Journal articles: 'Caribbean fiction'

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Westall, Claire. "An interview with Olive Senior." Journal of Commonwealth Literature 54, no. 3 (August 10, 2017): 475–88. http://dx.doi.org/10.1177/0021989417723070.

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Olive Senior has become a significant literary voice within Caribbean literature and the Caribbean diaspora, often providing light, sharp, subtle, and emotionally laden stories and poems of childhood and belonging. As she describes here, her work remains “embedded” in Jamaica, including its soundscape and its ecology, and stretches across fiction, non-fiction, poetry, and children’s literature. For decades she has enjoyed a growing international audience, and her work is taught in schools in the Caribbean as part of an evolving literary curriculum. Senior’s short stories, the primary focus of this discussion, are especially well known for their enchanting, vibrant, and insightful children and child narrators — a trait that situates Senior’s work in relation to other famed Caribbean authors (Sam Selvon, Michael Anthony, Jamaica Kincaid, Merle Collins, and many more). In this interview, explorations of some of her young female voices are set within Denise DeCairns Narain’s sense of Senior’s “oral poetics”, and are also explored in relation to issues of wealth, privilege, and emotional sincerity. Senior’s work — fictional and non-fictional — is also heavily invested in ideas of land, labour, and migrancy, and so her recent and striking short story “Coal”, from her latest collection The Pain Tree (2015), is considered alongside her enormously impressive historical study of the role of West Indian migrant labourers in the building of the Panama Canal, entitled Dying to Better Themselves (2014).

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Ramchand, Kenneth. "Indian‐African relations in Caribbean fiction." Wasafiri 1, no. 2 (March 1985): 18–23. http://dx.doi.org/10.1080/02690058508574082.

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Almeida, Sandra Regina Goulart. "Geographies of old olaces and bodies: revisioning Caribbean literature written by women." Aletria: Revista de Estudos de Literatura 19, no. 1 (January 31, 2009): 181–93. http://dx.doi.org/10.17851/2317-2096.19.1.181-193.

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Resumo: O presente ensaio discute uma possível revisão da literatura caribenha contemporânea por meio da “ficção especulativa” produzida por mulheres. Ao analisar como essas escritoras procuram unir aspectos tradicionais da literatura caribenha com um discurso distópico e questionador, este ensaio aborda essa ficção especulativa produzida na diáspora, a partir de uma perspectiva de gênero, focalizando o romance Midnight Robber, da escritora caribenha-canadense Nalo Hopkinson.Palavras-chave: literatura caribenha; ficção especulativa; gênero.Abstract: This essay discusses how speculative fiction produced by women writers has revisited contemporary Caribbean Literature. By analyzing how these writers combine traditional aspects of Caribbean literature with a dystopian and transgressive discourse, this text addresses the questionings proposed by women writers from a gender perspective, focusing on the novel Midnight Robber by the Caribbean-Canadian writer Nalo Hopkinson.Keywords: Caribbean literature; speculative fiction; gender.

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Shaffer, Kirwin. "By Dynamite, Sabotage, Revolution, and the Pen: Violence in Caribbean Anarchist Fiction, 1890s-1920s." New West Indian Guide / Nieuwe West-Indische Gids 83, no. 1-2 (January 1, 2009): 5–38. http://dx.doi.org/10.1163/13822373-90002457.

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From the 1890s to the 1920s, anarchist groups and movements emerged in Puerto Rico and Cuba. They promoted the traditional anarchist agenda against governments, militarism, capitalism, and organized religion. While research on anarchists has often focused on their activities in strikes, uprisings, educational experiments, and other counter-cultural activities, this article illustrates how Caribbean-based anarchists used their fiction to promote the anarchist agenda. A central theme in much of the fiction (plays, poetry, novels, and short stories) revolved around violence leveled against society especially by governments. Just as interesting is how this fiction described—even praised—anarchist violence against authority. Thus, even while Caribbean anarchists only rarely resorted to physical violence, anarchist fiction often condemned authoritarian violence while celebrating the violence of revolution, the strike, bombings, and assassination to promote the anarchist cause of universal freedom.

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Muñoz-Valdivieso, Sofia. "Slavery fiction in Britain." Journal of European Studies 50, no. 2 (May 18, 2020): 193–209. http://dx.doi.org/10.1177/0047244120918481.

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This article analyses significant examples of slavery fiction published in Britain by writers who have family links to Africa and the Caribbean. As children of immigrants who had come to Britain after World War II, Caryl Phillips, David Dabydeen, Fred D’Aguiar, Andrea Levy and Bernardine Evaristo shared the uncertainties of coming of age in a society that offered no space for their identities as individuals with roots in other continents. This article reviews some of their fictions and considers them as a group in their re-creation of British involvement in the slave trade and slavery. They refocus the lens of history and present the perspectives of African enslaved and free individuals in stories of human suffering but also of agency and resistance. These fictions reconstruct the role of slavery in the British past as they write against traditional abolition-oriented narratives of the nation.

