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Black Expressive Cultures in the Diaspora

996 hyperinflates such images in popular culture. What is not ultimately clarified, however, is exactly how the kind of postmodernist-postcolonial ideology analysis that he advocates here assists in the project of confronting the “destitution, poverty and sheer despair in the world” (155). The link between Quayson’s nuanced, attentive textual analysis and the broader project of emancipatory social change is much stronger again in the final chapter, particularly in his superb unpacking of 1990s anti-welfare ideology against the backdrop of “the contradictory co-dependency of economics and culture” apparent in Shakespeare’s The Merchant of Venice (181). Given the closing call for “a radical postcolonial pedagogical agenda” (183), the words of one reviewer concerning other recent publications in the field are perhaps equally germane to Quayson’s book: “At this early point in the development of postcolonial theory, it is perhaps inevitable that activist scholars cannot translate their abstract hopes for change into concrete suggestions. These works move us closer to that realization” (190). Helen Scott University of Vermont