Anthology of Selected Pieces (Transcribed and edited for the by Gaspar Sanz (ed. by Raymond Burley)

By Gaspar Sanz (ed. by Raymond Burley)

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Gayatri Spivak expresses concern for the processes whereby postcolonial studies reinscribe, co-opt and repeat neocolonial imperatives of cultural erasure, political domination and economic profiteering. Spivak, in other words, asks if the postcolonial critic, by virtue of assuming hegemonically (without the necessary consent) the deluxe right to represent the subaltern of his/her own nation, becomes unknowingly complicit in the task of imperialism. 21 “I am an ‘accidental’ writer. I used to write in my school days and even won some creative writing contests.

Salim wants to do his brotherly bit by initiating Jamal into the heart of twenty-first century India’s burgeoning economy, and get him off the streets for good. Salim has become rich by participating fully in the economy and he is eager that Jamal enjoy similar fruits of success. However, the economy 14 THE SLUMDOG PHENOMENON that Salim claims has put India at the center of the world turns out to be a sham economy of reckless fraudulence and gangsterism. Jamal is indifferent to Salim’s economy.

After he answers the winning question correctly and steps out of the studio in a daze, a crowd of urban poor swoop on him and sweep him off the ground, Jai Ho-ing his dogged yet fortuitous arrival into a form of modernity whose framing parameters are largely economic. Interestingly, there are remnants of the Hindi India in the form of trains that stand still in the background while Jamal and Latika dance ecstatically to the rhythm of a Bollywood number, composed by the hottest Indian music composer who is also known to be the most global of all Indian pop music artists.

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