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Beck, Ervin, and Frank Birbalsingh. "Jahaji: An Anthology of Indo-Caribbean Fiction." World Literature Today 75, no. 2 (2001): 304. http://dx.doi.org/10.2307/40156542.

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Shemak, April. "The Politics of Intimacy in Caribbean Women’s Fiction." Anthurium A Caribbean Studies Journal 9, no. 1 (April 20, 2012): 4. http://dx.doi.org/10.33596/anth.211.

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Scafe, Suzanne. "Caribbean women’s short fiction: New voices, emerging perspectives." Short Fiction in Theory & Practice 6, no. 1 (April 1, 2016): 3–8. http://dx.doi.org/10.1386/fict.6.1.3_2.

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Johnson, Joyce. "Representations of the Chinese in Anglophone Caribbean fiction." Immigrants & Minorities 16, no. 3 (November 1997): 36–54. http://dx.doi.org/10.1080/02619288.1997.9974916.

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Schomburg–Scherff, Sylvia M. "Women Versions of Creole Identity in Caribbean Fiction." Matatu 27, no. 1 (December 7, 2003): 365–74. http://dx.doi.org/10.1163/18757421-90000461.

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Corcoran, P. "The Sense of Community in French Caribbean Fiction." French Studies 64, no. 1 (December 17, 2009): 121–22. http://dx.doi.org/10.1093/fs/knp215.

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Collis-Buthelezi, Victoria J. "Peter Abrahams’s Island Fictions for Freedom." Small Axe: A Caribbean Journal of Criticism 25, no. 1 (March 1, 2021): 84–101. http://dx.doi.org/10.1215/07990537-8912789.

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When South African–born Peter Abrahams moved to Jamaica in 1956, he thought he had found a racial paradise. Over the next six decades as a Jamaican, his understanding of race in Jamaica was complicated after independence. His last two novels—This Island Now (1966) and The View from Coyaba (1985)—fictionalize the transition to independence in the anglophone Caribbean and how that transition related to the set of concerns unfolding across the rest of the black world. This essay traces Abrahams’s thought on questions of race and decolonization through a close reading of his Caribbean fiction and how he came to theorize the literal and conceptual space of the Caribbean—the island—as a strategy for freedom. In so doing, the author asks, What are the limits of the Caribbean novel of the era of decolonization (1960s–80s) in the anglophone Caribbean? What constitutes it? And how does it articulate liberation?

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Birat, Kathie. "Rediscovering the sound of the voice in Caribbean fiction." English Text Construction 1, no. 1 (March 7, 2008): 97–112. http://dx.doi.org/10.1075/etc.1.1.08bir.

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This article examines the way in which the use of effects of orality in fiction by Caribbean novelists makes possible a re-examination of the assumptions underlying the use of voice in fiction. By looking at definitions of voice proposed by twentieth-century critics and exploring the ambiguity that underlies the metonymic extension of the term to designate the voice that is ‘heard’ in a written text, we attempt to show that there are two facets of voice, one of which is related to sound and to the body, the other to the notion of space and to the position of the speaking subject. A reflection on the conventions of oral storytelling reveals the distance between these two poles of voice, a distance which has been masked by the conventions of written narrative and has led to a certain confusion in the use of the term. The novel Divina Trace by Robert Antoni is used as an example of the way in which a writer’s desire to imitate orality allows us to understand the functioning of voices in fiction. Antoni’s novel creates a complex relation between the sound of voices and their positioning in the narrative structure. Antoni explores the process through which oral communication gives birth to stories in the Caribbean, thus offering an interesting perspective not only on the culture of the Caribbean, but also on the very nature of voice and its relation to storytelling.

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Baker, Jessica Swanston. "Sugar, Sound, Speed." Representations 154, no. 1 (2021): 23–34. http://dx.doi.org/10.1525/rep.2021.154.3.23.

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This essay presents the song “Area Code 869,” an example of a Caribbean genre known as “wilders” or “pep,” as a form of what Kodwo Eshun calls “sonic fiction.” By focusing on sonic bodies as “bodies touched by sound,” the essay suggests that “869” offers a reimagination of the historical relationship between sugar, sound, and speed in the Eastern Caribbean island of St. Kitts, a former British sugar colony.

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Beck, Ervin, and Nalo Hopkinson. "Whispers from the Cotton Tree Root: Caribbean Fabulist Fiction." World Literature Today 75, no. 3/4 (2001): 118. http://dx.doi.org/10.2307/40156780.

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Mills, Keilah. "Locating the Destitute: Space and Identity in Caribbean Fiction." Caribbean Quarterly 65, no. 2 (April 3, 2019): 311–13. http://dx.doi.org/10.1080/00086495.2019.1607002.

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Stieber, Chelsea. "Locating the Destitute: Space and Identity in Caribbean Fiction." Comparative Literature 68, no. 3 (August 26, 2016): 357–59. http://dx.doi.org/10.1215/00104124-3631629.

