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"Every island of the Caribbean is the site of a deep haunting. Before Columbus, the various indigenous peoples - the Arawaks, the Caribs, the Tainos - lived in relative harmony with the land, the sea and each other. Everything changed in 1492: the Amerindian people quickly were decimated, their presence erased by disease, wars and overwork. These are the Caribbean's oldest ghosts, almost invisible in history yet still present in the form of place names, fragments of language, ancient foods, and pockets of descendants speckling the islands. . . ."Given the history of the Caribbean, it is not surprising that much of the region's literature bears a haunted quality: ghosts are everywhere, be they of the Amerindians, the African ancestors, the slaves, the planters, the indentured workers, the victims of dictatorships, foreign invasions and natural disasters, or the modern exiles. To a large extent, Caribbean fiction in general is a collection of ghost stories, tales of haunted people, memories and places. . . ."This book brings together some of the region's leading contemporary authors, from the anglophone, francophone and hispanophone Caribbean, as well as the United States andCanada, and constitutes a unique, transcultural anthology in which living authors evoke the dead, the undead and the dying, the ghosts that haunt their experiences and their works as modern writers of the Caribbean."--From the introduction by Martin Munro
Alexander Frater was born to a family of Scottish expatriates on the tiny island of Irikiki in the South Seas. Following his dreams of being a writer, Frater left home, but the call of the tropics compelled him to return again and again. Join him as he dines with the Queen of Tonga; makes his way through two civil wars; visits the spots where surfing and bungee jumping originated; and expresses his love for the region where he is at once a tourist, explorer, adventurer, and native son. From Tahiti to Thailand, Mexico to Mozambique, Frater gives us a richly described, endlessly surprising picture of this diverse, feverish, languorously beautiful world.
A literary history of the Haitian Revolution that explores how scientific ideas about ‘race’ affected 19th-century understandings of the Haitian Revolution and, conversely, how understandings of the Haitian Revolution affected 19th-century scientific ideas about race.
“Enthralling.… Seymour powerfully evokes the world from which Rhys never really escaped, one of prejudice, abuse, and abuse’s shamefaced offspring, complicity.” —James Wood, The New Yorker An intimate, profoundly moving biography of Jean Rhys, acclaimed author of Wide Sargasso Sea. Jean Rhys is one of the most compelling writers of the twentieth century. Memories of her Caribbean girlhood haunt the four short and piercingly brilliant novels that Rhys wrote during her extraordinary years as an exile in 1920s Paris and later in England, a body of fiction—above all, the extraordinary Wide Sargasso Sea—that has a passionate following today. And yet her own colorful life, including her early years on the Caribbean island of Dominica, remains too little explored, until now. In I Used to Live Here Once, Miranda Seymour sheds new light on the artist whose proud and fiercely solitary life profoundly informed her writing. Rhys experienced tragedy and extreme poverty, alcohol and drug dependency, romantic and sexual turmoil, all of which contributed to the “Rhys woman” of her oeuvre. Today, readers still intuitively relate to her unforgettable characters, vulnerable, watchful, and often alarmingly disaster-prone outsiders; women with a different way of moving through the world. And yet, while her works often contain autobiographical material, Rhys herself was never a victim. The figure who emerges for Seymour is cultured, self-mocking, unpredictable—and shockingly contemporary. Based on new research in the Caribbean, a wealth of never-before-seen papers, journals, letters, and photographs, and interviews with those who knew Rhys, I Used to Live Here Once is a luminous and penetrating portrait of a fascinatingly elusive artist.
Action, laughs, and thrills make Gravediggers: Terror Cove an exciting second book in the Gravediggers series, which R.L. Stine, author of Goosebumps, called "fast, frightening, and all too real!" Newly crowned zombie slayers Ian, Kendra, and PJ are on a family vacation in the tropics when they are warned about a cursed island called Isla Hambrienta. What none of them expect to find is a zombie colony much stronger than the one they defeated on the mountain—and another presence on the island that's way more dangerous than the creatures they're supposed to turn to dust. Fans of creepy books like Skeleton Creek by Patrick Carman will love Christopher Krovatin's wild stories about zombies and the kids who defeat them.
