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In Thiefing Sugar, Omise’eke Natasha Tinsley explores the poetry and prose of Caribbean women writers, revealing in their imagery a rich tradition of erotic relations between women. She takes the book’s title from Dionne Brand’s novel In Another Place, Not Here, where eroticism between women is likened to the sweet and subversive act of cane cutters stealing sugar. The natural world is repeatedly reclaimed and reinterpreted to express love between women in the poetry and prose that Tinsley analyzes. She not only recuperates stories of Caribbean women loving women, stories that have been ignored or passed over by postcolonial and queer scholarship until now, she also shows how those erotic relations and their literary evocations form a poetics and politics of decolonization. Tinsley’s interpretations of twentieth-century literature by Dutch-, English-, and French-speaking women from the Caribbean take into account colonialism, migration, labor history, violence, and revolutionary politics. Throughout Thiefing Sugar, Tinsley connects her readings to contemporary matters such as neoimperialism and international LGBT and human-rights discourses. She explains too how the texts that she examines intervene in black feminist, queer, and postcolonial studies, particularly when she highlights the cultural limitations of the metaphors that dominate queer theory in North America and Europe, including those of the closet and “coming out.”
Making headlines when it was launched in 2015, Omise’eke Tinsley’s undergraduate course “Beyoncé Feminism, Rihanna Womanism” has inspired students from all walks of life. In Beyoncé in Formation, Tinsley now takes her rich observations beyond the classroom, using the blockbuster album and video Lemonade as a soundtrack for vital new-millennium narratives. Woven with candid observations about her life as a feminist scholar of African studies and a cisgender femme married to a trans spouse, Tinsley’s “Femme-onade” mixtape explores myriad facets of black women’s sexuality and gender. Turning to Beyoncé’s “Don’t Hurt Yourself,” Tinsley assesses black feminist critiques of marriage and then considers the models of motherhood offered in “Daddy Lessons,” interspersing these passages with memories from Tinsley’s multiracial family history. Her chapters on nontraditional bonds culminate in a discussion of contemporary LGBT politics through the lens of the internet-breaking video “Formation,” underscoring why Beyoncé’s black femme-inism isn’t only for ciswomen. From pleasure politics and the struggle for black women’s reproductive justice to the subtext of blues and country music traditions, the landscape in this tour is populated by activists and artists (including Loretta Lynn) and infused with vibrant interpretations of Queen Bey’s provocative, peerless imagery and lyrics. In the tradition of Roxanne Gay’s Bad Feminist and Jill Lepore’s best-selling cultural histories, Beyoncé in Formation is the work of a daring intellectual who is poised to spark a new conversation about freedom and identity in America.
A brilliant Jamaican-American writer takes on the themes of colonialism, race, myth, and political awakening. Originally published in 1987, this critically acclaimed novel is the continuation of the story that began in Abeng following Clare Savage, a mixed-race woman who returns to her Jamaican homeland after years away. In this deeply poetic novel, Clare must make sense of her middle-class childhood memories in contrast with another side of Jamaica which she is only now beginning to see: one of extreme poverty. And Jamaica—almost a character in the book—comes to life with its extraordinary beauty, coexisting with deep human tragedy. Through the course of the book, Clare sees the violence that rises out of extreme oppression, the split loyalties of a colonized person, and what it means to be neither white nor Black in that environment. The result is a deeply moving, canonical work.
From 1950 through the present, this collection of monumental work from the voice of transcendentalism and meditative mysticism for his generation celebrates the uncanny beauty of the everyday.
Édouard Glissant’s work has begun to make a significant impact on francophone studies and some corners of postcolonial theory. His literary works and criticism are increasingly central to the study of Caribbean literature and cultural studies.This collection focuses on the particularly philosophical register of Glissant’s thought. Each of the authors in this collection takes up a different aspect of Glissant’s work and extends it in different directions. twentieth-century French philosophy (Bergson, Badiou, Meillassoux), the cannon of Caribbean literature, North American literature and cultural theory, and contemporary cultural politics in Glissant’s home country of Martinique all receive close, critical treatment. What emerges from this collection is a vision of Glissant as a deeply philosophical thinker, whose philosophical character draws from the deep resources of Caribbean memory and history. Glissant’s central notions of rhizome, chaos, opacity, and creolization are given a deeper and wider appreciation through accounts of those resources in detailed conceptual studies.