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Moore, Dashiell. "Recuperating the Value of Nothing in Erna Brodber’s Short Novel Nothing’s Mat." Small Axe: A Caribbean Journal of Criticism 27, no. 2 (July 1, 2023): 18–32. http://dx.doi.org/10.1215/07990537-10795181.

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In Caribbean Literature and the Public Sphere (2011), Raphael Dalleo draws on the concept of the field to note that Caribbean writers often “operate within a constrained set of possibilities governed by certain historically determined rules . . . from accommodation to opposition to more conflicted positions in-between.” Throughout her essays and fiction, the Jamaican writer, sociologist, and activist Erna Brodber recuperates discarded, illegible, or negative elements in the literary field of Caribbean literature. This essay argues that Brodber uses a mode of self-negation in her short novel Nothing’s Mat (2011) to open discursive space for individual and collective identities illegible within dominant theories of Caribbean literature such as pluralism or creolization: supernatural elements more readily identifiable in Latin American magical realism, a Pan-African vision decades after Negritude, and a commitment to the experiences of Afro-Caribbean womanhood.

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Penier, Izabella. "Modernity, (Post)modernism and New Horizons of Postcolonial Studies. The Role and Direction of Caribbean Writing and Criticism in the Twenty-first Century." International Studies. Interdisciplinary Political and Cultural Journal 14, no. 1 (November 1, 2012): 23–38. http://dx.doi.org/10.2478/v10223-012-0052-2.

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My article will take issue with some of the scholarship on current and prospective configurations of the Caribbean and, in more general terms, postcolonial literary criticism. It will give an account of the turn-of-the century debates about literary value and critical practice and analyze how contemporary fiction by Caribbean female writers responds to the socioeconomic reality that came into being with the rise of globalization and neo-liberalism. I will use David Scott’s thought provoking study-Refashioning Futures: Criticism after Postcoloniality (1999)-to outline the history of the Caribbean literary discourse and to try to rethink the strategic goals of postcolonial criticism.

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Dignard, Catia. "Linguistic Representations of Black Characters in Cuban Fiction of the New Millennium." Caribbean Quilt 6, no. 1 (February 4, 2022): 97–110. http://dx.doi.org/10.33137/cq.v6i1.37019.

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If scholarship has focused on the return to the stereotypical portrayals of black characters during the 1990s, and that were common to the pre-revolutionary era, what had not yet been addressed is how differentiating linguistic traits (manner of speech) have been used to represent black characters in more recent Cuban fiction, a narrative strategy that goes back to colonial times. Apart from conveying “authenticity” (i.e. the details of the Havana slang) when building fictional characters, such a literary device, I contend, was also a way to emphasise the Island’s socioeconomic and cultural decadence or “involution” during this decade of economic upheaval. Since the second decade of the new millennium, other voices, namely from the Caribbean side of the Island, have emerged and imposed themselves in fiction, leading me to explore the other levels of significance of this narrative strategy. What follows is a tale about continuity and subversion.

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Edmonstone, Will. "The Modern Plantation Empire and Eric Walrond’s Tropic Death." Twentieth Century Literature 70, no. 2 (June 1, 2024): 95–126. http://dx.doi.org/10.1215/0041462x-11205320.

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The Caribbean-born, Harlem Renaissance writer Eric Walrond is beginning to receive increased attention among scholars interested in transnational modernisms, Black diaspora cultures, and postcolonialism. Although he died in obscurity, his collection of short stories, Tropic Death (1926), was once much lauded for its modernist portrait of the Caribbean during the US construction of the Panama Canal. This essay tries to show that Walrond’s allusions to the US South in Tropic Death and his later fiction reveal his abiding preoccupation with the modern US empire’s fundamental indebtedness to Southern plantation codes. As the relationship between capitalism and slavery comes under new scrutiny, Walrond’s fiction offers one avenue into a long-established Caribbean critical tradition, the key figures of which are C. L. R. James, Fernando Ortiz, and George Beckford, who insist that the plantation represents a prototypically modern regime. Reading Tropic Death through the lens of this critical tradition illuminates Walrond’s grappling with the persistent postslavery legacy of the plantation as a transnational, technological, scientific, and essentially capitalist institution. In representing the modern plantation environment, the essay argues, Walrond’s fragmented, experimental style manifests a multivocal, multiperspectival cross-culturality that the plantation unintentionally produces and then cannot adequately contain.

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Paravisini-Gebert, Lizabeth. "Caribbean Eco-fictions: Multilayered Stories of the Haitian Environment." Journal of Haitian Studies 29, no. 1 (March 2023): 198–211. http://dx.doi.org/10.1353/jhs.2023.a922866.

