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Denis Williams, painter, teacher, novelist, archaeologist, and cultural administrator, is one of the founding fathers of modern Guyana. His involvement in several of the country’s key cultural institutions and his pioneering work on Guyana’s founding peoples ensures him a special place in the country’s history books. Williams also contributed to the outpouring of literature that accompanied the awakening consciousness of Caribbean nations and their drive for independence. His literary work is seminal in depicting the character of the Caribbean person and landscape, and the nature of ancestral (African and Afro-Caribbean) identities. His studies of African art and culture encouraged the young nation of Guyana to turn away from Western epistemologies and to pay serious intellectual attention to other origins. His research into the archaeology and culture of the Amerindian population of Guyana and beyond laid the pathway for further scholarship. The essays assembled here bring together eminent scholars and commentators to offer authoritative analyses of the various aspects of Williams’s work – artistic, academic, and literary – and capture the rationale for, the interconnections between, and the evident trajectory of Williams’s life work as the epitome of the changing nature of the Caribbean condition. As well as wide-ranging biographical essays, and studies of Williams’s activities as a painter, the collection contains a comprehensive primary and secondary bibliography, a generous selection of colour plates, and individual essays devoted to the published novels (Other Leopards; The Third Temptation) and other published and unpublished fiction, and to Williams’s archaeological masterpiece, Prehistoric Guiana. Contributors: Ulli Beier, Vibert Cambridge, David Dabydeen, Charles Gore, Stanley Greaves, Wilson Harris, Louis James, Andrew Jefferson–Miles, Nicholas Laughlin, Andrew Lindsay, John Picton, Leon Wainwright, Anne Walmsley, Charlotte Williams, Evelyn A. Williams, Jennifer Wishart.
Evelyn A. Williams, a former teacher of art and design, is a practising painter with a recently established studio in Guyana, where she applies the principles of Mbari. Current research interests include Denis Williams's artworks and the vernacular architecture of the Village Movement. --Book Jacket.
"Until now, only visitors to the National Gallery of Guyana would have had any chance of recognising just how outstanding an international artist Denis Williams was. This book presents a unique and long-overdue opportunity for the reader to access his art in all its range and variety, not least because its author, his daughter Evelyn A. Williams, provides access to paintings and drawings held by the family, rarely if ever seen before. What the book represents is a story of both an outstanding talent, praised world-wide, by the likes of Henry Moore and Salvador Dali, and a journey of searching integrity in which Williams placed the necessity of his vision before any urge to win the plaudits of fame and fortune in the art world. It is a story of a constant need to expand the forms of his art and to escape from constriction." -- Book jacket.
Lionel Froad hopes to rediscover Lobo, his alter ego from ancestral times, while on an architectural survey in the horn of Africa. Instead, he finds himself having complex relationships between his filial, white boss and a stunning girl from Wales, both of whom distract him from his goal. Eventually, Lionel is forced to recognize the painful division between his New World self and ancestry as a result of slavery and centuries of separation.
"A manual of methods, principles and formulas for classical, computer, games, stop motion and internet animators"--Cover.
Denis Johnson's New York Times bestseller, The Laughing Monsters, is a high-suspense tale of kaleidoscoping loyalties in the post-9/11 world that shows one of our great novelists at the top of his game. Roland Nair calls himself Scandinavian but travels on a U.S. passport. After ten years' absence, he returns to Freetown, Sierra Leone, to reunite with his friend Michael Adriko. They once made a lot of money here during the country's civil war, and, curious to see whether good luck will strike twice in the same place, Nair has allowed himself to be drawn back to a region he considers hopeless. Adriko is an African who styles himself a soldier of fortune and who claims to have served, at various times, the Ghanaian army, the Kuwaiti Emiri Guard, and the American Green Berets. He's probably broke now, but he remains, at thirty-six, as stirred by his own doubtful schemes as he was a decade ago. Although Nair believes some kind of money-making plan lies at the back of it all, Adriko's stated reason for inviting his friend to Freetown is for Nair to meet Adriko's fiancée, a grad student from Colorado named Davidia. Together the three set out to visit Adriko's clan in the Uganda-Congo borderland—but each of these travelers is keeping secrets from the others. Their journey through a land abandoned by the future leads Nair, Adriko, and Davidia to meet themselves not in a new light, but rather in a new darkness.
For more than 25 years Denis Williams, one of Guyana's most accomplished scholars, travelled from one end of the country to the other conducting surveys and excavations. The result is the first comprehensive reconstruction of the history and characteristics of human settlement of the Guianas. In this work of painstaking scholarship, Denis William integrated a wide variety of evidence from original research with previously published archaelogical, geological, ecological, ethnographic, climatic and even nutritional data to develop the first major synthesis of the prehistory of Guyana. Prehistoric Guiana includes over 250 sketches, photographs, maps and tables as well as an extensive bibliography.
