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The term „postcolonial literature” in its broader sense encompasses works originating in countries that were in the past under European rule; however, in its narrower sense, it refers to texts that confront the problematics of (de)colonisation, independence, and history.1 According to Ashcroft, Griffiths, and Tiffin, the shared feature of all postcolonial literatures is „that they emerged [...] out of the experience of colonisation and asserted themselves by foregrounding the tension with the imperial power, and by emphasising their differences from the assumptions of the imperial centre” [1989: 2]. In an effort to counterpoint colonial discourse, authors of postcolonial literary works employ a range of textual strategies, such as the use of specific themes and motifs, the parody of the Western literary canon, the transformation of European genres and forms, hybridity, innovative techniques, and native literary forms. These are seen as dialogic and heteroglossic, and „serve to liberate the subject from the power of hegemonic language” as utilised by the coloniser [Goodman 2004: 62]. The famous phrase „the Empire writes back to

Popculture in postcolonial literature Motifs of popular culture in Arundhati Roy’s The God of Small Things and Eden Robinson’s Monkey Beach