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Abstract: The duty of care for the nation’s threatened environment, for which the forest and its inhabitants stand as potent symbols, has been at the center of Haitian fiction, as well as of fiction by other Caribbean writers who have set their work in Haiti. The Haitian novel has mourned the impacts of deforestation on both human and nonhuman communities and denounced the practices that have led to catastrophic deforestation and the concomitant biodiversity losses, offering in turn new approaches and potential remedies for addressing one of the nation’s most central problems. The Haitian novel has counseled, above all, political action against extractivist practices and misguided environmental management and conservation measures, portraying the state’s inaction as conducive to the slow violence of environmental neglect. Above all, the Haitian novel has relied on the ecological principles of Vodou, particularly its deep connection to nature, as a foundational source for notions of sustainable development, landscape restoration, and multispecies justice.

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Galván, Fernando. "Crossing islands: the Caribbean vs. Britain in Caryl Phillips's fiction." Alfinge. Revista de Filología 9 (January 1, 1997): 159. http://dx.doi.org/10.21071/arf.v9i.7161.

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Corio, Alessandro. "Celia Britton, The Sense of Community in French Caribbean Fiction." Studi Francesi, no. 160 (LIV | I) (April 1, 2010): 197–98. http://dx.doi.org/10.4000/studifrancesi.7391.

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WOODCOCK, BRUCE. "Post-1975 Caribbean fiction and the challenge to English literature." Critical Quarterly 28, no. 4 (December 1986): 79–95. http://dx.doi.org/10.1111/j.1467-8705.1986.tb00049.x.

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Stahl, Aletha. "Does Hortense Have a Hoo-Hoo? Gender, Consensus, and the Translation of Gisèle Pineau’s L’espérance-macadam." TTR : traduction, terminologie, rédaction 13, no. 2 (March 19, 2007): 127–48. http://dx.doi.org/10.7202/037414ar.

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Abstract Does Hortense Have a Hoo-Hoo? Gender, Consensus, and the Translation of Gisèle Pineau's L'espérance-macadam — This article uses an experiment in translating Guadeloupean writer Gisèle Pineau's novel L'espérance-macadam via consensus as a point of departure for analyzing the broader context of translating the French Caribbean for an English-speaking public. Previous efforts at translating recent French Caribbean fiction have focused on the challenge of representing the linguistic spectrum specific to the franco- and creolophone Caribbean. Here, it is suggested that Pineau's particular choices in inflecting French with Creole represent women in important ways, and that an awareness of this gendering of language is germane to translation into English. It is also acknowledged that desires on the part of English-speaking translators are not necessarily innocent but that an awareness of gender and local specificities can contribute to the consensus process entailed in publishing translations and should be part of ongoing debates concerning the French Caribbean in general.

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Altaf, Sana, and Aqib Javid Parry. "Nalo Hopkinson’s Midnight Robber: Blending technology and fantasy in a dystopian narrative." Technoetic Arts 22, no. 1 (April 1, 2024): 133–44. http://dx.doi.org/10.1386/tear_00126_1.

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In the contemporary postmodern era, the boundaries that once rigidly separated well-established genres have become more fluid, resulting in what scholars Raffaella Baccolini and Tom Moylan call ‘genre-blurring’. This phenomenon of incorporating elements from diverse genres represents a challenge to dominant ideologies and expands the possibilities within fictional texts. The dystopian fiction written by feminist writers towards the end of the twentieth century and beyond significantly exemplifies this form of hybrid textuality. In doing so, these writers seek to renovate the dystopian genre by making it both formally and politically oppositional. This article aims to explore Midnight Robber (2000), a feminist dystopian novel by Nalo Hopkinson, a Jamaican–Canadian writer, to illustrate how the author manipulates the generic boundaries of science fiction, fantasy and mythology. By amalgamating Afro-Caribbean religious and cultural beliefs, mythical creatures and traditional knowledge systems with a technologically advanced future world, Hopkinson challenges the essentially White, Eurocentric model of dystopian fiction. The article will also examine how, as an Afrofuturist writer, Hopkinson attempts to challenge and subvert the patriarchal discourse of dystopian fiction, traditionally dominated by White male writers, through a strong Black female character, Tan-Tan, who seeks to resist the patriarchal structures governing her, and finally succeeds in emerging as a female leader figure. For this purpose, Barbara Creed’s insights into the monstrous-feminine are explored, introducing novelty into the discourse of feminist dystopia.

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Dick-Forde, Emily Gaynor, Elin Merethe Oftedal, and Giovanna Merethe Bertella. "Fiction or reality? Hotel leaders’ perception on climate action and sustainable business models." Worldwide Hospitality and Tourism Themes 12, no. 3 (May 4, 2020): 245–60. http://dx.doi.org/10.1108/whatt-02-2020-0012.

