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Postcolonial literature

Postcolonial literature is the literature by people from formerly colonized countries, originating from all continents except Antarctica. Postcolonial literature often addresses the problems and consequences of the decolonization of a country, especially questions relating to the political and cultural independence of formerly subjugated people, and themes such as racialism and colonialism. A range of literary theory has evolved around the subject. It addresses the role of literature in perpetuating and challenging what postcolonial critic Edward Said refers to as cultural imperialism.

Migrant literature and postcolonial literature show some considerable overlap. However, not all migration takes place in a colonial setting, and not all postcolonial literature deals with migration. A question of current debate is the extent to which postcolonial theory also speaks to migration literature in non-colonial settings.

Terminology
The significance of the prefix "post-" in "postcolonial" is a matter of contention among scholars and historians. In postcolonial studies, there has not been a unified consensus on when colonialism began and when it has ended (with numerous scholars contending that it has not). The contention has been influenced by the history of colonialism, which is commonly divided into several major phases; the European colonization of the Americas began in the 15th century and lasted until the 19th, while the colonisation of Africa and Asia reached their peak in the 19th century. By the dawn of the 20th century, the vast majority of non-European regions were under European colonial rule; this would last until after the Second World War when anti-colonial independence movements led to the decolonization of Africa, Asia and the Americas. Historians have also expressed differing opinions in regards to the postcolonial status of nations established through settler colonialism, such as the United States, Israel, Canada, Australia and New Zealand. Ongoing neocolonialism in the Global South and the effects of colonialism (many of which have persisted after the end of direct colonial rule) have made it difficult to determine whether or not a nation being no longer under colonial rule guarantees its postcolonial status.

Pramod Nayar defines postcolonial literature as "that which negotiates with, contests, and subverts Euro-American ideologies and representations"

Evolution of the term
Before the term "postcolonial literature" gained currency among scholars, "commonwealth literature" was used to refer to writing in English from colonies or nations which belonged to the British Commonwealth. Even though the term included literature from Britain, it was most commonly used for writing in English written in British colonies. Scholars of commonwealth literature used the term to designate writing in English that dealt with the topic of colonialism. They advocated for its inclusion in literary curricula, hitherto dominated by the British canon. However, the succeeding generation of postcolonial critics, many of whom belonged to the post-structuralist philosophical tradition, took issue with the "commonwealth" label for separating non-British writing from "English" language literature written in Britain. They also suggested that texts in this category frequently presented a short-sighted view on the legacy of colonialism.

Other terms used for English-language literature from former British colonies include terms that designate a national corpus of writing such as Australian or Canadian literature; numerous terms such as "English Literature Other than British and American", "New Literatures in English", "International Literature in English"; and "World Literatures" were coined. These have, however, been dismissed either as too vague or too inaccurate to represent the vast body of dynamic writing emerging from British colonies during and after the period of direct colonial rule. The term "colonial" and "postcolonial" continue to be used for writing emerging during and after the period of colonial rule respectively.

"Post-colonial" or "postcolonial"?
The consensus in the field is that "post-colonial" (with a hyphen) signifies a period that comes chronologically "after" colonialism. "Postcolonial," on the other hand, signals the persisting impact of colonization across time periods and geographical regions. While the hyphen implies that history unfolds in neatly distinguishable stages from pre- to post-colonial, omitting the hyphen creates a comparative framework by which to understand the varieties of local resistance to colonial impact. Arguments in favor of the hyphen suggest that the term "postcolonial" dilutes differences between colonial histories in different parts of the world and that it homogenizes colonial societies. The body of critical writing that participates in these debates is called Postcolonial theory.

Critical approaches
Postcolonial fiction writers deal with the traditional colonial discourse, either by modifying or by subverting it, or both. Postcolonial literary theory re-examines colonial and postcolonial literature, especially concentrating upon the social discourse between the colonizer and the colonized that shaped and produced the literature. In Orientalism (1978), Edward Said analyzed the fiction of Honoré de Balzac, Charles Baudelaire, and Lautréamont (Isidore-Lucien Ducasse), exploring how they shaped and were influenced by the societal fantasy of European racial superiority. He pioneered the branch of postcolonial criticism called colonial discourse analysis.

Another important theorist of colonial discourse is Harvard University professor Homi K. Bhabha, (born 1949). He has developed a number of the field's neologisms and key concepts, such as hybridity, third-space, mimicry, difference, and ambivalence. Western canonical works like Shakespeare's The Tempest, Charlotte Brontë's Jane Eyre, Jane Austen's Mansfield Park, Rudyard Kipling's Kim, and Joseph Conrad's Heart of Darkness have been targets of colonial discourse analysis. The succeeding generation of postcolonial critics focus on texts that "write back" to the colonial center. In general, postcolonial theory analyzes how anti-colonial ideas, such as anti-conquest, national unity, négritude, pan-Africanism and postcolonial feminism were forged in and promulgated through literature. Prominent theorists include Gayatri Chakravorty Spivak, Frantz Fanon, Bill Ashcroft, Ngũgĩ wa Thiong'o, Chinua Achebe, Leela Gandhi, Gareth Griffiths, Abiola Irele, John McLeod, Hamid Dabashi, Helen Tiffin, Khal Torabully, and Robert J. C. Young.

Nationalism
The sense of identification with a nation, or nationalism, fueled anti-colonial movements that sought to gain independence from colonial rule. Language and literature were factors in consolidating this sense of national identity to resist the impact of colonialism. With the advent of the printing press, newspapers and magazines helped people across geographical barriers identify with a shared national community. This idea of the nation as a homogeneous imagined community connected across geographical barriers through the medium of language became the model for the modern nation. Postcolonial literature not only helped consolidate national identity in anti-colonial struggles but also critiqued the European colonial pedigree of nationalism. As depicted in Salman Rushdie's novels for example, the homogeneous nation was built on European models by the exclusion of marginalized voices. They were made up of religious or ethnic elites who spoke on behalf of the entire nation, silencing minority groups.

Negritude, pan-Africanism and pan-nationalism
Négritude is a literary and ideological philosophy, developed by francophone African intellectuals, writers, and politicians in France during the 1930s. Its initiators included Martinican poet Aimé Césaire, Léopold Sédar Senghor (a future President of Senegal), and Léon Damas of French Guiana. Négritude intellectuals disapproved of French colonialism and claimed that the best strategy to oppose it was to encourage a common racial identity for native Africans worldwide.

Pan-Africanism was a movement among English-speaking black intellectuals who echoed the principles négritude. Frantz Fanon (1925–1961), a Martinique-born Afro-Caribbean psychiatrist, philosopher, revolutionary, and writer, was one of the proponents of the movement. His works are influential in the fields of postcolonial studies, critical theory, and Marxism. As an intellectual, Fanon was a political radical and Marxist humanist concerned with the psychopathology of colonization, and the human, social, and cultural consequences of decolonization.

Back to Africa movement
Marcus Mosiah Garvey, Jr. (1887–1940), another proponent of Pan-Africanism, was a Jamaican political leader, publisher, journalist, entrepreneur, and orator. He founded the Universal Negro Improvement Association and African Communities League (UNIA-ACL). He also founded the Black Star Line, a shipping and passenger line which promoted the return of the African diaspora to their ancestral lands. Prior to the 20th century, leaders such as Prince Hall, Martin Delany, Edward Wilmot Blyden, and Henry Highland Garnet advocated the involvement of the African diaspora in African affairs. However, Garvey was unique in advancing a Pan-African philosophy to inspire a global mass movement and economic empowerment focusing on Africa. The philosophy came to be known as Garveyism. Promoted by the UNIA as a movement of African Redemption, Garveyism would eventually inspire others, ranging from the Nation of Islam to the Rastafari movement (some sects of which proclaim Garvey as a prophet).

Against advocates of literature that promoted African racial solidarity in accordance with negritude principles, Frantz Fanon argued for a national literature aimed at achieving national liberation. Paul Gilroy argued against reading literature both as an expression of a common black racial identity and as a representation of nationalist sentiments. Rather, he argued that black cultural forms—including literature—were diasporic and transnational formations born out of the common historical and geographical effects of transatlantic slavery.

Anti-conquest
The "anti-conquest narrative" recasts the indigenous inhabitants of colonized countries as victims rather than foes of the colonisers. This depicts the colonised people in a more human light but risks absolving colonisers of responsibility by assuming that native inhabitants were "doomed" to their fate.

In her book Imperial Eyes, Mary Louise Pratt analyzes the strategies by which European travel writing portrays Europe as a secure home space against a contrasting representation of colonized outsiders. She proposes a completely different theorization of "anti-conquest" than the ideas discussed here, one that can be traced to Edward Said. Instead of referring to how natives resist colonization or are victims of it, Pratt analyzes texts in which a European narrates his adventures and struggles to survive in the land of the non-European Other. This secures the innocence of the imperialist even as he exercises his dominance, a strategy Pratt terms "anti-conquest." The anti-conquest is a function of how the narrator writes him or her self out of being responsible for or an agent, direct or indirect, of colonization and colonialism. This different notion of anti-conquest is used to analyze the ways in which colonialism and colonization are legitimized through stories of survival and adventure that purport to inform or entertain. Pratt created this unique notion in association with concepts of contact zone and transculturation, which have been very well received in Latin America social and human science circles. The terms refer to the conditions and effects of encounter between the colonizer and the colonized.

Postcolonial feminist literature
Postcolonial feminism emerged as a response to the Eurocentric focus of feminism. It accounts for the way that racism and the long-lasting political, economic, and cultural effects of colonialism affect non-white, non-Western women in the postcolonial world. Postcolonial feminism is not simply a subset of postcolonial studies or another variety of feminism. Rather, it seeks to act as an intervention that changes the assumptions of both postcolonial and feminist studies. Audre Lorde's foundational essay, "The Master's Tools Will Never Dismantle the Master's House", uses the metaphor of the master's tools and master's house to explain that western feminism fails to make positive change for third world women because it uses the same tools as the patriarchy. Postcolonial feminist fiction seeks to decolonize the imagination and society. With global debt, labor, and environmental crises one the rise, the precarious position of women (especially in the global south) has become a prevalent concern of postcolonial feminist novels. Common themes include women's roles in globalized societies and the impact of mass migration to metropolitan urban centers. Pivotal texts, including Nawal El Saadawi's The Fall of the Iman about the lynching of women, Chimamanda Adichie's Half of a Yellow Sun about two sisters in pre and post war Nigeria, and Giannina Braschi's United States of Banana which declares the independence of Puerto Rico. Other major voices include Maryse Condé, Fatou Diome, and Marie NDiaye.

