Chapter 1: Introduction: Charting CourseAnchoring Space - Doing Space - Geographies of Literature - Postmodern Spaces – Material - Histories Chapter 2: Around the World in Eighty (One) DaysSection 1. Understanding Verne: Laying the GroundworkVerne and the World - Verne’s Geography - Geography on Verne - Reading Verne’s Geographies - Rounding up the World - Capital Repetitions: MonghirSection 2. Opium Silence and Nineteenth-Century French LiteratureColonizing Hong Kong - Illegal Opium and Colonial Wealth - Opium Cities - Opium Race Chapter 3: Dislocating the Indian Nation: Ananda Devi’s HomelandsGlobal Pathways - Along a Local Road - Dislocating Location - Grounding Identity - Patriarchal Homelands - Tango with India - Delhi’s Underbelly - Antipodal Itineraries - Desert Safari - Producing Dissent - Rediscovering India Chapter 4: Martinique: Space, Language, GenderSection 1. Contextualizing TexacoTexaco and its Significations - A Spatial Metaphor - Literary Margins: City and Language - Marie-Sophie as Texaco - Chamoiseau and Feminism - Reinventing the CitySection 2. Martinique’s Literary Identity and French BordersMartinique: Colonial History, Postcolonial Literature - French Borders, Martinican TextSection 3. Text, Texaco and LandscapeTexaco: Space and Language - Rewriting l’En-villeSection 4. France, Martinique and Marie-Sophie’s BodyMarie-Sophie and Texaco - Marie-Sophie’s body and Martinique Chapter 5: Out of Place: French Family at (Algerian) War 205Immaterial Differences - Locating Caché - White Lies - Hidden Agenda - Colonial Family; National Lies - Colonial Past; Cinematic Present - Escaping Images - Deadly Images Epilogue: Interjecting PassagesNotesBibliographyColonial expansion and spatial grammar in French-language works from different historical and national contextsColonialism advanced its project of territorial expansion by changing the very meaning of borders and space. The colonial project scripted a unipolar spatial discourse that saw the colonies as an extension of European borders. In his monograph, Mohit Chandna engages with narrations of spatial conflicts in French and Francophone literature and film from the nineteenth to the early twenty-first century. In literary works by Jules Verne, Ananda Devi, and Patrick Chamoiseau, and film by Michael Haneke, Chandna analyzes the depiction of ever-changing borders and spatial grammar within the colonial project. In so doing, he also examines the ongoing resistance to the spatial legacies of colonial practices that act as omnipresent enforcers of colonial borders. Literature and film become sites that register colonial spatial paradigms and advance competing narratives that fracture the dominance of these borders.Through its analyses Spatial Boundaries, Abounding Spaces shows that colonialism is not a finished project relegated to our past. Colonialism is present in the here and now, and exercises its power through the borders that define us.Colonialism advanced its project of territorial expansion by changing the very meaning of borders and space. The colonial project scripted a unipolar spatial discourse that saw the colonies as an extension of European borders. In his monograph, Mohit Chandna engages with narrations of spatial conflicts in French and Francophone literature and film from the nineteenth to the early twenty-first century. In literary works by Jules Verne, Ananda Devi, and Patrick Chamoiseau, and film by Michael Haneke, Chandna analyzes the depiction of ever-changing borders and spatial grammar within the colonial project. In so doing, he also examines the ongoing resistance to the spatial legacies of colonial practices that act as omnipresent enforcers of colonial borders. Literature and film become sites that register colonial spatial paradigms and advance competing narratives that fracture the dominance of these borders.Through its analyses Spatial Boundaries, Abounding Spaces shows that colonialism is not a finished project relegated to our past. Colonialism is present in the here and now, and exercises its power through the borders that define us.