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Purpose The purpose of this study is to explore the perceptions of key actors in the Caribbean’s hotel industry on the development of business models that are inclusive of the sustainable development goals (SDGs) and resilient to climate change challenges. The objectives are to gain a better understanding of the central actors’ perspective and to explore the potential of scenario thinking as a pragmatic tool to provoke deep and practical reflections on business model innovation. Design/methodology/approach The research is based on a questionnaire survey conducted via email to senior personnel in the hotel industry across the region as well as to national and regional tourism and hospitality associations/agencies and government ministries. The questionnaire used a mix of close- and open-ended questions, as well as fictional scenarios to gain insight about perceptions from key actors in the tourism sector, including respondents’ personal beliefs about the reality of climate science and the need for action at the levels of individuals, governments, local, regional and multinational institutions. Findings The study found that while the awareness of climate change and willingness to action is high, respondents perceive that hotels are not prepared for the climate crisis. Respondents had an overall view that the hotel sector in the Caribbean was unprepared for the negative impacts of climate change. Recommendations from the study include the need for immediate action on the part of all to both raise awareness and implement focused climate action to secure the future of tourism in the Caribbean. Research limitations/implications The use of a survey has considerable challenges, including low response rates and the limitations of using perceptions to understand a phenomenon. The survey was conducted across the Caribbean from The Bahamas to Belize and down to Trinidad and Tobago so that views from across the similar, yet diverse, regions could be gathered, included and compared for a comprehensive view of perceptions and possible ideas for climate smart action. Practical implications The 2030 Agenda for SDGs is based on policy and academic debates. This study helps to bridge the academic and policy discussion with the needs of the industry. Originality/value This study contributes a consideration for climate-resilient business models for hotels in the tourism industry as a definitive action toward achieving SDG 13. This combined with the use of fictional climate change scenarios to access perceptions about the future of the hotel industry in the light of climate change, adds originality to the study.

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Rouleau, Brian. "Childhood's Imperial Imagination: Edward Stratemeyer's Fiction Factory and the Valorization of American Empire." Journal of the Gilded Age and Progressive Era 7, no. 4 (October 2008): 479–512. http://dx.doi.org/10.1017/s1537781400000876.

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Numerous studies have appeared in recent years that deal with the reasons and rationalizations that accompanied America's overseas acquisitions in 1898. This article uses juvenile series fiction to examine how the nation's youth—boys in particular—became targets of imperial boosterism. In the pages of adventure novels set against the backdrop of American interventions in the Caribbean and the Philippines, Edward Stratemeyer, the most successful author and publisher of youth series fiction, and other less well-known juvenile fiction producers offered sensationalistic dramas that advocated a racialist, expansionistic foreign policy. Stratemeyer and others offered American boys an imaginative space as participants in and future stewards of national triumph. Young readers, the article argues further, became active participants in their own politicization. An examination of the voluminous fan mail sent to series fiction authors by their juvenile admirers reveals boys' willingness, even eagerness, to participate in the ascendancy of the United States.

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Simpson, Hyacinth M. "“Is all o’ we one?”: Creolization and ethnic identification in Samuel Selvon’s “Turning Christian”." Journal of Commonwealth Literature 53, no. 1 (April 22, 2016): 169–85. http://dx.doi.org/10.1177/0021989416635224.

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Samuel Selvon’s fiction reveals the author’s abiding concern with questions of identity and community and his investment in reconciling the seemingly conflicting subjects of creolization and ethnic identification in Caribbean societies, particularly in his native Trinidad. The pervasive and often violent ethnic conflict between Trinidadians of Indian and African heritage is linked to constructions of the nation in which claims to, as well as exclusion from, Creole identities play an important role. In response, Selvon’s fictional interventions position Indian communities (whether peasant, working- or middle-class) in relation to other ethno-racial groups in ways that construct Trinidadian-ness as an inclusive and dynamic negotiation of self and culture across the various communities represented in the nation. Drawing on Kamau Brathwaite’s seminal concept of creolization as well as the work of other theorists (including Mintz, Bolland, and Munasinghe) of Creole identities and the creolization process, the analysis of “Turning Christian” — a short story excerpted from Selvon’s unfinished novel — provides an account of Selvon’s identity politics in this and his other works of fiction.

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Broyld, Dann J. "The Underground Railroad As Afrofuturism: Enslaved Blacks Who Imagined A Future And Used Technology To Reach The “Outer Spaces of Slavery”." Journal of Ethnic and Cultural Studies 6, no. 3 (December 18, 2019): 171. http://dx.doi.org/10.29333/ejecs/301.

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This article employs the lens of Afrofuturism to address the Underground Railroad, detailing what imagination, tact, and technology, it took for fugitive Blacks to flee to the “outer spaces of slavery.” Black enslavement was as terrifying as any exotic fictional tale, but it happened to real humans alienated in the “peculiar institution.” Escaping slavery brought dreams to life, and at times must have felt like “magical realism,” or an out-of-body experience, and the American North, Canada, Mexico, Africa, Europe, and free Caribbean islands were otherworldly and science fiction-like, in contrast to where Black fugitives ascended. This article will address the intersections of race, technology, and liberation, by retroactively applying a modern concept to historical moments.