As one of the most prominent voices from and about the French Caribbean, Gisèle Pineau has garnered significant scholarly attention; however, this interest has culminated in precious few volumes devoted entirely to the author and her work. In response to this lack of in-depth critical attention, Reimagining Resistance in Gisèle Pineau’s Works brings together a range of perspectives from both sides of the Atlantic and across the Pacific to explore the unique ways in which Gisèle Pineau’s works redefine the concept of resistance, particularly as it relates to gender, race, history, and Antillean identity. As this volume ultimately demonstrates, resistance holds up a mirror to the political, economic, and cultural forces that have shaped the past, construct the present, and build the future. It argues that Pineau’s characters open the narrative frame for reading them and move us beyond the categories of the wholly defiant or the inherently complicit. Above all, as they invite us to reimagine resistance, they expose our expectations and hopefully shift our understanding about what it means to rise and to fall in a world we seek to call our own.
A dramatic and necessary rethinking of the meaning of Democracy Democratic Anarchy grapples with an uncomfortable but obvious truth inimical to democracy: both aesthetics and politics depend on the structuring antagonism of inclusion and exclusion. Yet in Democratic Anarchy, Matthew Scully asks, how can “the people” be represented in a way that acknowledges what remains unrepresentable? What would it mean to face up to the constitutive exclusions that haunt U.S. democracy and its anxious fantasies of equality? Synthesizing a broad range of theoretical traditions and interlocutors—including Lacan, Rancière, Edelman, and Hartman—Democratic Anarchy polemically declares that there has never been, nor can there ever be, a realized democracy in the U.S. because democracy always depends on the hierarchical institution of a formal order by one part of the population over another. Engaging with an expansive corpus of American literature and art (Harriet Jacobs, Nathaniel Hawthorne, Louis Zukofsky, Thomas Pynchon, Toni Morrison, Theresa Hak Kyung Cha, Nari Ward, Ocean Vuong, and Safiya Sinclair), Democratic Anarchy argues that many liberal concepts and institutions are in fact structurally opposed to democratic equality because they depend on regulating what can appear and in what form. By focusing on works that disrupt this regulatory impulse, Scully shows how rhetorical strategies of interruption, excess, and disorder figure the anarchic equality that inegalitarian fantasies of democracy disavow. Democratic Anarchy develops a rigorous theory of equality that refuses to repeat the inequalities against which it positions itself, and it does so by turning to moments of resistance—both aesthetic and political—inaugurated by the equality that inheres in and antagonizes the order of things.
By showing how a wide, and surprising, range of Caribbean writers have contributed to the crafting of a supple and inclusive erotic repertoire across the second half of the twentieth century, the readings in this book aim to demonstrate that a recognition of creolized and pluralized sexualities already exists within the literary imagination.
In Island Bodies, Rosamond King examines sexualities, violence, and repression in the Caribbean experience. She analyzes the sexual norms and expectations portrayed in Caribbean and diaspora literature, music, film, and popular culture to show how many individuals contest traditional roles by maneuvering within and/or trying to change their society’s binary gender systems. She skillfully argues and demonstrates that these transgressions better represent Caribbean culture than the “official” representations perpetuated by governmental elites and often codified into laws that reinforce patriarchal, heterosexual stereotypes. Unique in its breadth and its multilingual and multidisciplinary approach, Island Bodies addresses homosexuality, interracial relations, transgender people, and women’s sexual agency in Dutch, Francophone, Anglophone, and Hispanophone works of Caribbean literature. Additionally, King explores the paradoxical nature of sexuality across the region: discussing sexuality in public is often considered taboo, yet the tourism economy trades on portraying Caribbean residents as hypersexualized. Ultimately King reveals that despite the varied national specificity, differing colonial legacies, and linguistic diversity across the islands, there are striking similarities in the ways Caribglobal cultures attempt to restrict sexuality and in the ways individuals explore and transgress those boundaries.