1. Henry Jenkins (2006) Convergence Culture: Where Old and New Media Collide, New York: New York University Press.
2. Pierre Bourdieu (1993) The Field of Cultural Production: Essays on Art and Literature, ed. R. Johnson, New York: Columbia University Press.
3. It is significant that today there are only a few independent booksellers and publishers. Most publishers, academic as well as trade, are now part of massive global conglomerates and publishing chains. Random House thus incorporates in addition Knopf Doubleday, Ballantine, The Dial, Lucas, Crown, Anchor, Everyman’s Library, Pantheon, Vintage, Schocken and others. A perceptive study of global publishing (Stuart Glover (2011) ‘The rise of global publishing and the fall of the dream of the global book: The editing of Peter Carey’, Publishing Research Quarterly, 27(1): 54–61) points out that the earlier, traditional link between author, editor and publisher is now no more. Further, instead of a single authorized edition we have competing editions. Massive advances for authors, signing programmes and global publicity have been of great help to Amitav Ghosh, Arundhati Roy, Salman Rushdie of course and the new generation of Kiran Desais, Aravind Adigas and others, partly as a result of the push towards globalized publishing.
4. In an interview Shashi Deshpande states: ‘One of the things one is always asked is “why do you write in English?” for a person like me, whose father wrote in Kannada and who lives very much in this kind of a middle-class milieu, it’s always asked of me, and it’s asked in a kind of accusing tone, as if I’ve done something wrong. There was no choice in the matter. That’s what I always say. It’s not like I sat down and said, “Look, I’m going to write in English.” That was the only language I could write.’ Shashi Deshpande (1998) ‘Interview with Sue Dickman’, Ariel, 29(1), p. 131.
5. Lisa Lau (2009) ‘Re-Orientalism: The perpetration and development of Orientalism by Orientals’, Modern Asian Studies, 43(2): 571–590.