Postcolonial feminist cultural theorists include Rey Chow, Maria Lugones, Gayatri Chakravorty Spivak, and Trinh T. Minh-ha.

Pacific Islands
The Pacific Islands comprise 20,000 to 30,000 islands in the Pacific Ocean. Depending on the context, it may refer to countries and islands with common Austronesian origins, islands once or currently colonized, or Oceania. There is a burgeoning group of young pacific writers who respond and speak to the contemporary Pasifika experience, including writers Lani Wendt Young, Courtney Sina Meredith and Selina Tusitala Marsh. Reclamation of culture, loss of culture, diaspora, all themes common to postcolonial literature, are present within the collective Pacific writers. Pioneers of the literature include two of the most influential living authors from this region: Witi Ihimaera, New Zealand's first published Māori novelist, and Samoan poet Albert Wendt (born 1939). Wendt lives in New Zealand. Among his works is Leaves of the Banyan Tree (1979). He is of German heritage through his paternal great-grandfather, which is reflected in some of his poems. He describes his family heritage as "totally Samoan", even though he has a German surname. However, he does not explicitly deny his German heritage.

Another notable figure from the region is Sia Figiel (born 1967), a contemporary Samoan novelist, poet, and painter, whose debut novel Where We Once Belonged won the Commonwealth Writers' Prize Best First Book of 1997, South East Asia and South Pacific Region. Sia Figiel grew up amidst traditional Samoan singing and poetry, which heavily influenced her writing. Figiel's greatest influence and inspiration in her career is the Samoan novelist and poet, Albert Wendt.

Australia
At the point of the first colonization of Australia from 1788, Indigenous Australians (Aboriginal and Torres Strait Islander people) had not developed a system of writing, so the first literary accounts of Aboriginal peoples come from the journals of early European explorers, which contain descriptions of first contact, both violent and friendly. Early accounts by Dutch explorers and the English buccaneer William Dampier wrote of the "natives of New Holland" as being "barbarous savages", but by the time of Captain James Cook and First Fleet marine Watkin Tench (the era of Jean-Jacques Rousseau), accounts of Aboriginal peoples were more sympathetic and romantic: "these people may truly be said to be in the pure state of nature, and may appear to some to be the most wretched upon the earth; but in reality they are far happier than ... we Europeans", wrote Cook in his journal on 23 August 1770.

While his father, James Unaipon (c. 1835–1907), contributed to accounts of Aboriginal mythology written by the South Australian missionary George Taplin, David Unaipon (1872–1967) provided the first accounts of Aboriginal mythology written by an Aboriginal person in his Legendary Tales of the Australian Aborigines. For this he is known as the first Aboriginal author.

Oodgeroo Noonuccal (born Kath Walker, 1920–1995) was an Australian poet, political activist, artist and educator. She was also a campaigner for Aboriginal rights. Oodgeroo was best known for her poetry, and was the first Aboriginal Australian to publish a book of verse, We Are Going (1964).

Sally Morgan's novel My Place (1987) was considered a breakthrough memoir in terms of bringing Indigenous stories to wider notice. Leading Aboriginal activists Marcia Langton (First Australians, 2008) and Noel Pearson (Up From the Mission, 2009) are active contemporary contributors to Australian literature.

The voices of Indigenous Australians continue to be increasingly noticed, and include the playwright Jack Davis and Kevin Gilbert. Writers coming to prominence in the 21st century include Kim Scott, Alexis Wright, Kate Howarth, Tara June Winch, in poetry Yvette Holt and in popular fiction Anita Heiss.

Indigenous authors who have won Australia's high prestige Miles Franklin Award include Kim Scott who was joint winner (with Thea Astley) in 2000 for Benang and again in 2011 for That Deadman Dance. Alexis Wright won the award in 2007 for her novel Carpentaria.

Bruce Pascoe's Dark Emu: Black Seeds: Agriculture or Accident? (2014), which, based on research already done by others but rarely included in standard historical narratives, reexamines colonial accounts of Aboriginal people in Australia and cites evidence of pre-colonial agriculture, engineering and building construction by Aboriginal and Torres Strait Islander peoples. The book won much acclaim, winning the Book of the Year in the NSW Premier's Literary Award and others, as well as selling very well: by 2019 it was in its 28the printing and had sold over 100,000 copies.

Many notable works have been written by non-Indigenous Australians on Aboriginal themes. Eleanor Dark's (1901–1985) The Timeless Land (1941) is the first of The Timeless Land trilogy of novels about European settlement and exploration of Australia. The narrative is told from European and Aboriginal points of view. Other examples include the poems of Judith Wright, The Chant of Jimmie Blacksmith by Thomas Keneally, Ilbarana by Donald Stuart, and the short story by David Malouf: "The Only Speaker of his Tongue".

Africa
Amadou Hampâté Bâ (1901–1991), a Malian writer and ethnologist, and Ayi Kwei Armah (born 1939) from Ghana, author of Two Thousand Seasons have tried to establish an African perspective to their own history. Another significant African novel is Season of Migration to the North by Tayib Salih from the Sudan.

Doris Lessing (1919–2013) from Southern Rhodesia, now Zimbabwe, published her first novel The Grass is Singing in 1950, after immigrating to England. She initially wrote about her African experiences. Lessing soon became a dominant presence in the English literary scene, frequently publishing right through the century, and won the Nobel Prize in Literature in 2007. Yvonne Vera (1964–2005) was an author from Zimbabwe. Her novels are known for their poetic prose, difficult subject-matter, and their strong women characters, and are firmly rooted in Zimbabwe's difficult past. Tsitsi Dangarembga (born 1959) is a notable Zimbabwean author and filmmaker.

Ngũgĩ wa Thiong'o (born 1938) is a Kenyan writer, formerly working in English and now working in Gikuyu. His work includes novels, plays, short stories, and essays, ranging from literary and social criticism to children's literature. He is the founder and editor of the Gikuyu-language journal Mũtĩiri. Stephen Atalebe (born 1983) is a Ghanaian Fiction writer who wrote the Hour of Death in Harare, detailing the post-colonial struggles in Zimbabwe as they navigate through sanctions imposed by the British Government under George Blair.

Bate Besong (1954–2007) was a Cameroonian playwright, poet and critic, who was described by Pierre Fandio as "one of the most representative and regular writers of what might be referred to as the second generation of the emergent Cameroonian literature in English". Other Cameroonian playwrights are Anne Tanyi-Tang, and Bole Butake.

Dina Salústio (born 1941) is a Cabo Verdean novelist and poet, whose works are considered an important contribution to Lusophone postcolonial literature, with a particular emphasis on their promotion of women's narratives.

Nigeria
Nigerian author Chinua Achebe (1930–2013) gained worldwide attention for Things Fall Apart in the late 1950s. Achebe wrote his novels in English and defended the use of English, a "language of colonisers", in African literature. In 1975, his lecture "An Image of Africa: Racism in Conrad's Heart of Darkness" featured a famous criticism of Joseph Conrad as "a thoroughgoing racist". A titled Igbo chieftain himself, Achebe's novels focus on the traditions of Igbo society, the effect of Christian influences, and the clash of Western and traditional African values during and after the colonial era. His style relies heavily on the Igbo oral tradition, and combines straightforward narration with representations of folk stories, proverbs, and oratory. He also published a number of short stories, children's books, and essay collections.

Wole Soyinka (born 1934) is a playwright and poet, who was awarded the 1986 Nobel Prize in Literature, the first African to be honored in that category. Soyinka was born into a Yoruba family in Abeokuta. After studying in Nigeria and Great Britain, he worked with the Royal Court Theatre in London. He went on to write plays that were produced in both countries, in theatres and on radio. He took an active role in Nigeria's political history and its campaign for independence from British colonial rule. In 1965, he seized the Western Nigeria Broadcasting Service studio and broadcast a demand for the cancellation of the Western Nigeria Regional Elections. In 1967 during the Nigerian Civil War, he was arrested by the federal government of General Yakubu Gowon and put in solitary confinement for two years. Soyinka has been a strong critic of successive Nigerian governments, especially the country's many military dictators, as well as other political tyrannies, including the Mugabe regime in Zimbabwe. Much of his writing has been concerned with "the oppressive boot and the irrelevance of the colour of the foot that wears it".

Chimamanda Ngozi Adichie (born 1977) is a novelist, nonfiction writer and short story writer. A MacArthur Genius Grant recipient, Adichie has been called "the most prominent" of a "procession of critically acclaimed young anglophone authors [that] is succeeding in attracting a new generation of readers to African literature".

Buchi Emecheta OBE (1944–2017) was a Nigerian novelist based in Britain who published more than 20 books, including Second-Class Citizen (1974), The Bride Price (1976), The Slave Girl (1977) and The Joys of Motherhood (1979). Her themes of child slavery, motherhood, female independence and freedom through education won her considerable critical acclaim and honours.

South Africa
Elleke Boehmer writes, "Nationalism, like patriarchy, favours singleness—one identity, one growth pattern, one birth and blood for all ... [and] will promote specifically unitary or 'one-eyed' forms of consciousness." The first problem any student of South African literature is confronted with, is the diversity of the literary systems. Gerrit Olivier notes, "While it is not unusual to hear academics and politicians talk about a 'South African literature', the situation at ground level is characterised by diversity and even fragmentation". Robert Mossman adds that "One of the enduring and saddest legacies of the apartheid system may be that no one – White, Black, Coloured (meaning of mixed-race in South Africa), or Asian – can ever speak as a 'South African. The problem, however, pre-dates Apartheid significantly, as South Africa is a country made up of communities that have always been linguistically and culturally diverse. These cultures have all retained autonomy to some extent, making a compilation such as the controversial Southern African Literatures by Michael Chapman, difficult. Chapman raises the question: [W]hose language, culture, or story can be said to have authority in South Africa when the end of apartheid has raised challenging questions as to what it is to be a South African, what it is to live in a new South Africa, whether South Africa is a nation, and, if so, what its mythos is, what requires to be forgotten and what remembered as we scour the past in order to understand the present and seek a path forward into an unknown future.

