[A]wards and prizes remove and dislocate the Roys and the Rushdies from their local habitation and give them a new pedestal, curiosity cabinet or museum to be exhibited in/ on, seen and admired, but among other things Indian. It is not only a Roy or a Rushdie who gets showcased with these awards, it is India itself, and vice versa. Just as in the Crystal Palace Exhibition and the other Great Exhibitions of nineteenth- and early twentieth-century England there were India sections where India’s artists, artisans and arts were displayed, but as metonyms for India, these prizewinning books and authors serve as metonyms for an India that has already received considerable attention in the First World, and is already a part of the global cultural economy. (Nayar 38-39)