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For the first time the Dutch-speaking regions of the Caribbean and Suriname are brought into fruitful dialogue with another major American literature, that of the anglophone Caribbean. The results are as stimulating as they are unexpected. The editors have coordinated the work of a distinguished international team of specialists. Read separately or as a set of three volumes, the History of Literature in the Caribbean is designed to serve as the primary reference book in this area. The reader can follow the comparative evolution of a literary genre or plot the development of a set of historical problems under the appropriate heading for the English- or Dutch-speaking region. An extensive index to names and dates of authors and significant historical figures completes the volume. The subeditors bring to their respective specialty areas a wealth of Caribbeanist experience. Vera M. Kutzinski is Professor of English, American, and Afro-American Literature at Yale University. Her book Sugar's Secrets: Race and The Erotics of Cuban Nationalism, 1993, treated a crucial subject in the romance of the Caribbean nation. Ineke Phaf-Rheinberger has been very active in Latin American and Caribbean literary criticism for two decades, first at the Free University in Berlin and later at the University of Maryland. The editor of A History of Literature in the Caribbean, A. James Arnold, is Professor of French at the University of Virginia, where he founded the New World Studies graduate program. Over the past twenty years he has been a pioneer in the historical study of the Négritude movement and its successors in the francophone Caribbean.
The present volume is a highly comprehensive assessment of the postcolonial short story since the thirty-six contributions cover most geographical areas concerned. Another important feature is that it deals not only with exclusive practitioners of the genre (Mansfield, Munro), but also with well-known novelists (Achebe, Armah, Atwood, Carey, Rushdie), so that stimulating comparisons are suggested between shorter and longer works by the same authors. In addition, the volume is of interest for the study of aspects of orality (dialect, dance rhythms, circularity and trickster figure for instance) and of the more or less conflictual relationships between the individual (character or implied author) and the community. Furthermore, the marginalized status of women emerges as another major theme, both as regards the past for white women settlers, or the present for urbanized characters, primarily in Africa and India. The reader will also have the rare pleasure of discovering Janice Kulik Keefer's “Fox,” her version of what she calls in her commentary “displaced autobiography’” or “creative non-fiction.” Lastly, an extensive bibliography on the postcolonial short story opens up further possibilities for research.
The years between the 1920s and 1970s are key for the development of Caribbean literature, producing the founding canonical literary texts of the Anglophone Caribbean. This volume features essays by major scholars as well as emerging voices revisiting important moments from that era to open up new perspectives. Caribbean contributions to the Harlem Renaissance, to the Windrush generation publishing in England after World War II, and to the regional reverberations of the Cuban Revolution all feature prominently in this story. At the same time, we uncover lesser known stories of writers publishing in regional newspapers and journals, of pioneering women writers, and of exchanges with Canada and the African continent. From major writers like Derek Walcott, V.S. Naipaul, George Lamming, and Jean Rhys to recently recuperated figures like Eric Walrond, Una Marson, Sylvia Wynter, and Ismith Khan, this volume sets a course for the future study of Caribbean literature.
The best resource for getting your fiction published, fully revised and updated Novel & Short Story Writer's Market is the go-to resource you need to get your short stories, novellas, and novels published. The 40th edition of NSSWM features hundreds of updated listings for book publishers, literary agents, fiction publications, contests, and more. Each listing includes contact information, submission guidelines, and other essential tips. This edition of Novel & Short Story Writer's Market also offers Hundreds of updated listings for fiction-related book publishers, magazines, contests, literary agents, and more Interviews with bestselling authors Celeste Ng, Viet Thanh Nguyen, Beverly Jenkins, and Chris Bohjalian A detailed look at how to choose the best title for your fiction writing Articles on tips for manuscript revision, using out-of-character behavior to add layers of intrigue to your story, and writing satisfying, compelling endings Advice on working with your editor, keeping track of your submissions, and diversity in fiction
History of the island and its people from the days of the Arawak Indians to the present.
This book explores representations of community in Anglophone Caribbean short story collections and cycles of the late twentieth and early twenty-first century.
