232 p., Calls attention to the renewed popularity of the epistolary novel among Africana contemporary women writers. This work investigates why, since the late nineteen-seventies, there has been a resurgence of this classic form among women writers across the Black Atlantic. The adoption of this genre among women writers in post-colonial contexts is especially significant because the classic epistolary novel was a medium that often endorsed notions of female submission and imperialist ambition. At the same time, the epistolary tradition connotes a revolutionary history. With this idea in mind, the author argues that an examination of how contemporary women revise the epistolary novel offers a crucial perspective regarding the struggles of women throughout various geographic locations and social strata in relation to nation, citizenship, and selfhood. This project focuses on how Sindiwe Magona, Nozipo Maraire, and Paulette Ramsay "reinvent epistolarity," using the epistolary genre to make interventions in the public sphere by depicting Africana women's experiences of education, marriage, inheritance, and health.
The island's lone female jockey, Georgina Sergeon, made her long-awaited return to the saddle at Caymanas Park on Saturday, February 1 after she was seriously injured in a riding spill just over two years ago. The 23-year-old Sergeon secured two rides on the 10-race programme: GOOD LIFE, who finished third at odds of 11-1 in the second race over 1100 metres for maiden three-year-olds; and the rank outsider, QUIET RULER, who finished down the track in the eighth race over 1200 metres. On Saturday, January 21, 2012, Sergeon fell from her mount, TRICKY TRAIN, after the filly clipped the heels of another horse in a crowded field at the home turn. She came out of the spill with serious injury and had to be hospitalised. Having injured her spine and lower back, Sergeon had to undergo surgery, followed by a long period of rehabilitation.
"It's gonna be sticky on us," added national women's football coach [Vin Blaine], who said between 10 and 12 female players enroll at junior colleges each year. "It will have a definite impact." "Everyone wants to go to foreign," he said. "Some parents believe if the students go overseas they don't need to take care of them. It's full time these Jamaican athletes recognise how good opportunities are in Jamaica." "We need to find a way to ensure that they find a way to continue to do what they're good at," said [Neville Bell]. "Don't stop them."
Analyses Sistren Theatre Collective's theatrical and organizational collective model by contextualizing the company's commitment to collectivity in terms of political and social shifts in Jamaica during the 1980s. Argues that race- and class-based divisions within Jamaican society were masked by collectivity masked.
Analyzes the prominent role played by first wave feminism and by women writers between 1898-1903 as the Jamaica Times articulated a broad-based, middle class nationalism and launched a campaign to establish a Jamaican national literature. This archival material is significant because it suggests a significant modification of anglophone Caribbean feminist, literary and nationalist historiography: first wave feminism was not introduced to Jamaica exclusively through black nationalist organizations in the late 19th and early 20th century, but emerged in a broader phenomenon of respectable, middle class nationalism encompassing Jamaican nationalism and Pan Africanism.
Focuses on the performativity of Black beauty shame as it transforms or intensifies the meanings of parts of the body in Jamaica and its UK diaspora. Uses extracts from interviews with UK Jamaican heritage women. The women’s critique of the shaming event shows that shame is undone through dis-identification as speakers draw on alternative beauty discourses to produce new beauty subjectivities.
