Vega,Marta Moreno (Editor), Alba,Marinieves (Editor), and Modestin,Yvette (Editor)
Format:
Book, Edited
Publication Date:
2012
Published:
Houston, TX: Arte Público Press
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
233 p, Features eleven essays and four poems in which Latina women of African descent share their stories. The authors included are from all over Latin America and they write about the African diaspora and issues such as colonialism, oppression and disenfranchisement.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
318 p., In the late 20th century, Toni Cade Bambara, Paule Marshall, Gloria Naylor, Ntozake Shange, and Toni Morrison reclaim and revise cultural nationalism. The author devotes a chapter to each author. Organizing, formally on the page and thematically in the story, heals the fractured single and communal bodies in Bambara's 1980 novel The Salt Eaters. On the islands of Tatem and Carriacou, Marshall's Avey Johnson dances a cultural nation dependent on diasporic connections in Praisesong for the Widow (1983). Naylor's Willow Springs proves fertile island ground in Mama Day (1988) for women's work to map nation, unearth an archive, and mother the next generation. Shange's recipe-laden novel Sassafrass, Cypress & Indigo (1982) and later cookbook if I can Cook/you Know God can (1998) posit cooking as theory and practice of community. In Morrison's Paradise (1997), women write and paint records of their individual and collective histories. This group of writers uses Africa, the Sea Islands, the Caribbean, the American South, the kitchen, the dance floor, and the garden as spaces that help define a distinctly African American collectivity practiced in highly local, concrete work for fashioning self and community. In these practices, cultural nationalism comes to rely not on the imagined and far away, but on the lived and local.
289 p., Argues that Caribbean writers challenge state notions of democracy and revolution by embracing ideological opacity (forms of political action that are not immediately legible) as a form of radicalism. Writers such as Merle Collins, Dionne Brand, and George Lamming narrated a new revolutionary consciousness using literary form and structure to express créolité (Caribbean cultural hybridity) and represent political resistance. This form of radicalism allows writers to explore political change in terms that are more subtle than discourses of outright revolution. The dissertation draws on the work of theorist Édouard Glissant who uses opacity as a critical term to articulate the right of Caribbean people to create their own forms of knowledge and to refuse Western epistemologies.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
223 p., Through complex explorations of narratives of Spanish Blacks in the Caribbean this collection of essays builds critically on mid and late twentieth century Afro-Hispanist scholarship and thereby amplifies the terms in which Africans in the Americas are generally discussed. Each of these essays deals with a pivotal aspect of the African experience in the Spanish speaking Caribbean from the period of slavery to the present day.
Explores the representation of older women in Afro-Caribbean Canadian literature, with a particular focus on depictions of mothering. Details on lesbian identity in Afro-Caribbean Canadian women's writings are also presented.
