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    1. Fatal revolutions : natural history, West Indian slavery, and the routes of American literature

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    Collection:
    Black Caribbean Literature (BCL)
    Contributers:
    Iannini,Christopher P. (Author)
    Format:
    Book, Whole
    Publication Date:
    2012
    Published:
    Chapel Hill: Published for the Omohundro Institute of Early American History and Culture, Williamsburg, Virginia, by the University of North Carolina Press
    Location:
    African American Research Center, Library, University of Illinois at Urbana-Champaign
    Notes:
    296 p., The formal evolution of colonial prose narrative, Ianinni argues, was contingent upon the emergence of natural history writing, which itself emerged necessarily from within the context of Atlantic slavery and the production of tropical commodities. As he reestablishes the history of cultural exchange between the Caribbean and North America, Ianinni recovers the importance of the West Indies in the formation of American literary and intellectual culture as well as its place in assessing the moral implications of colonial slavery.

    2. Shared possessions: Black Pentecostals, Afro-Caribbeans, and sacred music

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    Collection:
    Black Caribbean Literature (BCL)
    Contributers:
    Reed,Teresa L., (Author)
    Format:
    Journal Article
    Publication Date:
    Spring; Spring, 2012
    Location:
    African American Research Center, Library, University of Illinois at Urbana-Champaign
    Journal Title:
    Black music research journal
    Journal Title Details:
    32(1) : 5-25
    Notes:
    There are many parallels between the music and worship of the African American Pentecostalism of the author’s upbringing and that of Afro-Caribbean religious groups, including Trinidadian Spiritual Baptists, the Haitian Heavenly Army, and Jamaican Revival Zionists. This can partly be attributed to their shared West African roots. Many features of West African worship have survived among these two geographically separate groups, including a heavy use of rhythm and percussion instruments, a call and response vocal form, and a climax of spirit possession, when congregants reach a state of rhythmically induced ecstasy in which they feel fully possessed by the divine. Both groups have also independently adopted white Christian hymnody, in which they stay true to the text but often change the music in an improvisatory style.