South Africa has 11 national languages: Afrikaans, English, Zulu, Xhosa, Sotho, Pedi, Tswana, Venda, SiSwati, Tsonga, and Ndebele. Any definitive literary history of South Africa should, it could be argued, discuss literature produced in all eleven languages. But the only literature ever to adopt characteristics that can be said to be "national" is Afrikaans. Olivier argues: "Of all the literatures in South Africa, Afrikaans literature has been the only one to have become a national literature in the sense that it developed a clear image of itself as a separate entity, and that by way of institutional entrenchment through teaching, distribution, a review culture, journals, etc. it could ensure the continuation of that concept." Part of the problem is that English literature has been seen within the greater context of English writing in the world, and has, because of English's global position as lingua franca, not been seen as autonomous or indigenous to South Africa – in Olivier's words: "English literature in South Africa continues to be a sort of extension of British or international English literature." The African languages, on the other hand, are spoken across the borders of Southern Africa - for example, Tswana is spoken in Botswana, and Tsonga in Zimbabwe, and Sotho in Lesotho. South Africa's borders were established during the colonial era and, as with all other colonies, these borders were drawn without regard for the people living within them. Therefore: in a history of South African literature, do we include all Tswana writers, or only the ones with South African citizenship? Chapman bypasses this problem by including "Southern" African literatures. The second problem with the African languages is accessibility, because since the African languages are regional languages, none of them can claim the readership on a national scale comparable to Afrikaans and English. Sotho, for instance, while transgressing the national borders of the RSA, is on the other hand mainly spoken in the Free State, and bears a great amount of relation to the language of Natal for example, Zulu. So the language cannot claim a national readership, while on the other hand being "international" in the sense that it transgresses the national borders.

Olivier argues that "There is no obvious reason why it should be unhealthy or abnormal for different literatures to co-exist in one country, each possessing its own infrastructure and allowing theoreticians to develop impressive theories about polysystems". Yet political idealism proposing a unified "South Africa" (a remnant of the plans drawn up by Sir Henry Bartle Frere) has seeped into literary discourse and demands a unified national literature, which does not exist and has to be fabricated. It is unrealistic to ever think of South Africa and South African literature as homogenous, now or in the near or distant future, since the only reason it is a country at all is the interference of European colonial powers. This is not a racial issue, but rather has to do with culture, heritage and tradition (and indeed the constitution celebrates diversity). Rather, it seems more sensible to discuss South African literature as literature produced within the national borders by the different cultures and language groups inhabiting these borders. Otherwise the danger is emphasising one literary system at the expense of another, and more often than not, the beneficiary is English, with the African languages being ignored. The distinction "black" and "white" literature is further a remnant of colonialism that should be replaced by drawing distinctions between literary systems based on language affiliation rather than race.

The first texts produced by black authors were often inspired by missionaries and frequently deal with African history, in particular the history of kings such as Chaka. Modern South African writing in the African languages tends to play at writing realistically, at providing a mirror to society, and depicts the conflicts between rural and urban settings, between traditional and modern norms, racial conflicts and most recently, the problem of AIDS.

In the first half of the 20th century, epics largely dominated black writing: historical novels, such as Sol T. Plaatje's Mhudi: An Epic of South African Native Life a Hundred Years Ago (1930), Thomas Mofolo's Chaka (trans. 1925), and epic plays including those of H. I. E. Dhlomo, or heroic epic poetry such as the work of Mazizi Kunene. These texts "evince black African patriarchy in its traditional form, with men in authority, often as warriors or kings, and women as background figures of dependency, and/or mothers of the nation". Female literature in the African languages is severely limited because of the strong influence of patriarchy, but over the last decade or two society has changed much and it can be expected that more female voices will emerge.

The following are notable white South African writers in English: Athol Fugard, Nadine Gordimer, J. M. Coetzee, and Wilbur Smith. André Brink has written in both Afrikaans and English while Breyten Breytenbach writes primarily in Afrikaans, though many of their works have been translated into English. Dalene Matthee's (1938–2005) is another Afrikaner, best known for her four Forest Novels, written in and around the Knysna Forest, including Fiela se Kind (1985) (Fiela's Child). Her books have been translated into fourteen languages, including English, French, and German. and over a million copies have been sold worldwide.

Caribbean Islands
Maryse Condé (born 1937) is a French (Guadeloupean) author of historical fiction, best known for her novel Segu (1984–1985).

West Indies

The term "West Indies" first began to achieve wide currency in the 1950s, when writers such as Samuel Selvon, John Hearne, Edgar Mittelholzer, V.S. Naipaul, and George Lamming began to be published in the United Kingdom. A sense of a single literature developing across the islands was also encouraged in the 1940s by the BBC radio programme Caribbean Voices, which featured stories and poems written by West Indian authors, recorded in London under the direction of producer Henry Swanzy, and broadcast back to the islands. Magazines such as Kyk-Over-Al in Guyana, Bim in Barbados, and Focus in Jamaica, which published work by writers from across the region, also encouraged links and helped build an audience.

Some West Indian writers have found it necessary to leave their home territories and base themselves in the United Kingdom, the United States, or Canada in order to make a living from their work—in some cases spending the greater parts of their careers away from the territories of their birth. Critics in their adopted territories might argue that, for instance, V. S. Naipaul ought to be considered a British writer instead of a Trinidadian writer, or Jamaica Kincaid and Paule Marshall American writers, but most West Indian readers and critics still consider these writers "West Indian".

West Indian literature ranges over subjects and themes as wide as those of any other "national" literature, but in general many West Indian writers share a special concern with questions of identity, ethnicity, and language that rise out of the Caribbean historical experience.

One unique and pervasive characteristic of Caribbean literature is the use of "dialect" forms of the national language, often termed creole. The various local variations in the European languages which became established in the West Indies during the period of European colonial rule. These languages have been modified over the years within each country and each has developed a blend that is unique to their country. Many Caribbean authors in their writing switch liberally between the local variation – now commonly termed nation language – and the standard form of the language. Two West Indian writers have won the Nobel Prize in Literature: Derek Walcott (1992), born in St. Lucia, resident mostly in Trinidad during the 1960s and '70s, and partly in the United States since then; and V. S. Naipaul, born in Trinidad and resident in the United Kingdom since the 1950. (Saint-John Perse, who won the Nobel Prize in 1960, was born in the French territory of Guadeloupe.)

Other notable names in (anglophone) Caribbean literature have included Earl Lovelace, Austin Clarke, Claude McKay, Orlando Patterson, Andrew Salkey, Edward Kamau Brathwaite (who was born in Barbados and has lived in Ghana and Jamaica), Linton Kwesi Johnson, and Michelle Cliff. In more recent times, a number of literary voices have emerged from the Caribbean as well as the Caribbean diaspora, including Kittitian Caryl Phillips (who has lived in the UK since one month of age), Edwidge Danticat, a Haitian immigrant to the United States; Anthony Kellman from Barbados, who divides his time between Barbados and the United States; Andrea Levy of the United Kingdom, Jamaicans Colin Channer and Marlon James, the author of the Man Booker Prize-winning novel A Brief History of Seven Killings (2014) (as well as John Crow's Devil, The Book of Night Women, the unpublished screenplay "Dead Men", and the short story "Under Cover of Darkness"), Antiguan Marie-Elena John, and Lasana M. Sekou from St. Maarten/St. Martin.

The most famous writer from the island of Dominica is British-Dominican author Jean Rhys, best known for her 1966 novel Wide Sargasso Sea, which was written as a prequel to Charlotte Brontë's Jane Eyre. The novel deals with themes of women living in a patriarchal society, race, and assimilation. On 5 November 2019, BBC News listed Wide Sargasso Sea on its list of the 100 most influential novels. The novel has been adapted for stage, film and radio numerous times, most recently as a radio play by BBC Radio 4.

Earl Lovelace (born 1935) is a Trinidadian novelist, journalist, playwright, and short story writer. He is particularly recognized for his descriptive, dramatic fiction on Trinidadian culture: "Using Trinidadian dialect patterns and standard English, he probes the paradoxes often inherent in social change as well as the clash between rural and urban cultures." As Bernardine Evaristo notes, "Lovelace is unusual among celebrated Caribbean writers in that he has always lived in Trinidad. Most writers leave to find support for their literary endeavours elsewhere and this, arguably, shapes the literature, especially after long periods of exile. But Lovelace's fiction is deeply embedded in Trinidadian society and is written from the perspective of one whose ties to his homeland have never been broken."

United States
American David Henry Hwang's play M. Butterfly addresses the Western perspective on China and the French as well as the American perspectives on Vietnam during the Vietnam War. It was inspired by Giacomo Puccini's opera Madama Butterfly.

Maxine Hong Kingston (born 1940) is a Chinese American author who has written three novels and several works of non-fiction about the experiences of Chinese immigrants living in the United States.

Bharati Mukherjee although of East Indian ancestry has gone on record that she considers herself an American writer, and not an Indian expatriate writer. In a 1989 interview with Amanda Meer, Mukherjee said: "I totally consider myself an American writer, and that has been my big battle: to get to realize that my roots as a writer are no longer, if they ever were, among Indian writers, but that I am writing about the territory about the feelings, of a new kind of pioneer here in America. I'm the first among Asian immigrants to be making this distinction between immigrant writing and expatriate writing. Most Indian writers prior to this, have still thought of themselves as Indians, and their literary inspiration, has come from India. India has been the source, and home. Whereas I'm saying, those are wonderful roots, but now my roots are here and my emotions are here in North America."

Jhumpa Lahiri (born 1967) is an Indian-American author. Lahiri's debut short story collection Interpreter of Maladies (1999) won the 2000 Pulitzer Prize for Fiction, and her first novel, The Namesake (2003), was adapted into the popular film of the same name.

African-American literature
Throughout American history, African Americans have been discriminated against and subject to racist attitudes. This experience inspired some Black writers, at least during the early years of African-American literature, to prove they were the equals of European-American authors. As Henry Louis Gates, Jr, has said, "it is fair to describe the subtext of the history of black letters as this urge to refute the claim that because blacks had no written traditions they were bearers of an inferior culture."

By refuting the claims of the dominant culture, African-American writers were also attempting to subvert the literary and power traditions of the United States. Some scholars assert that writing has traditionally been seen as "something defined by the dominant culture as a white male activity." This means that, in American society, literary acceptance has traditionally been intimately tied in with the very power dynamics which perpetrated such evils as racial discrimination. By borrowing from and incorporating the non-written oral traditions and folk life of the African diaspora, African-American literature broke "the mystique of connection between literary authority and patriarchal power." In producing their own literature, African Americans were able to establish their own literary traditions devoid of the white intellectual filter. In 1922, W. E. B. Du Bois wrote that "the great mission of the Negro to America and to the modern world" was to develop "Art and the appreciation of the Beautiful".

