268 p., This study used a Black feminist critical framework to examine the conditions that influence the production of black women's fiction during the postwar era (1945-60). The novels of Ann Petry, Dorothy West and Paule Marshall were studied as artifacts that were shaped by the cultural and political climate of this crucial period in American history. A survey was also conducted of their associations with members and organizations in the American Left to determine what impact their social activism had on their lives and art. It was determined that these writers' political engagement played a significant role in the creation of transformative narratives about the power of black women to resist oppression in all of its forms. As a consequence of their contribution to a rich black feminist literary tradition, these postwar black women fiction writers serve as important foremothers to later generations of black women artists.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
211 p., Surveying three novels written by writers of diasporic literature -- Zadie Smith's White Teeth, Jessica Hagedorns's Dogeaters, and Michelle Cliff's No Telephone to Heaven, the dissertation discusses how these novels function as narratives and provide cognitive maps which help us re-conceptualize social and political structures and women's places within them.
363 p., investigates the pre- and post- migratory experiences of working-class African-Caribbean women from the English-speaking Caribbean who left their children in their home countries while pursuing better economic opportunities in Canada from the 1970s to the early 1990s. The author problematizes the intersectional relationship between female migrant labor, transnationality and motherhood within the rubric of globalized gender, race and class relations. Given the centrality of African-Caribbean women's worker-mother role in their societies, further exploration of this role within global migration is important in order to recognize its significant gendered impact on women's labor and familial relations on a transnational level.
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.
