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Although their settings span a wide geographical area, from the South Pacific to India, Maugham's exotic short stories, novels, and travelogues all, ultimately, focus on the creation of a masculine British identity. In this first book to address Maugham's fiction in light of recent developments in postcolonial, gender, and cultural theory, Holden argues that Maugham's work can be understood as an attempt to negotiate between two alternative masculine identities: those of private homosexual and public writer. Holden identifies Maugham's attempts to cultivate a public persona as a writer whose heterosexuality is confirmed through a process of control of language. Furthermore, Holden illuminates the fluidity of language that Maugham, in contrast to his public persona, associated with homosexuality. The basis of this study is the provocative notion that Maugham's texts, despite their exotic locations, ultimately dramatize a struggle over masculine British identity.
PHILIP HOLDEN is a Lecturer at the National Institute of Education, Nanyang Technological University, Singapore. Born in England, he has studied and taught in Europe, North America, and East Asia.
Introduction Envisioning the Primitive: The Moon and Sixpence The Trembling of a Leaf and the Closet of Nostalgia The Flaneur Abroad: On A Chinese Screen The Empty Sign of The Painted Veil Transgression and Containment: The Malayan Short Stories The Narrow Corner: Intoxication, Homoeroticism, and the Writing Cure Transcending Sexuality: India and The Razor's Edge Conclusion Bibliography Index
Rajeev S. Patke, Philip Holden, Singapore) Patke, Rajeev S. (National University of Singapore, Singapore) Holden, Philip (National University of Singapore
Daniel P.S. Goh, Matilda Gabrielpillai, Philip Holden, Gaik Cheng Khoo, Singapore) Goh, Daniel P.S. (National University of Singapore, Singapore) Gabrielpillai, Matilda (Nanyang Technological University, Singapore) Holden, Philip (National University of Singapore, Gaik Cheng (Australian National University) Khoo, Daniel P. S. Goh