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Reid, Amy B. "The Sense of Community in French Caribbean Fiction by Celia Britton." Modern Language Review 104, no. 3 (2009): 878–79. http://dx.doi.org/10.1353/mlr.2009.0357.

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Boum Make, Jennifer. "The Zombie in Contemporary French Caribbean Fiction by Lucy Swanson (review)." French Review 97, no. 2 (December 2023): 142–43. http://dx.doi.org/10.1353/tfr.2023.a914257.

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Ly, Mamadou Moustapha. "Re-rooting/routing the Black Experience in Édouard Glissant’s Poetics: An “in-between” Perspective." Dalhousie French Studies, no. 120 (June 22, 2022): 3–13. http://dx.doi.org/10.7202/1089963ar.

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In his historical poetics, Édouard Glissant highlights the preponderant role played by the stripped migrant in his search for origins from Africa to the Caribbean. In so doing, he praises the latter’s endeavors throughout the adoption and adaptation to his new surroundings, the new world. In this article, the analysis is on the re-presentation of the past lived by the stripped migrant before, during, and after the moment of entanglement, when he started forming a rhizome-identity in comparison and contrast to the single-root identity perpetuated by the Békés. Such an approach brings to the fore the theoretical notion of detour developed by Glissant to defy and redefine the History or rather histories of the Caribbean archipelago that have been purposefully hidden by the “fictionneurs de l’Histoire” [History fiction writers], which makes him an atypical historian who gives a renewed version of the Afro-Caribbean tradition.

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Corridon, Linzey. "Writing the Queer Caribbean / Canada / Beyond – A Conversation with H. Nigel Thomas." Canada and Beyond: A Journal of Canadian Literary and Cultural Studies 10 (October 10, 2022): 155–67. http://dx.doi.org/10.14201/candb.v10i155-167.

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H. Nigel Thomas is the writer of twelve books and a retired professor of American literature at Laval University. Born and raised in St. Vincent and the Grenadines, he moved to Montréal in 1968. Nigel’s illustrious career includes short stories, poems and articles that have appeared in multiple journals and anthologies. His novels Spirits in the Dark and No Safeguards were shortlisted for the Quebec Writers Federation Hugh MacLennan Fiction Prize. Des vies Cassées (the translation of Lives: Whole and Otherwise) was shortlisted for le Prix Carbet des Lycéens. In this interview, Linzey Corridon explores queerness in the Caribbean Canadian diaspora, intergenerational queer subjectivities, multiculturalism, audience reception, publishing, and circulation in the Caribbean.

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Shields, Tanya L. "Hell and grace: Palimpsestic belonging in The True History of Paradise and Crossing the Mangrove." Cultural Dynamics 30, no. 1-2 (February 2018): 76–95. http://dx.doi.org/10.1177/0921374017752053.

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The Caribbean has been characterized as paradise, yet the region’s story is a more complicated one. A means of accessing stories that move beyond the tourist brochure representations is to engage with regional fiction. This essay employs the idea of palimpsestic belonging, which highlights the layers of each generation’s negotiation with colonial legacies, as a tool to explore familial and community attachment in the novels The True History of Paradise (1999) and Crossing the Mangrove (1995). Burial rituals and haunting are mechanisms to engage with the multiple disruptions of an imaginary and unified postcolonial nation. By highlighting the collisions of history, gender, sexuality, and class, these novels navigate national (un)belonging in two distinct Caribbean spaces—Jamaica and Guadeloupe.

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Arnold, A. James. "Caribbean literary theory: modernist and postmodern." New West Indian Guide / Nieuwe West-Indische Gids 69, no. 1-2 (January 1, 1995): 103–9. http://dx.doi.org/10.1163/13822373-90002646.

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[First paragraph]The Repeating Mand: The Caribbean and the Postmodern Perspective. ANTONIO BENITEZ-ROJO. Durham NC: Duke University Press, 1992. xi + 303 pp. (Cloth US$ 49.95, Paper US$ 15.95)Myth and History in Caribbean Fiction: Alejo Carpentier, Wilson Harris, and Edouard Glissant. BARBARA J. WEBB. Amherst: University of Massachusetts Press, 1992. x + 185 pp. (Cloth US$ 25.00)Caribbean literature has been overtaken of late by the quarrels that have pitted postmodernists against modernists in Europe and North America for the past twenty years. The modernists, faced with the fragmentation of the region that hard-nosed pragmatists and empiricists could only see as hostile to the emergence of any common culture, had sought in myth and its literary derivatives the collective impulse to transcend the divisions wrought by colonial history. Fifteen years ago I wrote a book that combined in its lead title the terms Modernism and Negritude in an effort to account for the efforts by mid-century Caribbean writers to come to grips with this problem. A decade later I demonstrated that one of the principal Caribbean modernists, Aimé Césaire, late in his career adopted stylistic characteristics that we associate with the postmodern (Arnold 1990). The example of Césaire should not be taken to suggest that we are dealing with some sort of natural evolution of modernism toward the postmodern. In fact the two terms represent competing paradigms that organize concepts and data so differently as to offer quite divergent maps of the literary Caribbean.