In the decades following the immediately postwar period in Britain, a loose grouping of experimental writers that included Alan Burns, Christine Brooke-Rose, B. S. Johnson, and Ann Quin worked against the dominance, as they saw it, of the realist novel of the literary mainstream. Late Modernism and the Avant-Garde British Novel reassesses the experimentalism versus realism debates of the period, and finds a body of work engaged with, rather than merely antagonistic towards, the literary culture it sought to renovate. Charting these engagements, it shows how they have significance not just for our understanding of these decades but for the broader movement of the novel through the century. This volume takes some of the claims made about experimental fiction—that it is unreadable, nonlinear, elliptical, errant, plotless—and reimagines these descriptors as historically inscribed tendencies that express the period's investment in the idea of the accidental. These novels are interested in the fleeting and the fugitive, in discontinuity and shock. The experimental novel cultivates an interest in methods of representation that are oblique: attempting to conjure the world at an angle, or in the rear-view mirror; by ellipsis or evasion. These concepts—error, indeterminacy, uncertainty, accident—all bear a relation to that which evades or resists interpretation and meaning. Asking what are the wider political, ethical, and philosophical correlates of this incommensurability, Late Modernism and the Avant-Garde British Novel reads experimental literature in this light, as suffused with anxiety about its adequacy in the light of its status as necessarily imitative and derivative, and therefore redolent of the forms of not-knowing and uncertainty that mark late modernism more generally.
Twenty-five years after Jesus’ Son, a haunting new collection of short stories on mortality and transcendence, from National Book Award winner and two-time Pulitzer Prize finalist Denis Johnson NATIONAL BESTSELLER • NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY Dwight Garner, The New York Times • Maureen Corrigan, NPR’s Fresh Air • Chicago Tribune • Newsday • New York • AV Club • Publishers Weekly “Ranks with the best fiction published by any American writer during this short century.”—New York “A posthumous masterpiece.”—Entertainment Weekly NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The New York Times Book Review • The Washington Post • NPR • The Boston Globe • New York Public Library • Kirkus Reviews • Bloomberg The Largesse of the Sea Maiden is the long-awaited new story collection from Denis Johnson. Written in the luminous prose that made him one of the most beloved and important writers of his generation, this collection finds Johnson in new territory, contemplating the ghosts of the past and the elusive and unexpected ways the mysteries of the universe assert themselves. Finished shortly before Johnson’s death, this collection is the last word from a writer whose work will live on for many years to come. Praise for The Largesse of the Sea Maiden “An instant classic.”—Newsday “Exceptional luminosity . . . hits a powerful vein.”—The New York Times Book Review “Grace and oblivion are inextricably yoked in these transcendent stories. . . . [Johnson’s] gift is to extract the beauty in all that brokenness.”—The Wall Street Journal “Nobody ever wrote like Denis Johnson. Nobody ever came close. . . . We’re just left with this miraculous book, these perfect stories, the last words from one of the world’s greatest writers.”—NPR
The nouveau roman and Writing in Britain After Modernism recovers a neglected literary history. In the late 1950s, news began to arrive in Britain of a group of French writers who were remaking the form of the novel. In the work of Michel Butor, Marguerite Duras, Robert Pinget, Alain Robbe-Grillet, Nathalie Sarraute, and Claude Simon, the hallmarks of novelistic writing--discernible characters, psychological depth, linear chronology--were discarded in favour of other aesthetic horizons. Transposed to Britain's highly polarized literary culture, the nouveau roman became a focal point for debates about the novel. For some, the nouveau roman represented an aberration, and a pernicious turn against the humanistic values that the novel embodied. For others, it provided a route out of the stultifying conventionality and conformism that had taken root in British letters. On both sides, one question persisted: given the innovations of interwar modernism, to what extent was the nouveau roman actually new? This book begins by drawing on publishers archives and hitherto undocumented sources from a wide range of periodicals to show how the nouveau roman was mediated to the British public. Of central importance here is the publisher Calder & Boyars, and its belief that the nouveau roman could be enjoyed by a mass public. The book then moves onto literary responses in Britain to the nouveau roman, focusing on questions of translation, realism, the end of empire, and the writing of the project. From the translations of Maria Jolas, through to the hostile responses of the circle around C. P. Snow, and onto the literary debts expressed in novels by Brian W. Aldiss, Christine Brooke-Rose, Eva Figes, B. S. Johnson, Alan Sheridan, Muriel Spark, and Denis Williams, the nouveau roman is shown to be a central concern in the postwar British literary field.