This book offers a timely critique of the work of the Barbadian novelist George Lamming, examining the ways in which his novels exhibit the "luxury of nationalist despair" and exploring the tensions between his strongly voiced anti-colonialism and his ambiguously articulated politics of self. Although stressing the place occupied by Lamming and his work in the context of an anti-colonial first generation of 'nation-writing' that has emerged in the formerly colonized world over the past half-century, the study also addresses the novelist's problematic, reductive focus on a nationalist project that is ultimately deeply flawed - in essence, the result of an uneasy relationship between form and thesis. Lamming's continued struggle with the novel as a genre, especially with its ability to get beyond the cultural and political baggage of colonialism, demonstrates the power of one of his most poignant assertions: "the colonial experience [...] is a continuing psychic experience that has to be dealt with long after the actual situation formally 'ends'." Written from a postcolonial perspective, the study draws also on contemporary feminist criticism in order to examine Lamming's characteristically simplistic depiction of female characters in terms of a greater willingness to embody the neocolonial. The book starts by addressing the place Lamming's work occupies both within postcolonial writing at large and specifically within Caribbean literature. Subsequent chapters provide close textual readings of Lamming's six novels, paired in terms of their foregrounding of issues of race, gender and class. Despite a clear shift in Lamming's thematic focus on the rewriting of Caliban's project, with his last novel offering a basis for a re-imagining of the post/colonial encounter, there remains a perturbing inability to relinquish the privileged stance afforded the postcolonial intellectual in self-imposed exile (cultural, much more than geographical). The book represents an important contribution to criticism on the work of one of the most influential voices in postcolonial literature of the last fifty years.
Scripting Empire recovers the literary and cultural history of West Indian and West African writing at the BBC in order to rethink the critical mid-century decades of shrinking British sovereignty, late modernism, and mass migration to the metropole. Between the 1930s and the 1960s, a remarkable group of black Atlantic artists and intellectuals became producers, editors, and freelancers at the corporation, including Una Marson, Langston Hughes, Louise Bennett, Wole Soyinka, Derek Walcott, Amos Tutuola, V.S. Naipaul, Sam Selvon, Cyprian Ekwensi, Stuart Hall, and C.L.R. James. Operating at the interface of a range of literary and broadcast genres, this loose network of African Caribbean writers and thinkers prompt a reassessment of the aesthetic, formal, and political fallout of decolonization between the outbreak of World War II and the first airings of post-colonial independence. Scripting Empire works comparatively across dozens of different programmes spanning the General Overseas Service, Home Service, Light Programme, and Third Programme. Drawing upon a transnational archive of materials including scripts, correspondence, periodicals, visual records, and sound recordings, it seeks to re-position the cultural contribution of West Indians and West Africans within a more pervasive and porous account of radio transmission, the legacy of which extends well beyond broadcasting.
This edited collection challenges a long sacrosanct paradigm. Since the establishment of Caribbean literary studies, scholars have exalted an elite cohort of émigré novelists based in postwar London, a group often referred to as “the Windrush writers” in tribute to the SS Empire Windrush, whose 1948 voyage from Jamaica inaugurated large-scale Caribbean migration to London. In critical accounts this group is typically reduced to the canonical troika of V. S. Naipaul, George Lamming, and Sam Selvon, effectively treating these three authors as the tradition's founding fathers. These “founders” have been properly celebrated for producing a complex, anticolonial, nationalist literature. However, their canonization has obscured the great diversity of postwar Caribbean writers, producing an enduring but narrow definition of West Indian literature. Beyond Windrush stands out as the first book to reexamine and redefine the writing of this crucial era. Its fourteen original essays make clear that in the 1950s there was already a wide spectrum of West Indian men and women—Afro-Caribbean, Indo-Caribbean, and white-creole—who were writing, publishing, and even painting. Many lived in the Caribbean and North America, rather than London. Moreover, these writers addressed subjects overlooked in the more conventionally conceived canon, including topics such as queer sexuality and the environment. This collection offers new readings of canonical authors (Lamming, Roger Mais, and Andrew Salkey); hitherto marginalized authors (Ismith Khan, Elma Napier, and John Hearne); and commonly ignored genres (memoir, short stories, and journalism).