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There have been many great and enduring works of literature by Caribbean authors over the last century. The Caribbean Contemporary Classics collection celebrates these deep and vibrant stories, overflowing with life and acute observations about society. In the vast Atlantic The sun's eye blazes over the edge of the ocean And watches the islands in a great bow curving From Florida down to the South American coast. The poems and stories included in The Sun's Eye present a selection of old favourites and new discoveries, celebrating the rich, warm, vibrant and vital life in the string of islands which curve down from Florida to the South American coast. A great celebration of Caribbean culture, and testimonial to all who have felt the warmth of the Caribbean sun and the whisper of the Caribbean breeze. Suitable for readers aged 11 and above.
Rastafari has been seen as a political organization, a youth movement, and a millenarian cult. This lively collection of papers challenges these categories and offers a "new approach" to the study of Rastafari. Chevannes and his contributors suggest that we can better understand Rastafari-and Caribbean culture, for that matter-by seeing the movement as both a departure from and a continuance of Revivalism, an African-Caribbean folk religion. By linking Rastafari to Revival, we can enrich our understanding of an African-Caribbean worldview, and we can appreciate Rastafari not only as a political force but as a powerful expression of African-Caribbean culture and tradition. Barry Chevannes provides a concise overview of Rastafari and Revivalism and clearly lays out the volume's "new approach." Leading scholars of Rastafari illustrate and develop the theme with chapters on Rastafari as resistance, the origin of the dreadlocks, Rastafari and language, women in African-Caribbean religions and more. With chapters that range from the specific to the general, this volume will be important to specialists of Caribbean religion and the African diaspora and to those with a burgeoning interest in Rastafari. The contributors include Jean Besson, Ellis Cashmore, Barry Chevannes, John P. Homiak, Roland Littlewood, H.U.E Thoden van Velzen, and Wilhelmina van Wetering.
This edition retains the mixture of prose and poetry that was a feature of the original book, but includes a number of new selections alongside some of the more popular stories and poems in the original anthology. This new edition also brings one of the most widely-used and long-lasting anthologies to a new generation of young readers.The Sun's Eye retains all its proven favorites, but almost half the stories and poems are new, selected from the past 20 years' wealth of Caribbean writing. The Sun's Eye again includes its unique feature 'Notes about the Writers', prepared by each author specially for this book. In addition, at the request of many teachers, there are now questions at the end of each piece of writing, to further the students' understanding and appreciation and to encourage their creativity. The centre illustration on the cover and many inside, are by Caribbean artists.
In this picture book, a young black girl learns to love her difficult-to-manage hair.
Humor in the Caribbean Literary Canon intimately examines Caribbean writers who engage canonical Western texts and forms, while using humor to challenge Western representations of people of African descent.
WHAT DO YOU CALL IT? London, England. The year two-thousand and whatever. The far right political group the British National Front (BNF) are gaining massive popularity and are expected to make huge inroads into British mainstream in the next general election. A secret agency semi-attached to the government cannot allow this to happen. To have a right wing group anywhere near government would make Britain an international laughing stock and the British like being taken seriously. The agency gets to work. Their plan is to arrange to allow some of BNF's lowest and stupidest members to kill an innocent Black youth. It should be as bloody, violent but most importantly be as public as possible. It's not the kind of operation that they like to perform on British home soil but `needs must' and all that. It shouldn't be too difficult and they don't anticipate any problems. They just need to choose a Black youth. Any youth will do. It's not personal, it's just politics. Kob Armah is the Black youth they mistakenly choose. This story is about him. Kob (for short or Benjamin Kobla Nii-Armah for long) doesn't care about British politics. He has enough Londoneze African problems of his own. He survives the attack in one piece. The same cannot be said about two of his attackers. Kob chooses to hide in Ghana to until things cool off...but that's where his enemies follow him. All of them. WHAT DO YOU CALL IT? It's the Crime Comedy story that capers from London to Accra then back to London. It's got a cool inner-city star, beautiful women, urban to tropical locations, regular bad-guys, secret bad-guys, races, car chases, white van chases, knives, guns... and Supermalt. What more could you ask for?