African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
218 p, Contents: Origins of the divestiture trope in selected literature of the African diaspora -- Diaspora as a trope for the existential condition -- Resonances of the African continent in selected fiction and non-fiction by Zora Neale Hurston -- Orphanage in Simone Schwarz-Bart's The bridge of beyond and Alice Walker's The third life of Grange Copeland -- Polyphonic texture of the trope "junkheaped" in Toni Morrison's Beloved -- Sociological implications of female abandonment in Buchi Emecheta's Second class citizen and The joys of motherhood -- Success phobia of Deighton Boyce in Paul Marshall's Brown girl, Brownstones -- Madness as a response to the female situation of disinheritance in Mariama Bâ's So long a letter and Scarlet song -- Exile of the elderly in Beryl Gilroy's Frangipani house and Boy-Sandwich -- Conclusion: abandonment as a trope for the human condition;
Using data on U.S.-born and Caribbean-born black women from the 1980-2000 U.S. Censuses and the 2000-2007 waves of the American Community Survey, documents the impact of cohort of arrival, tenure of U.S. residence, and country/region of birth on the earnings and earnings assimilation of black women born in the English-, French-, and Spanish-speaking Caribbean.
351 p., Explores the racial and gender decolonization of New York and Curaçaoan women in a select group of novels, paintings and performance text by women from Curaçao and New York City. The Curaçaoan novels are: Aliefka Bijlsma's Gezandstraald [Sandblasted] (2007); Loeki Morales' Bloedlijn Overzee: Een Familiezoektocht [Overseas Bloodline: A Family Search] (2002); Myra Römer's Het Geheim van Gracia [The Secret of Gracia] (2008). The Curaçaoan painters are: Jean Girigori (1948), Minerva Lauffer (1957) and Viviana (1972). The New York novels and performance text are: Black Artemis' Picture Me Rollin' (2005), Angie Cruz's Soledad (2003) and Nelly Rosario's Song of the Water Saints (2002) and Josefina Báez's Dominicanish (2000). The ways the women characters, figures, images and voices align to subvert gendered delineations as well as the stifling cultural and colonial imprints on their bodies and their selves in Curaçao and New York are central to the decolonizing project explored here.
