and illustrators of children’s books published in the UK were British people of colour. Since then, more authors have spoken out about the necessity for diversity in children’s literature, most notably the author Sharna Jackson.  

While Blackman is best known for her children’s fiction, she has also had success writing for the screen. Her science fiction novel Pig Heart Boy (1997) explores thirteen-year-old Cameron Joshua Kelsey’s experience of xenotransplantation (animal-to-human organ transplant). This became a BBC children’s television series, for which Blackman also wrote the script, which won a BAFTA for Best Drama and a Royal Television Society Award.

In 2008 Blackman received an OBE for her services to Children’s Literature and in 2013 she won the Black Tentacle at The Kitschies, Britain’s literary award for ‘outstanding achievement in encouraging and elevating the conversation around genre literature’. Blackman has been described by The Times newspaper as ‘national treasure’ and has been instrumental in diversifying the face and stories of children’s and young adult literature in Britain.

—Chelsea Haith, 2020

Cite this: Haith, Chelsea. “[scf-post-title].” Postcolonial Writers Make Worlds, 2020, [scf-post-permalink]. Accessed 17 April 2026.

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Biography

Writing

Vahni Capildeo, 2008, Georgia Popplewell (CC BY-NC-ND 2.0)

Concentrating on notions of home and belonging in her most recent collection Measures of Expatriation (2016), Capildeo’s work gestures broadly to contemporary concerns about migration, expatriation and displacement, but is also deeply interested in exploring the details of everyday life. She engages with subjects ranging from mental illness and a Londoner’s commute, to the meaning of shoes and broken relationships with the self and with others. Malika Booker described Measures of Expatriation as ‘poetry that transforms’, emphasising the way that the collection captures the experience of living in the liminal spaces of cultures, languages and traditions.

Capildeo also works between styles; experimenting in prose-poetry and dramatic monologues as well as in traditional verse and performance. Language has been a central concern in both her careful writing process and the content of her collections: her third and fourth publications, Dark and Unaccustomed Words (2012) and Utter (2013), were inspired by her time working as a lexicographer at the Oxford English Dictionary. ‘Language’s musicality structures my texts,’ she said in an interview, and her preoccupation with this musicality can be heard in the stylistic choices she makes in recordings of her poetry. Critics have praised Capildeo for the craftsmanship of her work. Brian Catling described her debut collection No Traveller Returns (2003) as ‘crafted silver turning on faultless glass’ and this quality has since developed into a poetic and cross-genre flair in her more recent work incorporating performance, art and sound.

—Chelsea Haith, 2017

Cite this: Haith, Chelsea. “[scf-post-title].” Postcolonial Writers Make Worlds, 2017, [scf-post-permalink]. Accessed 17 April 2026.

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