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2. An Interview With Nalo Hopkinson
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Glave,Dianne D. (Author)
- Format:
- Journal Article
- Publication Date:
- Winter, 2003
- Published:
- Baton Rouge: Callaloo
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Callaloo
- Journal Title Details:
- 26(1) : 146-159
3. From 'Griffonne'
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Hopkinson,Nalo (Author)
- Format:
- Journal Article
- Publication Date:
- Winter, 2003
- Published:
- Baton Rouge: Callaloo
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Callaloo
- Journal Title Details:
- 26(1) : 170-181
- Notes:
- An excerpt from Hopkinson's novel 'Griffonne' is presented
4. Rhys's Pieces: Unhomeliness as Arbiter of Caribbean Creolization
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Murdoch,Adlai H. (Author)
- Format:
- Journal Article
- Publication Date:
- 2003
- Published:
- The Johns Hopkins University Press
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Callaloo
- Journal Title Details:
- 26(1) : 252-272
- Notes:
- "Any attempt to trace the many resonances that historically have been attached to the creole figure in Caribbean literature and culture will be inflected by the long and pervading presence of colonialism in the region and its attendant corollary of hierarchical social separation and difference based on perceptions of race. Indeed, the ambivalent desire and subjective misrecognition that lay at the heart of historical writing about colonialism and racism have tended to frame the issues of monstrosity and exclusion that produced the creole as part and parcel of wider colonial discourses. Thus, the shifting and increasingly unstable inscription of the creole figure echoes, in a certain sense, certain critical ambiguities of politics and temporality that color the colonial encounter and its aftermath. Specifically, in the contemporary English- and French-speaking Caribbean, the multiplicity, displacement, and creative instability that undergird creole-driven theories of postcolonial performance have supplanted this category's suspect beginnings as colonialism's model for the fearfully unnameable and unplaceable hybrid monstrosity, and now increasingly shape the substance of much of the artistic and creative work emerging from the region." --The Author