Pulp Fiction and Chick Lit - signifiers for the end of a struggle?

Don't judge a book by it's cover ... at least not always and especially not if the literature you are dealing with is prone to the orientalizing gaze of the Western literary market - as a nice talk by Mary Anne Mohanraj at last year's SALA in San Francisco comprehensively summarized. She was kind enough to put her results up on her page upon request.
And yes, I know that book titles - just like covers - are not primarily determined by authors - especially not new emerging voices. However, sometimes the combination of title and cover (very much in the line Mary Anne determined: only parts of female body clad in sari, redish-yellowish coloring) do tell all that is to say about a book. On the return flight from Boston I finished A Good Indian Wife - perfect airplane novel (though I picked it up at Barnes & Nobles). Because, really it is only pulp chick-lit, nothing there to help me in my thesis, but at least less awful than I found Marrying Anita which I have yet to finish, or maybe just not...
And then again - I am currently, though working on a different aspect and chapter of the thesis, trying to get my theoretical argument together (which has been challenged at the Dartmouth College "Futures of American Studies Institute") as to why diaspora is just no longer an adequate frame for cosmopolitan transnational transcultural writing by South Asian North Americans, and keep pondering whether the fact that the diasporic imaginary by now also serves as the backdrop of pulp fiction is not possibly along my lines.
These two novels (usualy within a few pages already) serve up all - I mean ALL - the exoticizing stereotypes the West has about Indians and the Indian diaspora in particular (along the "only those from your own culture can truly understand you"-kind of stuff): arranged marriages, spices and food, women finding a place for themselves, omnipresence of family ties and obligations and the displaced community sticking together, ....
So, I started thinking, whether not the very fact that the arguments, methods, themes and modes which gave voice and visibility to the South Asian diaspora in literature up to the early 1990s have now entered the realm of pulp fiction and chick-lit actually supports my argument. These are no longer critical points of view, but have entered the most uncritical of mainstream markets - which means they have lost all their potential of resistance and political voice. This is no longer about collective identity constructions, but simple a re-inscription of stagnant cultural assumptions.
The diasporic collective cultural identity as the backdrop of literature is actually signifying the pastness of the idea. I will have to find a more eloquent way to voice this, yet, but in addition to my array of theories from Althusser via Levinas to Lipsitz, Benn Michaels and Appadurai I think it will at least come in as a handy footnote in the discussion of consumerism and the global literary market. Except, if you think I am totally off track here! Then please let me know.