Puerto Rico
Giannina Braschi (born 1953) is a Puerto Rican writer, who is credited with writing the first Spanglish novel Yo-Yo Boing! (1998), the post-modern poetry trilogy Empire of Dreams (1994), and the philosophical fiction United States of Banana (2011), which chronicles the Latin American immigrants' experiences in the United States and the Puerto Rican battle with Spanish and American colonialism.

Canada
Canadian writer Margaret Laurence's work was informed by colonial relations and African culture when she lived in British Somaliland then the Gold Coast British colony in the 1950s near the end of their times as colonies. Margaret Atwood is a post-colonial writer who dealt with themes of identity-seeking through her Southern Ontario Gothic style of writing.

Canadian Michael Ondaatje, is an internationally acclaimed author with Sri Lankan roots, which he has explored in works like Running in the Family (1983) and The Cat's Table (2011).

Cyril Dabydeen (born 1945) is a Guyana-born, Canadian writer of Indian descent. He grew up in a sugar plantation with the sense of Indian indenture rooted in his family background.

African-Canadian George Elliott Clarke has promoted Black authors with Directions Home: Approaches to African-Canadian Literature (2012) as well as his own poetry, novels and plays.

In the decade 2008-2018 Canadian Indigenous writers published so many works that some critics called it a renaissance. This phenomenon was studied in Introduction to Indigenous Literary Criticism in Canada (2015). Eds Heather MacFarlane & Armand Garnet Ruffo.

Canadian scholar, Joseph Pivato has promoted the study of ethnic minority authors with Comparative Literature for the New Century (2018). Eds. Giulia De Gasperi & Joseph Pivato.

Korea
Chunghee Sara Soh's book The Comfort Women: Sexual Violence and Postcolonial Memory in Korea and Japan has shed new light on the practice of having forced sexual slavery, called "comfort women" during the Imperial Japanese army before and during World War II.

West Asia: The Middle East
Major figures in the postcolonial literature of the Middle East included Egyptian novelist Naguib Mahfouz and Palestinian-American scholar Edward Said. Said published his most famous work, Orientalism, discussing the depiction of Asia by the Western world. Mahfouz was inspired to write in a large part by his experiences during the Egyptian Revolution of 1919 (when he was seven years old), including witnessing British soldiers firing on crowds of demonstrators in an effort to disperse them; according to Mahfouz, "You could say ... that the one thing which most shook the security of my childhood was the 1919 revolution", as he recounted in an interview.

Philippines
Philippine literature includes the legends of prehistory, and the colonial legacy of the Philippines. Pre-Hispanic Philippine literature were actually epics passed on from generation to generation originally through oral tradition. However, wealthy families, especially in Mindanao were able to keep transcribed copies of these epics as family heirloom. One such epic was the Darangen, epic of the Maranaos of Lake Lanao. Most of the epics were known during the Spanish era.

Most of the notable literature of the Philippines was written during the Spanish period and the first half of the 20th century in the Spanish language. Philippine literature is written in Spanish, English, or any indigenous Philippine languages. Notable authors include F. Sionil José, Jose Dalisay, Jr., N. V. M. Gonzalez and Nick Joaquin.

Dutch East Indies
Dutch Indies literature includes Dutch language postcolonial literature reflecting on the era of the Dutch East Indies (now Indonesia). Much of the postcolonial literature of this genre is written by Dutch Eurasians known as Indos. Important authors that have been translated to English include, Tjalie Robinson, Maria Dermout, and Marion Bloem.

Singapore
Bonny Hicks (1968–1997) was a Singapore Eurasian model and writer. After garnering fame as a model, she gained recognition for her contributions to Singaporean post-colonial literature and for the anthropic philosophy conveyed in her works. Her first book, Excuse Me, Are You A Model?, is recognised as a significant milestone in the literary and cultural history of Singapore.

India
One of the key issues is the superiority/inferiority of Indian Writing in English (IWE) as opposed to the literary production in the various languages of India. Key polar concepts bandied in this context are superficial/authentic, imitative/creative, shallow/deep, critical/uncritical, elitist/parochial and so on.

The views of Salman Rushdie and Amit Chaudhuri expressed through their books The Vintage Book of Indian Writing and The Picador Book of Modern Indian Literature respectively essentialise this battle. Rushdie's statement in his book – "the ironic proposition that India's best writing since independence may have been done in the language of the departed imperialists is simply too much for some folks to bear" – created a lot of resentment among many writers, including writers in English. In his book, Amit Chaudhuri questions – "Can it be true that Indian writing, that endlessly rich, complex and problematic entity, is to be represented by a handful of writers who write in English, who live in England or America and whom one might have met at a party?"

Chaudhuri feels that after Rushdie, Indian writing in English started employing magical realism, bagginess, non-linear narrative and hybrid language to sustain themes seen as microcosms of India and supposedly reflecting Indian conditions. He contrasts this with the works of earlier writers such as R. K. Narayan where the use of English is pure, but the deciphering of meaning needs cultural familiarity. He also feels that Indian is a theme constructed only in IWE and does not articulate itself in the vernacular literature. He further adds "the post-colonial novel, becomes a trope for an ideal hybrid by which the West celebrates not so much Indian, whatever that infinitely complex thing is, but its own historical quest, its reinterpretation of itself".

Some of these arguments form an integral part of what is called postcolonial theory. The very categorisation of IWE – as IWE or under post-colonial literature – is seen by some as limiting. Amitav Ghosh made his views on this very clear by refusing to accept the Eurasian Commonwealth Writers Prize for his book The Glass Palace in 2001 and withdrawing it from the subsequent stage.

Indian authors like Amitav Ghosh, Anita Desai, Hanif Kureishi, Rohinton Mistry, Meena Alexander, Arundhati Roy and Kiran Desai have written about their postcolonial experiences.

The Hungry Generation was a literary movement in the Bengali language launched by what is known today as the "Hungryalist quartet", i.e. Shakti Chattopadhyay, Malay Roy Choudhury, Samir Roychoudhury and Debi Roy (alias Haradhon Dhara), during the 1960s in Kolkata, India. Due to their involvement in this avant garde cultural movement, the leaders lost their jobs and were jailed by the incumbent government. They challenged contemporary ideas about literature and contributed significantly to the evolution of the language and idiom used by contemporaneous artists to express their feelings in literature and painting.

Khushwant Singh (1915-2014) has written numerous fiction and non-fiction novels about the India-Pakistan Partition.

Nissim Ezekiel (1924–2004) was a foundational figure in postcolonial India's literary history, specifically for Indian writing in English.

Mahashweta Devi (1926–2016) is an Indian social activist and writer.

Urvashi Butalia's The Other Side of Silence is a collection of oral histories and testimonies about the India-Pakistan Partition.

Sri Lanka
Sri Lankan writers like Nihal De Silva and Carl Muller write about the post-colonial situation and the ethnic conflict in Sri Lanka. Notably authors such as the D.C.R.A Goonetilleke in Sri Lankan English Literature and the Sri Lankan People 1917-2003 targets the evolution of Sri Lankan English Literature specifically in regards to the acceptance of the English language and other major controversies of the time in Sri Lankan literature, after its Independence from the British Empire in 1948.

Bangladesh
Selim Al Deen from Bangladesh has also written postcolonial drama.

Britain
The novels of J. G. Farrell are important texts dealing with the decline of the British Empire. Farrell's novel Troubles, set during the Irish War of Independence (1919–1921), is the first instalment in Farrell's "Empire Trilogy", preceding The Siege of Krishnapur and The Singapore Grip, all written during the 1970s. Although there are similar themes within the three novels (most notably that of the British Empire), they do not form a sequence of storytelling. The Siege of Krishnapur was inspired by events such as the sieges of Cawnpore and Lucknow, and details the siege of a fictional Indian town, Krishnapur, during the Indian Rebellion of 1857 from the perspective of the city's British residents. The Singapore Grip is satirical book about events following Japan's entry into the Second World War and occupation of Singapore. The story centres on a British family who own one of the colony's leading trading companies.

Novelist E. M. Forster's A Passage to India (1924) takes as its subject the relationship between East and West, seen through the lens of India in the later days of the British Raj. Forster connects personal relationships with the politics of colonialism through the story of the Englishwoman Adela Quested, the Indian Dr. Aziz, and the question of what did or did not happen between them in the Marabar Caves.

The Raj Quartet a four-volume novel sequence, written by Paul Scott, also deals with the subject of British colonial rule in India, in this case the concluding years of the British Raj. The series was written during the period 1965–1975. The Times called it "one of the most important landmarks of post-war fiction." The story of The Raj Quartet begins in 1942. World War II is at its zenith, and in South East Asia, the Allied forces have suffered great losses. Burma has been captured by Japan, and the Japanese invasion of the Indian subcontinent from the east appears imminent. The year 1942 is also marked by Indian nationalist leader Mahatma Gandhi's call for the Quit India movement to the British colonial government. The Raj Quartet is set in this tumultuous background for the British soldiers and civilians stationed in India who have a duty to manage this part of the British Empire. One recurrent theme is the moral certainty of the older generation as contrasted with the anomie of the younger. Another theme is the treatment of Indians by Britons living in India. As a reflection of these themes. the British characters let themselves be "trapped by codes and principles, which were in part to keep their own fears and doubts at bay."

An Outpost of Progress and Heart of Darkness by Polish-British writer Joseph Conrad are based on his experiences in the Congo Free State. There is also The Congo Diary and Other Uncollected Pieces.

Wales
Wales was gradually annexed by the Kingdom of England during the Middle Ages, and was fully incorporated within the English legal system under the Laws in Wales Acts 1535–1542. Distinctive Welsh politics developed in the 19th century, and Welsh nationalism grew during the 20th century. The Welsh nationalist party, Plaid Cymru, was formed in 1925 and the Welsh Language Society in 1962.

Welsh poet, novelist and dramatist Saunders Lewis, who was a prominent support of nationalism in Wales, rejected the possibility of Anglo-Welsh literature due to the language's status as the official tongue of the British state, affirming that "the literature which people called Anglo-Welsh was indistinguishable from English literature". Saunders Lewis was himself born in Wallasey in England to a Welsh-speaking family.