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Morgan, Paula. "With a Tassa Blending: Calypso and Cultural Identity in Indo-Caribbean Fiction." Anthurium A Caribbean Studies Journal 3, no. 2 (July 1, 2005): 10. http://dx.doi.org/10.33596/anth.54.

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Semaj-Hall, Isis. "A Poetics of Performance: The Oral-Scribal Aesthetic in Anglophone Caribbean Fiction." Caribbean Quarterly 63, no. 2-3 (July 3, 2017): 400–404. http://dx.doi.org/10.1080/00086495.2017.1352289.

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Jossiana Arroyo. "Vulnerable States: Bodies of Memory in Contemporary Caribbean Fiction (review)." Hispanic Review 77, no. 3 (2009): 389–94. http://dx.doi.org/10.1353/hir.0.0065.

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Ferrante, Allyson Salinger. "Locating the Destitute: Space and Identity in Caribbean Fiction, by Stanka Radović." Twentieth-Century Literature 62, no. 2 (June 2016): 223–30. http://dx.doi.org/10.1215/0041462x-3616600.

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Casteel, Sarah Phillips. "David Dabydeen’s Hogarth: Blacks, Jews, and Postcolonial Ekphrasis." Cambridge Journal of Postcolonial Literary Inquiry 3, no. 1 (December 16, 2015): 117–33. http://dx.doi.org/10.1017/pli.2015.27.

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Eighteenth-century satirical artist William Hogarth figures centrally in Guyanese writer David Dabydeen’s ekphrastic postcolonial fiction. In particular, Dabydeen’s novels A Harlot’s Progress and Johnson’s Dictionary invoke plate 2 of Hogarth’s 1732 series A Harlot’s Progress, which depicts the encounter of a cuckolded Jewish merchant, his mistress, and a turbaned slave boy.In this article, I argue that Dabydeen’s strategy of introducing visual intertexts into his fiction encourages a comparative reading of the representational regimes that historically have shaped popular perceptions of blacks and Jews. Situating Dabydeen’s Hogarth novels as part of a larger tradition in postwar Caribbean writing of advancing an identificatory reading of Jewishness, I examine how Dabydeen’s novels illustrate the need to broaden discussions of the relationship between postcolonial and Jewish studies beyond the question of Holocaust memory.

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Lee-Loy, Anne-Marie. "Saying No to Chineseness: The Possibilities and Limits of a Diasporic Identity in Janice Lowe Shinebourne's Fiction." Journal of Chinese Overseas 5, no. 2 (2009): 291–309. http://dx.doi.org/10.1163/179303909x12489373183019.

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AbstractThis article explores how the fiction of Guyanese-born author Janice Lowe Shinebourne reveals the tension of articulating Chineseness as a cultural identity in a diasporic context. In particular, despite being “racially marked” as Chinese, Shinebourne's fiction resists essentialized concepts of Chineseness in favor of a more flexible understanding of identity that is profoundly aware of being shaped by the specifics of her Caribbean experience and of a more general history of the Chinese in the region. Ultimately, however, Shinebourne cannot simply ignore Chineseness; rather it is an identity that must be continually interrogated and negotiated. As such, Shinebourne's work affirms the understanding of diasporic Chinese cultural identities as being constructed within the tension of the possibilities opened up by localized experience and the limitations imposed by the continued salience of “race.”

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Couti, Jacqueline, and Jason C. Grant. "Man up! Masculinity and (Homo)sexuality in René Depestre’s Transatlantic World." Humanities 8, no. 3 (September 16, 2019): 150. http://dx.doi.org/10.3390/h8030150.

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The question of homosexuality in Francophone Caribbean literature is often overlooked. However, the ways in which the Haitian René Depestre’s Le mât de cocagne (The Festival of the Greasy Pole, 1979) and “Blues pour une tasse de thé vert” (“Blues for a Cup of Green Tea”), a short story from the collection Eros dans un train chinois (Eros on a Chinese Train, 1990) portray homoeroticism and homosexuality begs further study. In these texts, the study of the violence that surrounds the representation of sexuality reveals the sociopolitical implications of erotic and racial images in a French transatlantic world. Hence, the proposed essay “Man up!” interrogates a (Black) hegemonic masculinity inherited from colonialism and the homophobia it generates. This masculinity prescribes normative traits that frequently appear toxic as it thrives on hypersexuality and brute force. When these two traits become associated with violence and homoeroticism, however, they threaten this very masculinity. Initially, Depestre valorizes “solar eroticism,” a French Caribbean expression of a Black sexuality, free and joyful, and “geolibertinage,” its transnational and global expression. Namely, his novel and short story sing a hegemonic and polyamorous heterosexuality, respectively, in a postcolonial milieu (Haiti) and a diasporic space (Paris). The misadventures of his male characters suggest that eroticism in transatlantic spaces has more to do with Thanatos (death) than Eros (sex). Though Depestre formally explores the construction of the other and the mechanisms of racism and oppression in essays, he also tackles these themes in his fictional work. Applying Caribbean feminist and gendered lenses to his fiction bring to light the intricate bonds between racism, sexism and homophobia. Such a framework reveals the many facets of patriarchy and its mechanism of control.