To rescue a friend’s pet turtle, Djuna must solve the riddle of a haunted house His new shoeshine box under his arm, boy-sleuth Djuna is looking for customers when he meets a young reporter named Socker Furlong. Socker assigns Djuna and copyboy Ben Franklin to investigate a haunted empty house. Djuna, Ben, and Ben’s pet turtle are having a lot of fun creeping around outside—until the place turns out not to be so abandoned after all. Djuna sees people inside the house, and when he knocks, a young girl answers the door—only to slam it in his face. Djuna and Ben run for help and are halfway down the block when Ben notices that his turtle is missing. To get him back, they will have to crack the mystery of the haunted house, no matter what ghosts may stand in their way. Ellery Queen is one of the world’s finest detectives, but his adventures are nothing compared to the Ellery Queen Jr. Mystery Stories. Join Queen’s apprentice, Djuna, and his trusty Scottie, Champ, on adventures filled with danger, suspense, and thrills. The Green Turtle Mystery is the third book in the Ellery Queen Jr. Mystery Stories, but you may enjoy reading the series in any order.
"Munro argues in an informed and imaginative way that greater attention should be paid to the recurring sonic elements of black cultures in the new world. Different Drummers provides profound insights into the importance of rhythm as a marker of resistance and a dynamic facet of everyday life across Caribbean literatures and in African American music."—J. Michael Dash, New York University "Munro takes us on a fascinating journey through the music of poetry and the poetry of music, beautifully tying together the cultures and literary texts of a range of Caribbean societies."—Laurent Dubois, author of Soccer Empire: The World Cup and the Future of France
Haunted Homes is a short but groundbreaking study of homes in horror film and television. While haunted houses can be fun and thrilling, Hollywood horror tends to focus on haunted homes, places where the suburban American dream of safety and comfort has turned into a nightmare. From classic movies like The Old Dark House to contemporary works like Hereditary and the Netflix series The Haunting of Hill House, Dahlia Schweitzer explores why haunted homes have become a prime stage for dramatizing anxieties about family, gender, race, and economic collapse. She traces how the haunted home film was intertwined with the expansion of American suburbia, but also explores works like The Witch and The Babadook, which transport the genre to different times and places. This lively and readable study reveals how and why an increasing number of films imagine that home is where the horror is. Watch a video of the author discussing the topic Haunted Homes (https://youtu.be/_irTEfvtZfQ).
Jamaican-born novelist and sociologist Erna Brodber describes Myal as “an exploration of the links between the way of life forged by the people of two points of the black diaspora—the Afro-Americans and the Afro-Jamaicans.” Operating on many literary levels—thematically, linguistically, stylistically—it is the story of women’s cultural and spiritual struggle in colonial Jamaica. The novel opens at the beginning of the 20th century with a community gathering to heal the mysterious illness of a young woman, Ella, who has returned to Jamaica after an unsuccessful marriage abroad. The Afro-Jamaican religion myal, which asserts that good has the power to conquer all, is invoked to heal Ella, who has been left "zombified” and devoid of any black soul. Ella, who is light skinned enough to pass for white, has suffered a breakdown after her white American husband produced a black-face minstrel show based on the stories of her village and childhood. This cultural appropriation is one of a series Ella encountered in her life, and parallels the ongoing theft of the labor and culture of colonized peoples for imperial gain and pleasure. The novel‘s rich, vivid language and vital characters earned it the Commonwealth Writers’ Prize for Canada and the Caribbean. The novel links nicely with Brodber’s coming-of-age story, Jane & Louisa Will Soon Come Home, also from Waveland Press, for its similar images, themes, and specific Jamaican cultural references to colonialism, religion, slavery, gender, and identity. Both novels are Brodber’s way of telling stories outside of published history to point out the whitewashing and distortion of black history through religion and colonialism.
Winner of the 2003 Pulitzer Prize for Drama, this lush romantic drama depicts a family of cigar makers whose loves and lives are played out against the backdrop of America in the midst of the Depression. Set in Ybor City (Tampa) in 1930, Cruz imagines the catalytic effect the arrival of a new ''lector (who reads Tolstoys Anna Karenina to the workers as they toil in the cigar factory) has on a Cuban-American family. Cruz celebrates the search for identity in a new land.