The attitude of the post-war generation of Welsh writers in English towards Wales differs from the previous generation, in that they were more sympathetic to Welsh nationalism and to the Welsh language. The change can be linked to the nationalist fervour generated by Saunders Lewis and the burning of the Bombing School on the Lleyn Peninsula in 1936, along with a sense of crisis generated by the Second World War. In poetry R. S. Thomas (1913–2000) was the most important figure throughout the second half of the 20th century, beginning with The Stones of the Field in 1946 and concluding with No Truce with the Furies (1995). While he "did not learn the Welsh language until he was 30 and wrote all his poems in English", he wanted the Welsh language to be made the official language of Wales, and the policy of Anglo-Welsh bilingualism abolished. He wrote his autobiography in Welsh, but said he lacked the necessary grasp of the language to employ it in his poems. Although an Anglican priest, he was a fervent nationalist and advocated boycotts against English owners of holiday homes in Wales. As an admirer of Saunders Lewis, Thomas defended his need to use English: "Since there is in Wales a mother tongue that continues to flourish, a proper Welshman can only look on English as a means of rekindling interest in the Welsh language, and of leading people back to the mother tongue."

With the creation the National Assembly for Wales, under the Government of Wales Act 1998, Wales now has more local autonomy from the central government in London. The Welsh Language Act 1993 and the Government of Wales Act 1998 provide that the English and Welsh languages be treated on a basis of equality. English is spoken by almost all people in Wales and is the de facto main language. Northern and western Wales retain many areas where Welsh is spoken as a first language by the majority of the population, and English learnt as a second language. The 2011 Census showed 562,016 people, 19.0% of the Welsh population, were able to speak Welsh.

Ireland

The English language was introduced to Ireland in the 13th century, following the Norman Conquest of Ireland. However, English rule did not extend over the whole island until the 16th–17th century Tudor conquest, which led to plantation of Ireland. In the 1690s, the Protestant Anglo-Irish started to become dominant over the Catholic majority, which was extended during the 18th century. The Irish language, however, remained the dominant language of Irish literature down to the 19th century, despite a slow decline which began in the 17th century with the expansion of English control in Ireland.

The 17th century saw the tightening of English control over Ireland and the suppression of the Irish aristocracy. This meant that the literary class lost its patrons, since the new nobility were English speakers with little interest for the older culture. The elaborate classical metres lost their dominance and were largely replaced by more popular forms. This was an age of social and political tension, as expressed by the poet Dáibhí Ó Bruadair and the anonymous authors of Pairliment Chloinne Tomáis, a prose satire on the aspirations of the lower classes. Prose of another sort was represented by the historical works of Geoffrey Keating (Seathrún Céitinn) and the compilation known as the Annals of the Four Masters.

The consequences of these changes were seen in the 18th century. Poetry was still the dominant literary medium and its practitioners were poor scholars, often educated in the classics at local schools and schoolmasters by trade. Such writers produced polished work in popular metres for a local audience. This was particularly the case in Munster, in the south-west of Ireland, and notable names included Eoghan Rua Ó Súilleabháin and Aogán Ó Rathaille of Sliabh Luachra. A certain number of local patrons were still to be found, even in the early 19th century, and especially among the few surviving families of the Gaelic aristocracy. In the first half of the 18th century Dublin was the home of an Irish-language literary circle connected to the Ó Neachtain (Naughton) family, a group with wide-ranging Continental connections.

With the Acts of Union in 1801, Ireland became a part of the United Kingdom. The latter part of the 19th century saw a rapid replacement of Irish by English in the greater part of the country, though Irish was still an urban language, and continued to be so well into the 19th century. At the end of the 19th century, however, cultural nationalism displayed a new energy, marked by the Gaelic Revival (which encouraged a modern literature in Irish) and more generally by the Irish Literary Revival.

A war of independence in the early 20th century was followed by the partition of the island, creating the Irish Free State in 1922, which became increasingly sovereign over the following decades, and Northern Ireland, which remained a part of the United Kingdom.

Poland
Clare Cavanagh believes that literature of Poland is postcolonial. Dariusz Skórczewski supports her and reveals how the experiences of foreign domination and the history of empire have shaped contemporary Polish culture and society. They both criticize Marxist basis of postcolonialism.

title: Postcolonial literature


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Go (Vertical Horizon album)

Go is the fourth studio album by alternative rock band Vertical Horizon. The album, a follow-up to the band's double platinum Everything You Want, continues to expand upon the band's alternative and pop rock sound while moving into more hard rock directions as well. Recorded in early 2002, the album was ready as early as that August, but was instead delayed extensively due to restructuring at the band's label, RCA Records. The album was released over a year later on September 23, 2003. The singles off the album were "I'm Still Here", "Forever", and "When You Cry".

The album was well received by critics, who praised the album for being enjoyable despite not being especially inventive, but did not perform well commercially, with it not charting within the top 60 in its first week, and failing to achieve any RIAA certification. The album was later re-released as Go 2.0 in 2005 on Hybrid Recordings, with a new track "Better When You're Not There" and rearranged track listing.

Background
After the band's release of their double platinum album Everything You Want in 1999, the band had initially intended to record a follow-up right away. However, the band ended up touring in support of Everything You Want for about two and a half years at request of their label. The band took a break from touring in early 2002 to move to Los Angeles and start recording sessions for Go.

Writing and recording
The Go sessions began after commencing the two and a half years of touring in support of Everything You Want in early 2002. Despite the band's origins as a duo where Matthew Scannell and Keith Kane split singing and songwriting duties, the band dynamic shifted to Scannell proving majority of both for Everything You Want, and all of both for Go. The process started with Scannell writing material in solitude, and then presenting his ideas to the rest of the band. How developed song ideas were varied by the track; some, such as "Underwater", was only a loose outline of a song, where as the track "Forever", was almost fully realized. Once ample ideas were in place, the band would enter the rehearsal space, where the band worked on arranging the album, and either expanding or trimming segments of tracks.

Upon a couple of weeks of rehearsing, the band began recording alongside music producer John Shanks. The band first began by recording bass, drums, and guitars first, and then adding Scannel's vocals. However, the exception to the process was the track "Forever", which was added at the last minute in the initial recording sessions; where they started with Scannel's vocals and guitar, and then filled in the drums and bass afterwards. The band recorded a total of 16 songs for the album, but always envisioned paring it down to 11 or 12 for the final release.

An album's worth of material had been finished by August 2002. However, complications and delays arose due to issues with their record label, RCA Records, which was going through a major restructuring at the time. The band ended up under the jurisdiction the company's new CEO, Clive Davis. Davis did not approve of the band, with Scannell later recounting that "...it’s safe to say we were not Clive’s favorite band...It was a torturous time." The combination of RCA's troubles and Davis's low opinion would delay the album over a year, until September 2003. In that time, Davis also requested the band come up with a stronger first single, so the band continued to work on further material, which resulted in the album's first single "I'm Still Here". The album's production was wrapped up with mixing by Ben Grosse and Chris Lord-Alge along with mastering by Ted Jensen.

Lyrical themes
The album's title reflects the band's "just go for it" mentality during the recording sessions. Part of the inspiration for this approach were the difficult Everything You Want sessions, where band members stressed out over every little detail of the album." The band resolved to go with their instinct rather that worrying excessively, something they felt they had honed through two and a half years of touring since the last time they had recorded in the studio." Scannell stated that, while none of the tracks overtly reference the September 11 attacks, the event did influence this mentality as well, having an important effect on his inspiration and emotions during the creation of the album." "'A lot of the themes in these songs are about taking control of your life and living it the way you want to live it, and acting and doing and not just talking and thinking about it. It's really important in the big sense in a post 9/11 world to make sure we all live our life in a way where we feel good about it. There are certainly messages within some of the songs at certain points on the album that deal with feelings of loss and those types of emotions, and also some feelings of, 'Hey, I want to get up and dust myself off and get on with my life. Both of those could be seen as viable and relevant reactions to 9/11.'"

Musical style and composition
The album's sound is considered to be a continuation of Everything You Want's sound. Go has specifically been described as alternative rock and pop rock. Emphasis is placed on high production values with a highly polished and processed sound. A few tracks, notably "Sunshine" and "One of You", veer into a heavier, hard rock sound.

Most of the tracks are arranged in a conventional verse-chorus structure, although the track's final chorus typically contain an expanded variation both lyrically and instrumentally. Verses commonly contain acoustic guitar, clean electric guitar tones, and a bass and drum lead beat, while choruses commonly erupt into heavier distorted guitar and heavy bass notes played, commonly creating a loud-soft dynamic. Tracks commonly contain an outro instrumental interlude as well. A few tracks, most notably "Inside", prominently feature orchestration in the form of a string section as well.

Release and promotion
Go was released on September 23, 2003. The band was featured on television on multiple instances during the album's initial week of release, including appearances on CBS Weekend, CNN, Fox News and WGN. The band also performed at the Experience Music Project, which was later aired in October on VH1. The band also promoted the release through a North American tour through mid-November, a South-Eastern tour after that, and then many radio-sponsored performances in December.

Despite the band's efforts, the album had a weak commercial impact, debuting at number 61 on the Billboard 200. The first single, "I'm Still Here", only peaked at number 17 on the Adult Top 40 as well. The band cited lack of support from their record label, with Scannell stating:

"'Clive Davis had just taken over RCA Records and we knew he was not a fan of our band and certainly didn’t like me or our music much...We knew this album was going to virtually end up stillborn. I remember walking around to seven different record stores that day and finding only one copy of the new album.'"

On June 28, 2005, Hybrid Recordings, the label owned by Sony BMG, which bought out RCA in 2004 re-released Go as Go 2.0. The album featured a slightly altered track listing that included a previously unreleased track, "Better When You're Not There", and new cover art. After the re-release, "Forever" was released as a single; it reached no. 18 in the Billboard Adult Top 40 charts. The third and final single, "When You Cry", charted at No. 35. "Forever" also made the top 20 of the Billboard Hot AC chart, peaking at #17.

The album was also released in South Africa through Musketeer Records, where it charted in the top 10 album downloads from iTunes.

