Grace Nichols gives us images that stare us straight in the eye, images of joy, challenge, accusation. Her 'fat black woman' is brash; rejoices in herself; poses awkward questions to politicians, rulers, suitors, to a white world that still turns its back. Grace Nichols writes in a language that is wonderfully vivid yet economical of the pleasures and sadnesses of memory, of loving, of 'the power to be what I am, a woman, charting my own futures'.
Combining postcolonial perspectives with race and culture based studies, which have merged the fields of African and black American studies, this volume concentrates on women writers, exploring how the (post) colonial condition is reflected in women's literature. The essays are united by their focus on attempts to create alternative value systems through the rewriting of history or the reclassification of the woman's position in society. By examining such strategies these essays illuminate the diversity and coherence of the postcolonial project.
A study of Grace Nichols' writing that combines feminist and postcolonial reading strategies and places her work in both a Caribbean and black British context. It also shows how Nichols' poetry explored the boundaries of race, class and gender. It is aimed at students of literature in schools and in higher education.
The authoritative source for information on the people, places, and events of the African Diaspora, spanning five continents and five centuries. • More than 500 A–Z entries • Contributions from hundreds of leading scholars • Maps showing key locations in the African Diaspora
Contemporary Caribbean Women's Poetry provides detailed readings of individual poems by women poets whose work has not yet received the sustained critical attention it deserves. These readings are contextualized both within Caribbean cultural debates and postcolonial and feminist critical discourses in a lively and engaged way; revisiting nationalist debates as well as topical issues about the performance of gendered and raced identities within poetic discourse. Newly available in paperback, this book is groundbreaking reading for all those interested in postcolonialism, Gender Studies, Caribbean Studies and contemporary poetry.
Taking up the challenge of redefining modernity from a Caribbean perspective instead of assuming that the North Atlantic view of modernity is universal, Maria Cristina Fumagalli shows how the Caribbean's contributions to the modern world not only provide a more accurate account of the past but also have the potential to change the way in which we imagine the future. Fumagalli uses the myth of Medusa's gaze turning people into stone to describe the way North Atlantic modernity freezes its "others" into a state of perpetual backwardness that produces an ethnocentric narrative based on homogenization, vilification, and disempowerment that actively ignores what fails to conform to the story it wants to tell about itself. In analyzing narratives of modernity that originate in the Caribbean, the author explores the region's refusal to succumb to Medusa's spell and highlights its strategies to outstare the Gorgon. Reflecting a diversity of texts, genres, and media, the chapters focus on sixteenth-century engravings and paintings from the Netherlands and Italy, a scientific romance produced at the turn of the twentieth century by the king of the Caribbean island Redonda, contemporary collections of poetry from the anglophone Caribbean, a historical novel by the Guadeloupean writer Maryse Condé, a Latin epic, a Homeric hymn, ancient Egyptian rites, fairy tales, romances from England and Jamaica, a long narrative poem by the Nobel Prize winner Derek Walcott, and paintings by artists from Europe and the Americas spanning the seventeenth century to the present. Caribbean Perspectives on Modernity offers an original and creative contribution to what it means to be modern.
Relates developments in fiction, poetry and drama to social change - from the new generation of London novelists such as Martin Amis and Ian McEwan to the impact of feminism in the writing of Angela Carter and Jeanette Winterson.