Abstract

This essay focuses on the depiction of jazz in Michael Ondaatje’s Coming through Slaughter. I argue that the elusiveness of Buddy Bolden’s music and Ondaatje’s own experimentalism enact the ethics that is central to the work of Jacques Derrida. By extension, they articulate a diasporic condition that is both universal as well as culturally specific.

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Additional Information

ISSN
1925-5683
Print ISSN
0027-1276
Pages
pp. 161-178
Launched on MUSE
2016-03-07
Open Access
No
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