Reception
Reception for the album garnered mixed reactions by critics. AllMusic panned the album for sounding generic, stating it sounded like "insipid radio filler" and "soundtracks for Pottery Barn" and that it "reaffirms their status as third-tier imitators". Conversely, Alternative Addiction strongly praised the album for being "great from beginning to end, proving that Vertical Horizon is one of the few bands that still not only makes great songs, but great albums...This album might not be "Everything You Want" but its still pretty damn good." The album's "layered guitar-work" was cited as a standout element. The Daily Star similarly praised the album for being "a brilliant album with varied songs put together, with each of them fitting different occasions and moods." The Collegiate Times also praised the album for being "rock that's not going to scare away the children, but at the same time has enough backbone to satisfy a U2 or Collective Soul fan" and cited the track "One of You" as a standout track for fans of hard rock.

Personnel
Track numbers correspond to the tracklisting of Go 2.0.

Vertical Horizon
 * Matt Scannell – vocals, lead and rhythm guitars, keyboards, programming
 * Sean Hurley – bass guitar
 * Ed Toth – drums, percussion
 * Keith Kane – vocals, guitar

Additional musicians
 * Patrick Warren – keyboards, chamberlin, string arrangements (tracks 3, 5, 11)
 * John Shanks – keyboards, programming
 * Shari Sutcliffe – orchestra contractor, project coordinator
 * Joel Derouin – concertmaster (tracks 3, 5, 11)
 * Mark Van Gool – guitar technician

Art and photography
 * Justin Wolfe – art direction, cover photograph
 * Matt Scannell – cover concept, all other photography
 * Frank Ockenfels 3 – band photography
 * Joe Augustine – project manager

Technical personnel
 * John Shanks – producer
 * Matt Scannell – additional production (track 4), engineer (track 4)
 * Marc DeSisto – engineer (tracks 1, 3, 5-12)
 * Jeff Rothschild – engineer (tracks 1-3, 5-12), assistant engineer (tracks 1, 3, 5-12), Pro Tools recording and editing
 * Mark Valentine – assistant engineer (tracks 1, 3, 5-12), drum engineer (track 2), Pro Tools recording and editing
 * Joel Numa – engineer (track 4)
 * Kevin Mills – assistant engineer (track 2)
 * Dan Chase – Pro Tools recording and editing
 * Baraka – Pro Tools recording and editing
 * Ben Grosse – mixing (tracks 1, 4, 6, 8-10, 12)
 * Chris Lord-Alge – mixing (tracks 2, 3, 5, 7, 11)
 * Chuck Bailey – mixing assistant (tracks 1, 4, 6, 8-10, 12)
 * Keith Armstrong – mixing assistant (tracks 2, 3, 5, 7, 11)
 * Ted Jensen – mastering

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Go (Vertical Horizon album)


text:
User talk:80.231.145.11

Please try not to fill new articles with just some references. If you like, you can use the talk page (Talk:Postcolonial literature for example) for this instead of using the main page.

Consider making a minimum stub for a new article.

Thanks, and keep contributing :) Dysprosia 10:35, 16 Nov 2003 (UTC)

title: User talk:80.231.145.11


text:
Jeffrey Sachs

Jeffrey David Sachs (born November 5, 1954) is an American economist and public policy analyst, professor at Columbia University, where he was former director of The Earth Institute. He is known for his work on sustainable development, economic development, and the fight to end poverty.

Sachs is Director of the Center for Sustainable Development at Columbia University and President of the UN Sustainable Development Solutions Network. He is an SDG Advocate for United Nations (UN) Secretary-General António Guterres on the Sustainable Development Goals (SDGs), a set of 17 global goals adopted at a UN summit meeting in September 2015.

From 2001 to 2018, Sachs was Special Advisor to the UN Secretary General, and held the same position under the previous UN Secretary-General Ban Ki-moon and prior to 2016 a similar advisory position related to the earlier Millennium Development Goals (MDGs), eight internationally sanctioned objectives to reduce extreme poverty, hunger and disease by 2015. In connection with the MDGs, he had first been appointed special adviser to the UN Secretary-General in 2002 during the term of Kofi Annan.

Sachs is co-founder and chief strategist of Millennium Promise Alliance, a nonprofit organization dedicated to ending extreme poverty and hunger that has come under scrutiny from critics and was the subject of a book by the journalist Nina Munk. From 2002 to 2006, he was director of the United Nations Millennium Project's work on the MDGs. He is co-editor of the World Happiness Report with John F. Helliwell and Richard Layard. In 2010, he became a commissioner for the Broadband Commission for Sustainable Development, whose stated aim is to boost the importance of broadband internet in international policy. Sachs has written several books and received several awards. He has been criticized for his views on economics, on the origin of COVID-19, as well as on the Russian invasion of Ukraine.

Early life and education
Sachs was raised in Oak Park, Michigan, in the Detroit metro area, and is the son of Joan (née Abrams) and Theodore Sachs, a labor lawyer. His family is Jewish. He graduated from Oak Park High School and attended Harvard College, where he received his Bachelor of Arts, summa cum laude, in 1976. He went on to receive his M.A. and Ph.D. in economics from Harvard with his thesis titled Factor Costs and Macroeconomic Adjustment in the Open Economy: Theory and Evidence, and was invited to join the Harvard Society of Fellows while still a Harvard graduate student.

Harvard University
In 1980, Sachs joined the Harvard faculty as an assistant professor, and was promoted to associate professor in 1982. A year later at the age of 28, he became a professor of economics with tenure at Harvard.

During the next 19 years at Harvard, Sachs became the Galen L. Stone Professor of International Trade, director of the Harvard Institute for International Development (1995–1999) and director of the Center for International Development at Harvard Kennedy School (1999–2002).

Columbia University
Sachs is the Director of the Center for Sustainable Development at Columbia University. He is University Professor at Columbia University. From 2002 to 2016, Sachs was director of the Earth Institute of Columbia University, a university-wide organization, with an interdisciplinary approach to addressing complex issues facing the Earth, in support of sustainable development. Sachs's classes are taught at the School of International and Public Affairs and the Mailman School of Public Health, and his course "Challenges of Sustainable Development" is taught at the undergraduate level.

Scholarship, consulting, and activism
Sachs has advised several countries on economic policy.

Bolivia
When Bolivia was shifting from a dictatorship to a democracy through national elections in 1985, Sachs was invited by the party of Bolivian dictator Hugo Banzer to advise him on an anti-inflation economic plan to implement once he was voted to office. This stabilization plan centered on price deregulation, particularly for oil, along with cuts to the national budget. Sachs stated that his plan could end Bolivian hyperinflation, which had reached up to 14,000%, in a single day. Although Banzer ultimately lost the election to the party of former elected president and traditionally developmentalist Víctor Paz Estenssoro, Sachs's plan was still implemented through plans that excluded most of Paz's cabinet. Inflation quickly stabilized in Bolivia.

Sachs's suggestion for reducing inflation was to apply fiscal and monetary discipline and end economic regulation that protected the elites and blocked the free market. Hyperinflation reduced within weeks of the Bolivian government instituting his suggestions and the government settled its $3.3 billion debt to international lenders for about 11 cents on the dollar. At the time, this was about 85% of Bolivia's GDP.

Advising in post-communist economies
Sachs worked as an economic adviser to governments in Latin America, Eastern Europe and the former Soviet Union. A practice trained macroeconomist, he advised a number of national governments in the transition from Marxism–Leninism or developmentalism to market economies.

In 1989, Sachs advised Poland's anticommunist Solidarity movement and the government of Prime Minister Tadeusz Mazowiecki. He wrote a comprehensive plan for the transition from central planning to a market economy which became incorporated into Poland's reform program led by Finance Minister Leszek Balcerowicz. Sachs was the main architect of Poland's debt reduction operation. Sachs and IMF economist David Lipton advised the rapid conversion of all property and assets from public to private ownership. Closure of many uncompetitive factories ensued. In Poland, Sachs was firmly on the side of rapid transition to capitalism. At first, he proposed American-style corporate structures, with professional managers answering to many shareholders and a large economic role for stock markets. That did not bode well with the Polish authorities, but he then proposed that large blocks of the shares of privatized companies be placed in the hands of private banks. As a result, there were some economic shortages and inflation, but prices in Poland eventually stabilized. The government of Poland awarded Sachs with one of its highest honors in 1999, the Commander's Cross of the Order of Merit. He also received an honorary doctorate from the Kraków University of Economics.

Sachs's ideas and methods of transition from central planning were adopted throughout the transition economies. He advised Slovenia in 1991 and Estonia in 1992 on the introduction of new stable and convertible currencies. Based on Poland's success, his advice was sought first by Soviet President Mikhail Gorbachev and by his successor, Russian President Boris Yeltsin, on the transition of the USSR/Russia to a market economy. He was adviser to Prime Minister Yegor Gaidar and Finance Minister Boris Fyodorov during 1991–1993 on macroeconomic policies. Sachs' methods for stabilizing economies became known as shock therapy and were similar to successful approaches used in Germany after the two world wars. However, he faced criticism for his role after the Russian economy faced significant struggles after adopting the market-based shock therapy in the early 1990s.

Work on global economic development
Since his work in post-communist countries, Sachs has turned to global issues of economic development, poverty alleviation, health and aid policy and environmental sustainability. He has written extensively on climate change, disease control and globalization. Since 1995, he has been engaged in efforts to alleviate poverty in Africa. According to New York Magazine, "Sachs's ambitions are hard to overstate... 'His ultimate goal is to change the world — to 'bend history,' as he once said, quoting Robert F. Kennedy,' wrote Nina Munk in The Idealist, a biography of Sachs. By the early aughts, he had risen from wonky academic to celebrity public intellectual. According to Munk, people in Sachs's inner circle affectionately called him a 'shit disturber,' someone whose ego was offset by a selfless genius and a penchant for challenging orthodoxies. 'There's a certain messianic quality about him,' George Soros, one of his patrons, told Munk."

In his 2005 work The End of Poverty, which had a foreword by Bono, Sachs wrote that "Africa's governance is poor because Africa is poor". According to Sachs, with the right policies and key interventions, extreme poverty—defined as living on less than $1 a day—can be eradicated within 20 years. India and China are examples, with the latter lifting 300 million people out of extreme poverty during the last two decades. Sachs has said that a key element to accomplishing this is raising aid from $65 billion in 2002 to $195 billion a year by 2015. He emphasizes the role of geography and climate as much of Africa is landlocked and disease-prone. However, he stresses that these problems can be overcome.

