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This exploration of women's autobiographical writings in the Americas focuses on three specific genres: testimonio, metafiction, and the family saga as the story of a nation. What makes Laura J. Beard’s work distinctive is her pairing of readings of life narratives by women from different countries and traditions. Her section on metafiction focuses on works by Helena Parente Cunha, of Brazil, and Luisa Futoranksy, of Argentina; the family sagas explored are by Ana María Shua and Nélida Piñon, of Argentina and Brazil, respectively; and the section on testimonio highlights narratives by Lee Maracle and Shirley Sterling, from different Indigenous nations in British Columbia. In these texts Beard terms "genres of resistance," women resist the cultural definitions imposed upon them in an effort to speak and name their own experiences. The author situates her work in the context of not only other feminist studies of women's autobiographies but also the continuing study of inter-American literature that is demanding more comparative and cross-cultural approaches. Acts of Narrative Resistance addresses prominent issues in the fields of autobiography, comparative literature, and women's studies, and in inter-American, Latin American, and Native American studies.
Feminist scholars have demonstrated how ‘dominant discourses’ and ‘master narratives’ frequently reflect patriarchal influence, thereby distorting and depoliticizing women’s storying of their own lives. In this groundbreaking volume a number of internationally recognized researchers, working across a range of disciplines, provide a detailed examination of women’s attempts to counter-story their lives when prevailing discourses are unhelpful or, indeed, harmful. As such, it is an exploration of women’s agency and resistance, which highlights the challenges and complexities of such discursive work. The chapters explore women’s resistance across a wide range of experiences, including: intimate partner violence, casual sex, depression, premenstrual change, disordered eating, lesbian identity, women’s work in male-dominated spaces, rape, and child birth. Each chapter combines theoretical analyses with illuminating first-hand accounts, and elaborates practical implications that provide directions for individual and social change. Providing an incisive and comprehensive exploration of discourse, oppression and resistance, that cuts across domains of women’s everyday lives, Women Voicing Resistance will be of great interest to students, scholars and practitioners in the fields of psychology, gender studies, women’s studies, sociology, and social work.
An analysis of contemporary social, political and intellectual resistance to hegemony in Caribbean societies. Beginning with the Henry Rebellion in 1960, Brian Meeks shows how popular resistance to domination was manifested in Jamaica and Trinidad until the end of the 20th century.
In 1884, the first of 68 prisoners convicted of terrorism and revolutionary activity were transferred to a new maximum security prison at Shlissel´burg Fortress near St Petersburg. The regime of indeterminate sentences in isolation caused severe mental and physical deterioration among the prisoners, over half of whom died. But the survivors fought back to reform the prison and improve the inmates’ living conditions. The memoirs many survivors wrote enshrined their story in revolutionary mythology, and acted as an indictment of the Tsarist autocracy’s loss of moral authority. Writing Resistance features three of these memoirs, all translated into English for the first time. They show the process of transforming the regime as a collaborative endeavour that resulted in flourishing allotments, workshops and intellectual culture – and in the inmates running many of the prison’s everyday functions. Sarah J. Young’s introductory essay analyses the Shlissel´burg memoirs’ construction of a collective narrative of resilience, resistance and renewal. It uses distant reading techniques to explore the communal values they inscribe, their adoption of a powerful group identity, and emphasis on overcoming the physical and psychological barriers of the prison. The first extended study of Shlissel´burg’s revolutionary inmates in English, Writing Resistance uncovers an episode in the history of political imprisonment that bears comparison with the inmates of Robben Island in South Africa’s apartheid regime and the Maze Prison in Belfast during the Troubles. It will be of interest to scholars and students of the Russian revolution, carceral history, penal practice and behaviours, and prison and life writing.
It brings together a range of critical approaches (the Gothic, monster theory, critical posthumanism, post-structuralism, postcolonialism, feminist theory, fat studies, cyborg theory) including very recent forays into posthumanist / new materialist intersections It contributes new readings to the critical canon on a wide range of critically acclaimed texts (from Mary Shelley’s Frankenstein via Toni Morrison’s and Angela Carter’s work to Margaret Atwood’s MaddAddam trilogy) It explores narrative strategies of resistance against systemic cultural oppression and challenges a number of critical approaches in the process
A timely collection of deeply personal, uplifting, and powerful essays that celebrate the redemptive strength of Black joy--in the vein of Black Girls Rock, You Are Your Best Thing, and I Really Needed This Today. When Tracey M. Lewis-Giggetts wrote an essay on Black joy for The Washington Post, she had no idea just how deeply it would resonate. But the outpouring of responses affirmed her own lived experience: that Black joy is not just a weapon of resistance, it is a tool for resilience. With this book, Tracey aims to gift her community with a collection of lyrical essays about the way joy has evolved, even in the midst of trauma, in her own life. Detailing these instances of joy in the context of Black culture allows us to recognize the power of Black joy as a resource to draw upon, and to challenge the one-note narratives of Black life as solely comprised of trauma and hardship. Black Joy is a collection that will recharge you. It is the kind of book that is passed between friends and offers both challenge and comfort at the end of a long day. It is an answer for anyone who needs confirmation that they are not alone and a brave place to quiet their mind and heal their soul.