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Murray, Melanie A. "Pathologies of paradise: Caribbean detours; “Shuttles in the rocking loom”: mapping the black diaspora in African American and Caribbean fiction." Journal of Postcolonial Writing 51, no. 3 (September 2, 2014): 368–70. http://dx.doi.org/10.1080/17449855.2014.951191.

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Echevarria, Roberto Gonzalez, and Barbara J. Webb. "Myth and History in Caribbean Fiction: Alejo Carpentier, Wilson Harris and Edouard Glissant." Hispanic Review 62, no. 3 (1994): 449. http://dx.doi.org/10.2307/475163.

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Prieto, Eric. "Locating the Destitute: Space and Identity in Caribbean Fiction, written by Stanka Radović." New West Indian Guide 90, no. 1-2 (2016): 165–66. http://dx.doi.org/10.1163/22134360-09001040.

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Munro, Martin. "Community in Post-earthquake Writing from Haiti." Paragraph 37, no. 2 (July 2014): 193–204. http://dx.doi.org/10.3366/para.2014.0121.

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This article develops Celia Britton's insights into community in French Caribbean writing in two ways. First, it considers Jacques Roumain's Gouverneurs de la rosée and its image of community in the broader context of modern and contemporary Haitian fiction; and second it discusses representations of community in two Haitian works written after the earthquake of 2010, an event that literally destroyed many communities and has forced Haitian authors to rethink relationships between different groups in Haiti and between human life, the cities, nature and the land.

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Okeugo, Oluchi Chris, and Obioha Jane Onyinye. "The Autotelic Self in Jamaica Kincaid’s at the Bottom of the River." Journal of English Language and Literature 13, no. 2 (April 30, 2020): 1215–21. http://dx.doi.org/10.17722/jell.v13i2.428.

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Kincaid’s fiction focused on the Caribbean dislocation and displacement which relates to racism, colonialism, and trans-culturality with little or no consideration of the role of the autotelic self in contesting these cultural forces. This study examines the extent to which the Julia Kristeva’s principles of language and subject formation and Mihaly Csikszentmihalyi’s principles of autotelic personality could intersect with this autotelic self. Using the postcolonial feminist literary theory and the Csikszentmihalyi’s principles of autotelic personality, it seeks to ascertain the degree to which Jamaica Kincaid’s selected fiction violate or adhere to Kristeva’s principles of language and subject formation and Csikszentmihalyi’s principles of autotelic personality. It applied the cultural and novel of the Julia Kristeva’s principles and the Csikszentmihalyi’s principles to Kincaid’s selected poetic novella. The study depicts that Kincaid in the selected novella violates the Kristeva’s principles as well both in the same cadre.

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Yelvington, Kevin A. "The politics of representing the African diaspora in the Caribbean." New West Indian Guide / Nieuwe West-Indische Gids 68, no. 3-4 (January 1, 1994): 301–8. http://dx.doi.org/10.1163/13822373-90002655.

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[First paragraph]Roots of Jamaican Culture. MERVYN C. ALLEYNE. London: Pluto Press, 1988. xii + 186 pp. (Paper US$ 15.95)Guinea's Other Suns: The African Dynamic in Trinidad Culture. MAUREEN WARNER-LEWIS. Foreword by Rex Nettleford. Dover MA: The Majority Press, 1991. xxii + 207 pp. (Paper US$ 9.95)A recent trend in anthropology is defined by the interest in the role of historical and political configurations in the constitution of local cultural practices. Unfortunately, with some notable individual exceptions, this is the same anthropology which has largely ignored the Caribbean and its "Islands of History."1 Of course, this says much, much more about the way in which anthropology constructs its subject than it says about the merits of the Caribbean case and the fundamental essence of these societies, born as they were in the unforgiving and defining moment of pervasive, persuasive, and pernicious European construction of "Otherness." As Trouillot (1992:22) writes, "Whereas anthropology prefers 'pre-contact' situations - or creates 'no-contact' situations - the Caribbean is nothing but contact." If the anthropological fiction of pristine societies, uninfluenced and uncontaminated by "outside" and more powerful structures and cultures cannot be supported for the Caribbean, then many anthropologists do one or both of the two anthropologically next best things: they take us on a journey that finds us exploding the "no-contact" myth over and over (I think it is called "strawpersonism"), suddenly discovering political economy, history, and colonialism, and/or they end up constructing the "pristine" anyway by emphasizing those parts of a diaspora group's pre-Caribbean culture that are thought to remain as cultural "survivals."

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Journal articles on the topic 'Caribbean fiction'

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