Sachs suggests that with improved seeds, irrigation and fertilizer, the crop yields in Africa and other places with subsistence farming can be increased from 1 ton per hectare to 3 to 5 tons per hectare. He reasons that increased harvests would significantly increase the income of subsistence farmers, thereby reducing poverty. Sachs does not believe that increased aid is the only solution. He also supports establishing credit and microloan programs which are often lacking in impoverished areas. Sachs advocates the distribution of free insecticide-treated bed nets to combat malaria. The economic impact of malaria has been estimated to cost Africa $12 billion per year. Sachs estimates that malaria can be controlled for $3 billion per year, therefore suggesting that anti-malaria projects would be an economically justified investment.

The Millennium Villages Project (MVP) which he directs operates in more than a dozen African countries and covers more than 500,000 people. The MVP has created controversy because critics have questioned both the design of the project and claims made for its success. In 2012, The Economist reviewed the project and concluded "the evidence does not yet support the claim that the millennium villages project is making a decisive impact". Critics have pointed to the failure to include suitable controls that would allow an accurate determination of whether the MVP methods were responsible for any observed gains in economic development. A 2012 Lancet paper claiming a three-fold increase in the rate of decline in childhood mortality was criticized for flawed methodology and the authors later admitted that the claim was "unwarranted and misleading". In her 2013 book, The Idealist: Jeffrey Sachs and the Quest to End Poverty, journalist Nina Munk concluded that the MVP was a failure.

Following the adoption of the Millennium Development Goals (MDGs) in 2000, Sachs chaired the WHO Commission on Macroeconomics and Health (2000–2001) which played a pivotal role in scaling up the financing of health care and disease control in the low-income countries to support MDGs 4, 5 and 6. He worked with UN Secretary-General Kofi Annan in 2000–2001 to design and launch The Global Fund to Fight AIDS, Tuberculosis and Malaria. He also worked with senior officials of the George W. Bush administration to develop the PEPFAR program to fight HIV/AIDS and the PMI to fight malaria. On behalf of Annan, from 2002 to 2006 he chaired the UN Millennium Project which was tasked with developing a concrete action plan to achieve the MDGs. The UN General Assembly adopted the key recommendations of the UN Millennium Project at a special session in September 2005.

Previously a special adviser to secretary-general António Guterres, Sachs is an advocate for the 2015 Sustainable Development Goals which build upon and supersede the MDGs. In his capacity as a special adviser at the UN, Sachs has frequently met with foreign dignitaries and heads of state. He was photographed with Matt Damon and developed a friendship with international celebrities Bono and Angelina Jolie, who traveled to Africa with Sachs to witness the progress of the Millennium Villages.

Sachs has criticized the International Monetary Fund and its policies around the world and blamed international bankers for what he says is a pattern of ineffective investment strategies.

During the Greek government-debt crisis in July 2015, Sachs, Heiner Flassbeck, Thomas Piketty, Dani Rodrik and Simon Wren-Lewis, published an open letter to the Chancellor of Germany Angela Merkel, regarding Greek debt.

Sachs is one of the founders of the Deep Decarbonization Pathways Project.

Nuclear power
In 2012 Sachs claimed that nuclear power is the only solution to climate change, but he has since revised his opinion, suggesting in 2021 that carbon neutrality could be achieved without the use of nuclear power.

China
Sachs is a "long-time advocate of dismantling American hegemony and embracing the rise of China." He believes the term "genocide" is mistaken in relation to the repression of the Uyghurs in China. He has argued for closer relations between the US and China and warned of the danger of tensions between them.

Syria
In April 2018, he supported President Donald Trump's view that the United States should come out of Syria "very soon", adding: "It's long past time for the United States to end its destructive military engagement in Syria and across the Middle East, though the security state seems unlikely to let this happen". When asked by Isaac Chotiner if he was aware that Syrian leader Bashar Al-Assad had killed his own people in a 2023 interview, Sachs answered no to the question and replied that he was "aware of a lot more than you are aware of about Syria, because I know a great deal about the day-to-day events from the spring of 2011 onward".

Venezuela
A 2019 report authored by Sachs and Mark Weisbrot, published by the Center for Economic and Policy Research, stated that a 31% rise in the number of deaths between 2017 and 2018 was due to the sanctions imposed on Venezuela in 2017 and that 40,000 people in Venezuela may have died as a result. The report states: "The sanctions are depriving Venezuelans of lifesaving medicines, medical equipment, food, and other essential imports." Weisbrot stated that the authors "could not prove those excess deaths were the result of sanctions, but said the increase ran parallel to the imposition of the measures and an attendant fall in oil production."

A United States Department of State spokesperson said that "as the writers themselves concede, the report is based on speculation and conjecture." Ricardo Hausmann, a Harvard economist who was adviser to then Venezuelan opposition leader, Juan Guaidó, stated that the analysis was flawed because it made invalid assumptions about Venezuela based on a different country, Colombia, saying that "taking what happened in Colombia since 2017 as a counterfactual for what would have happened in Venezuela if there had been no financial sanctions makes no sense." Calling it "sloppy reasoning", Hausmann also stated that the analysis failed to rule out other explanations and failed to correctly account for PDVSA finances.

COVID-19
Early in the COVID-19 pandemic, Sachs vocally rejected the COVID-19 lab leak theory (a version of which was being supported by President Donald Trump), which posited the SARS-CoV-2 virus was released from a Chinese laboratory, denouncing it as "reckless and dangerous" and arguing that right-wing politicians pointing fingers at the Wuhan Institute of Virology could "push the world to conflict... Neither the biology nor chronology support the laboratory-release story."

In spring 2020, Richard Horton, editor of The Lancet, appointed Sachs as chair of its COVID-19 Commission, whose goals were to provide recommendations for public health policy and improve the practice of medicine. Sachs set up a number of task forces, including one on the origins of the virus. Sachs appointed British American disease ecologist Peter Daszak, a colleague of Sachs' at Columbia, to head this task force, two weeks after the Trump administration prematurely ended a federal grant supporting a project led by Daszak, EcoHealth Alliance, which worked with the Wuhan Institute of Virology. This appointment was criticized as creating a conflict of interest, for instance by Richard Ebright, chemical biologist at Rutgers University, who called the commission an "entirely Potemkin commission" in the National Review. However, as Sachs became increasingly drawn to the lab leak theory, he came into conflict with Daszak and his task force, forcing his resignation in summer 2021 and disbanding the group in September that year.

In July 2022, Sachs said he was "pretty convinced," though "not sure" that COVID-19 came out of "US lab biotechnology," which is considered by the European Union to be COVID-19 disinformation by China. While Sachs has leanings toward the possibility of a virus leak from a "U.S.-backed laboratory research program," he has stated that "A natural spillover is also possible, of course. Both hypotheses are viable at this stage."

In August 2022, Sachs gave an hour-long interview on the podcast of anti-vaccine conspiracy theorist Robert F. Kennedy Jr. where he criticized Daszak and accused officials such as Anthony Fauci of "not being honest" about the origins of COVID.

In September 2022, the Lancet commission published a wide-ranging report on the pandemic, including commentary on the virus origin overseen by Sachs. The report suggested that the virus may have originated from an American laboratory. Virologists reacting to this, including Angela Rasmussen, commented that the release may have been "one of The Lancet's most shameful moments regarding its role as a steward and leader in communicating crucial findings about science and medicine." Virologist David Robertson said the suggestion of US laboratory involvement was "wild speculation" and that "it's really disappointing to see such a potentially influential report contributing to further misinformation on such an important topic."

War in Ukraine
In May 2022, Sachs said that the Russian invasion of Ukraine in February 2022 would be hard to beat and that Finland's moves to join NATO would undermine a negotiated peace: "All of this talk of defeating Russia, to my mind, is reckless." In June 2022, he co-signed an open letter calling for a "ceasefire" in the war, questioning Western countries' continuing military support for Ukraine.

In 2022, Sachs appeared several times on one of the top-rated shows funded by the Russian government, hosted by Vladimir Solovyov, to call for Ukraine to negotiate and step away from its "maximalist demands" of removing Russia from Ukrainian territory.

Sachs has suggested that the U.S. was responsible for the sabotage of the Nord Stream pipeline. In February 2023, he was invited by the Russian government to address the United Nations Security Council about the topic.

Economics
Sachs's economic philosophies have been the subject of controversy. Nina Munk, author of the 2013 book The Idealist: Jeffrey Sachs and the Quest to End Poverty, says that, although well intended, poverty eradication projects endorsed by Sachs have years later "left people even worse off than before".

William Easterly, a professor of economics at New York University, reviewed The End of Poverty for the Washington Post, calling Sachs' poverty eradication plan "a sort of Great Leap Forward". According to Easterly's cross-country statistical analysis in his book The White Man's Burden, from 1985 to 2006, "When we control both for initial poverty and for bad government, it is bad government that explains the slower growth. We cannot statistically discern any effect of initial poverty on subsequent growth once we control for bad government. This is still true if we limit the definition of bad government to corruption alone." Easterly deems the massive aid proposed by Sachs to be ineffective, as its effect will be hampered by bad governance and/or corruption.

Commenting on Sachs' $120 million effort to aid Africa, American travel writer and novelist Paul Theroux says these temporary measures failed to create sustained improvements. Theroux focuses on a project in a sparsely populated community of nomadic camel herders in Dertu, Kenya, funded by Sachs' Millennium Villages Project, which cost US$2.5 million over a three-year period. Theroux says that the project's latrines were clogged and overflowing, the dormitories it built quickly became dilapidated, and the livestock market it established ignored local customs and was shut down within a few months. He says that an angry Dertu citizen filed a 15-point written complaint against Sachs's operation, claiming it "created dependence" and that "the project is supposed to be bottom top approached but it is visa [sic] versa."

According to the Canadian journalist Naomi Klein, Jeffrey Sachs is one of the architects of "disaster capitalism" after his recommendations in Bolivia, Poland and Russia led to millions of people ending up in the streets.

China
In December 2018, Huawei Chief Financial Officer Meng Wanzhou was arrested in Canada at the request of the U.S., which was seeking her extradition to face charges of allegedly violating sanctions against Iran. Soon after Meng's arrest, Sachs wrote an article in which he said her arrest was part of efforts to contain China and accused the U.S. of hypocrisy for seeking her extradition. He wrote that none of the executives of several U.S. companies which had been fined for sanctions violations were arrested. After he was criticized for the article, Sachs closed his Twitter account, which had 260,000 followers. Isaac Stone Fish, a senior fellow at Asia Society, noted that Sachs had written a foreword to a Huawei position paper, and questioned whether Sachs had been paid by Huawei. Sachs said he had not been paid for the work.

