During the struggle for decolonization, Frantz Fanon argued that artists who mimicked European aestheticism were “beginning at the end,” skipping the inventive phase of youth for a decadence thought more typical of Europe’s declining empires. Robert Stilling takes up Fanon’s assertion to argue that decadence became a key idea in postcolonial thought, describing both the failures of revolutionary nationalism and the assertion of new cosmopolitan ideas about poetry and art.

In Stilling’s account, anglophone postcolonial artists have reshaped modernist forms associated with the idea of art for art’s sake and often condemned as decadent. By reading decadent works by J. K. Huysmans, Walter Pater, Henry James, and Oscar Wilde alongside Chinua Achebe, Derek Walcott, Agha Shahid Ali, Derek Mahon, Yinka Shonibare, Wole Soyinka, and Bernardine Evaristo, Stilling shows how postcolonial artists reimagined the politics of aestheticism in the service of anticolonial critique. He also shows how fin de siècle figures such as Wilde questioned the imperial ideologies of their own era.

Like their European counterparts, postcolonial artists have had to negotiate between the imaginative demands of art and the pressure to conform to a revolutionary politics seemingly inseparable from realism. Beginning at the End argues that both groups—European decadents and postcolonial artists—maintained commitments to artifice while fostering oppositional politics. It asks that we recognize what aestheticism has contributed to politically engaged postcolonial literature. At the same time, Stilling breaks down the boundaries around decadent literature, taking it outside of Europe and emphasizing the global reach of its imaginative transgressions.

Broadcasting has long been considered one of the keys to modernization in the developing world. Able to leap the triple barrier of distance, illiteracy, and apathy, it was seen as a crucial clement in the development of new nations. Recently, however, these expectations have been disappointed by broadcasting's failures to reach the rural masses and the urban unemployed. Broadcasting has also come under attack as serious questions have been raised about its uncritical importation of western culture. Now, in Broadcasting in the Third World, Elihu Katz and George Wedell offer the first complete coverage of the problems and promises of broadcasting in the third world. Their findings, often controversial and always illuminating, will be of considerable value to sociologists, political scientists, communications specialists, and students of development.

Broadcasting in the Third World is based on field research in eleven developing countries (Algeria, Brazil, Cyprus, Indonesia, Iran, Nigeria, Peru, Senegal, Singapore, Tanzania, and Thailand) and secondary source material from a further eighty countries. In looking at the role of broadcasting in national development, the authors focus on three areas of promise: national integration, socio-economic development, and cultural continuity and change. They describe the ways in which the technology and content of broadcasting have been transferred from the developed west to the third world, and the go on to show that western broadcasting must be adapted to suit the specific political, economic and social structures of each developing country.

The authors conclude with a series of recommendations which challenge most of the assumptions upon which the principles and practices of broadcasting are based. Well-researched, extensively documented, it will challenge policy-makers and provide important data for researchers.