As one of the foundational texts in the field of postcolonial writing, Barbara Harlow’s Resistance Literature introduced new ground in Western literary studies. Originally published in 1987 and now reissued with a new Preface by Mia Carter, this powerfully argued and controversial critique develops an approach to literature which is essentially political. Resistance Literature introduces the reader to the role of literature in the liberation movements of the developing world during the 20th Century. It considers a body of writing largely ignored in the west. Although the book is organized according to generic topics – poetry, narrative, prison memoirs – thematic topics, and the specific historical conditions that influence the cultural and political strategies of various resistance struggles, including those of Palestine, Nicaragua and South Africa, are brought to the fore. Among the questions raised are the role of women in the developing world; communication in circumstances of extreme atomization; literature versus propaganda; censorship; and the problem of adopting literary forms identified with the oppressor culture.
Latin American women were among those who led the suffrage movements of the nineteenth and early twentieth centuries, and their opposition to military dictatorships has galvanized more recent political movements throughout the region. But because of the continuous attempts to silence them, activists have struggled to make their voices heard. At the heart of Voices of Resistance are the testimonies of thirteen women who fought for human rights and social justice in their communities. Some played significant roles in the Cuban Revolution of 1959, while others organized grassroots resistance to the seventeen-year Pinochet dictatorship in Chile. Though the women share many objectives, they are a diverse group, ranging in age from thirty to eighty and coming from varied ethnic and socioeconomic backgrounds. The Cuban and Chilean women Judy Maloof interviewed use the narrative form to reinvent themselves. Maloof includes narratives from a poet, a tobacco worker, a political prisoner, an artist, and a social worker to demonstrate the different faces of their struggle. In the process, these women were able to begin to put together their fragmented lives. Speaking out is both a means for personal liberation and a political act of protest against authoritarian regimes. The bond that these women have is not simply that they have suffered; they share a commitment to resisting violence and confronting inequities at great personal risk.
AN INSTANT NEW YORK TIMES BESTSELLER A timely and passionate call to action for engaging with our current political moment, from the Grammy-nominated and multiplatinum singer-songwriter and New York Times bestselling author Tori Amos. Since the release of her first, career-defining solo album Little Earthquakes, Tori Amos has been one of the music industry’s most enduring and ingenious artists. From her unnerving depiction of sexual assault in “Me and a Gun” to her post-September 11 album, Scarlet’s Walk, to her latest album, Native Invader, her work has never shied away from intermingling the personal with the political. Amos began playing piano as a teenager for the politically powerful at hotel bars in Washington, DC, during the formative years of the post-Goldwater and then Koch-led Libertarian and Reaganite movements. The story continues to her time as a hungry artist in Los Angeles to the subsequent three decades of her formidable music career. Amos explains how she managed to create meaningful, politically resonant work against patriarchal power structures—and how her proud declarations of feminism and her fight for the marginalized always proved to be her guiding light. She teaches us to engage with intention in this tumultuous global climate and speaks directly to supporters of #MeToo and #TimesUp, as well as young people fighting for their rights and visibility in the world. Filled with compassionate guidance and actionable advice—and using some of the most powerful, political songs in Amos’s canon—this book is for anyone determined to steer the world back in the right direction.
African Literature Association Book of the Year Award in Scholarship – Honorable Mention Using feminist and womanist theory, Simone Alexander takes as her main point of analysis literary works that focus on the black female body as the physical and metaphorical site of migration. She shows that over time black women have used their bodily presence to complicate and challenge a migratory process often forced upon them by men or patriarchal society. Through in-depth study of selective texts by Audre Lorde, Edwidge Danticat, Maryse Condé, and Grace Nichols, Alexander challenges the stereotypes ascribed to black female sexuality, subverting its assumed definition as diseased, passive, or docile. She also addresses issues of embodiment as she analyses how women’s bodies are read and seen; how bodies “perform” and are performed upon; how they challenge and disrupt normative standards. A multifaceted contribution to studies of gender, race, sexuality and disability issues, African Diasporic Women’s Narratives engages with a range of issues as it grapples with the complex interconnectedness of geography, citizenship, and nationalism.