In June 2020, Sachs said the targeting of Huawei by the US was not solely about security. In their 2020 book Hidden Hand, Clive Hamilton and Mareike Ohlberg commented on one of Sachs' articles in which he accused the U.S. government of maligning Huawei under hypocritical pretenses. Hamilton and Ohlberg wrote that Sachs' article would be more meaningful and influential if he did not have a close relationship with Huawei, including his previous endorsement of the company's "vision of our shared digital future". The authors also alleged that Sachs has ties to a number of Chinese state bodies and the private energy corporation CEFC China Energy for which he has spoken.

During a January 2021 interview, despite the interviewer's repeated prompting, Sachs evaded questions about China's repression of Uyghur people and referred to "huge human rights abuses committed by the U.S." Subsequently, 19 advocacy and rights groups jointly wrote a letter to Columbia University questioning Sachs' comments. The letter's signatories wrote that Sachs took the same stance as China's Ministry of Foreign Affairs, a digression to the history of U.S. rights violations as a way to avoid discussions of China's mistreatment of Uyghurs. The rights groups went on to say that Sachs "betrayed his institution's mission" by trivializing the perspective of those who were oppressed by the Chinese government. Stephan Richter, editor-in-chief at The Globalist, and J.D. Bindenagel, a former U.S. ambassador, wrote that Sachs was "actively agitating(!) for a classic Communist propaganda ploy".

War in Ukraine
In March 2023 a group of 340 economists published an open letter, criticising his point of view.

Personal life
Sachs lives in New York City with his wife Sonia Ehrlich Sachs, a pediatrician. They have three children.

Awards and honors
In 2004 and 2005, Sachs was named one of the 100 Most Influential People in the World by Time. He was also named one of the "500 Most Influential People in the Field of Foreign Policy" by the World Affairs Councils of America.

In 1993, the New York Times called Sachs "probably the most important economist in the world." In 2005, Sachs received the Sargent Shriver Award for Equal Justice. In 2007, he was awarded the Padma Bhushan, the third highest civilian honor bestowed by the government of India. Also in 2007, he received the Cardozo Journal of Conflict Resolution International Advocate for Peace Award and the Centennial Medal from the Harvard Graduate School of Arts and Sciences for his contributions to society.

In 2007, Sachs received the S. Roger Horchow Award for Greatest Public Service by a Private Citizen, an award given out annually by Jefferson Awards.

From 2000 to 2001, Sachs was chairman of the Commission on Macroeconomics and Health of the World Health Organization (WHO) and from 1999 to 2000 he was a member of the International Financial Institution Advisory Commission established by the United States Congress. Sachs has been an adviser to the WHO, the World Bank, the Organisation for Economic Co-operation and Development, the International Monetary Fund, and the United Nations Development Program. He is a member of the Institute of Medicine, the American Academy of Arts and Sciences, Harvard Society of Fellows, the Fellows of the World Econometric Society, the Brookings Panel of Economists, the National Bureau of Economic Research and the Board of Advisers of the Chinese Economists Society, among other international organizations. Sachs is also the first holder of the Royal Professor Ungku Aziz Chair in Poverty Studies at the Centre for Poverty and Development Studies at the University of Malaya in Kuala Lumpur, Malaysia for 2007–2009. He holds an honorary professorship at the Universidad del Pacifico in Peru. He has lectured at the London School of Economics, the University of Oxford and Yale University and in Tel Aviv and Jakarta.

In September 2008, Vanity Fair ranked Sachs 98th on its list of 100 members of the New Establishment. In July 2009, Sachs became a member of the Netherlands Development Organization's International Advisory Board. In 2009, Princeton University's American Whig-Cliosophic Society awarded Sachs the James Madison Award for Distinguished Public Service.

In 2016, Sachs became president of the Eastern Economic Association, succeeding Janet Currie.

In 2017, Sachs and his wife were the joint recipients of the first World Sustainability Award. In 2015, Sachs was awarded the Blue Planet Prize for his contributions to solving global environmental problems.

In May 2017 Sachs was awarded the Boris Mints Institute Prize for Research of Strategic Policy Solutions to Global Challenges.

In 2022 Sachs was awarded the Tang Prize in the category of sustainable development.

Publications
Sachs writes a monthly foreign affairs column for Project Syndicate, a nonprofit association of newspapers around the world that is circulated in 145 countries.

Selected works

 * Kirkman, Geoffrey S., Cornelius, Peter K., Sach, Jeffrey D. and Schwab, Klaus, eds. Global Information Technology Report 2001 – 2002: Readiness for the Networked World''. New York, Oxford University Press (2002). ISBN 978-0195152586, ISBN 0195152581
 * Sachs, Jeffrey (2002). A New Global Effort to Control Malaria (Science), Vol. 298, October 4, 2002
 * Sachs, Jeffrey (2002). Resolving the Debt Crisis of Low-Income Countries (Brookings Papers on Economic Activity), 2002:1
 * Sachs, Jeffrey (2001). The Strategic Significance of Global Inequality (The Washington Quarterly), Vol. 24, No. 3, Summer 2001
 * Sachs, Jeffrey (1997). Development Economics Blackwell Publishers ISBN 0-8133-3314-8
 * Sachs, Jeffrey (ed) (1991). Developing Country Debt and Economic Performance, Volume 1 : The International Financial System (National Bureau of Economic Research Project Report) University of Chicago Press ISBN 0-226-73332-7
 * Sachs, Jeffrey and Warwick McKibbin Global Linkages: Macroeconomic Interdependence and Co-operation in the World Economy, Brookings Institution, June, 277 pages. (ISBN 0-8157-5600-3)
 * Bruno, Michael and Sachs, Jeffrey (1984), "Stagflation in the World Economy"
 * Kirkman, Geoffrey S., Cornelius, Peter K., Sach, Jeffrey D. and Schwab, Klaus, eds. Global Information Technology Report 2001 – 2002: Readiness for the Networked World''. New York, Oxford University Press (2002). ISBN 978-0195152586, ISBN 0195152581
 * Sachs, Jeffrey (2002). A New Global Effort to Control Malaria (Science), Vol. 298, October 4, 2002
 * Sachs, Jeffrey (2002). Resolving the Debt Crisis of Low-Income Countries (Brookings Papers on Economic Activity), 2002:1
 * Sachs, Jeffrey (2001). The Strategic Significance of Global Inequality (The Washington Quarterly), Vol. 24, No. 3, Summer 2001
 * Sachs, Jeffrey (1997). Development Economics Blackwell Publishers ISBN 0-8133-3314-8
 * Sachs, Jeffrey (ed) (1991). Developing Country Debt and Economic Performance, Volume 1 : The International Financial System (National Bureau of Economic Research Project Report) University of Chicago Press ISBN 0-226-73332-7
 * Sachs, Jeffrey and Warwick McKibbin Global Linkages: Macroeconomic Interdependence and Co-operation in the World Economy, Brookings Institution, June, 277 pages. (ISBN 0-8157-5600-3)
 * Bruno, Michael and Sachs, Jeffrey (1984), "Stagflation in the World Economy"
 * Sachs, Jeffrey (ed) (1991). Developing Country Debt and Economic Performance, Volume 1 : The International Financial System (National Bureau of Economic Research Project Report) University of Chicago Press ISBN 0-226-73332-7
 * Sachs, Jeffrey and Warwick McKibbin Global Linkages: Macroeconomic Interdependence and Co-operation in the World Economy, Brookings Institution, June, 277 pages. (ISBN 0-8157-5600-3)
 * Bruno, Michael and Sachs, Jeffrey (1984), "Stagflation in the World Economy"
 * Sachs, Jeffrey and Warwick McKibbin Global Linkages: Macroeconomic Interdependence and Co-operation in the World Economy, Brookings Institution, June, 277 pages. (ISBN 0-8157-5600-3)
 * Bruno, Michael and Sachs, Jeffrey (1984), "Stagflation in the World Economy"
 * Bruno, Michael and Sachs, Jeffrey (1984), "Stagflation in the World Economy"

title: Jeffrey Sachs


text:
Morse

Morse may refer to:

People

 * Morse (surname)
 * Morse Goodman (1917-1993), Anglican Bishop of Calgary, Canada
 * Morse Robb (1902–1992), Canadian inventor and entrepreneur

Antarctica

 * Cape Morse, Wilkes Land
 * Mount Morse, Churchill Mountains
 * Morse Nunataks
 * Morse Spur, Victoria Land

Canada

 * Rural Municipality of Morse No. 165, Saskatchewan
 * Morse, Saskatchewan, a town
 * Morse (provincial electoral district), Saskatchewan

China

 * Morse Park, Hong Kong

New Zealand

 * Morse River, New Zealand

South Georgia Island

 * Morse Point, South Georgia Island

United States

 * Morse, Illinois, an unincorporated community
 * Morse, Iowa, an unincorporated community
 * Morse, Louisiana, a village
 * Morse River (Maine)
 * Morse Township, Itasca County, Minnesota
 * Morse Township, St. Louis County, Minnesota
 * Morse, Texas, an unincorporated community and census-designated place
 * Morse, Wisconsin, a town
 * Morse (community), Wisconsin, an unincorporated community

Outer space

 * Morse (crater), on the Moon
 * 8672 Morse, an asteroid

Arts and entertainment

 * Inspector Morse, a fictional British detective in books by Colin Dexter and a television series
 * Morse, French title for the Swedish horror film Let the Right One In
 * Morse (album), by the New Zealand musician Alastair Galbraith, 1993

Businesses

 * Morse Diving, an American maker of diving equipment
 * Morse Dry Dock and Repair Company, a defunct American company
 * C.C. Morse & Co., an American supplier of seeds and part of Ferry-Morse Seed Company
 * Morse Theater, Chicago, Illinois, U.S., from 1912 until 1930

Other uses

 * Morse College, a residential college at Yale University, Connecticut, U.S.
 * Morse High School (disambiguation)
 * USS Morse, a ferryboat used by the Union Navy in the American Civil War
 * Morse station, a rapid transit station in Chicago, Illinois, U.S.
 * Morse Auditorium, Boston University, Massachusetts, U.S.
 * Morse House (disambiguation), various buildings
 * Sea-lion, in heraldry sometimes called morse
 * Morse, an archaic English word for the walrus
 * Morse, an archaic word for walrus ivory
 * Morse chain, a chain drive with inverted teeth

title: Morse