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Tightrope of hope
Kara M. Rabbitt

In 1943, Suzanne Roussi Césaire, wife of the poet-politician Aimé Césaire and co-founder with him, René Ménil, and Astride Maugée of the influential 1940s Martinican cultural review Tropiques , eulogised, resurrected, and reinvented surrealism for a Caribbean context in an essay titled ‘1943: Le Surréalisme et nous’: Beaucoup ont cru que le Surréalisme était mort. Beaucoup l’ont écrit: Puérilité: son activité s’étend aujourd’hui au monde entier et le surréalisme demeure

in Surrealist women’s writing
William Trevor and postcolonial London
C.L. Innes

changes that came with it. They obviously knew about the Notting Hill riots, and they were aware of the daily presence of these new people in the streets, on the buses and working in hospitals and factories all over the country’.1 In fact, between 1951 and 1961, the number of black Caribbean people in Britain increased from around 15,000 to approximately 172,000, and there was a similar increase in the number of immigrants from the Indian subcontinent. Hence, Phillips went on to say, ‘Although Amis and Osborne were writers, not social historians or journalists, the

in William Trevor
Open Access (free)
Ethnicity and popular music in British cultural studies
Sean Campbell

practitioners, focusing specifically on its treatment of second-generation Irish rock musicians.3 To this end, the chapter re-examines Dick Hebdige’s Subculture (1979), a formative endeavour in the field’s engagement with questions of race, ethnicity and popular music, before going on to consider the more recent response of cultural studies’ practitioners to ‘Britpop’. This discussion draws attention to the narrow parameters of the ‘ethnicity’ framework underpinning this body of work. For if the field’s reception of secondand third-generation African-Caribbean and South Asian

in Across the margins
Annalisa Oboe and Elisa Bordin

GraceLand , what type of novel? GraceLand is Chris Abani’s first acclaimed novel, winner of the 2004 Barnes and Noble Discover New Writers Award, the 2005 Hemingway Foundation / PEN Award, and the Hurston-Wright Legacy Award for Debut Fiction, among others. 1 A syncretic narration that mixes European literature and Caribbean music, the Holy Quran and American comics, Western movies and Bollywood films, Nigerian food and Igbo recipes, GraceLand has as its protagonist Elvis Oke, a Nigerian boy who leaves

in Chris Abani
Open Access (free)
Ben Okri, Chenjerai Hove, Dambudzo Marechera
Elleke Boehmer

essentially unfolded as a process of that nation’s coming-into-being. There was a belief, too, in Africa as in South Asia, as in the Caribbean, that the distinctive forms of modernity, in this case in particular the sovereign state, could be incorporated, indigenised, repatriated.2 These may seem at face value rather obvious statements to make about nationalism, which broadly demands some form of belief in the national entity, and acts of loyalty expressed towards it. Yet the obviousness here is part of the point. In post-independence Africa, as in other former colonies

in Stories of women
Abigail Ward

one hundred and fifty years after the abolition of the British slave trade, the S.S. Empire Windrush docked at Tilbury on 22 June 1948 with 492 Caribbean migrants on board. These people had been granted British citizenship by the Nationality Act of the same year, and arrived in Britain in response to pleas from the British government for workers from the colonies to alleviate the post-war British labour shortage. In the next ten years, some 125,000 migrants from the Caribbean were to enter the country. 2 This concentrated influx of black people to Britain has

in Caryl Phillips, David Dabydeen and Fred D’Aguiar
Abigail Ward

women entering the country from 1948 has roots in a much earlier period. In the works explored in this chapter, Phillips traces the origins of this attitude, and the related anxieties surrounding national identity. In his novel Cambridge (1991), a white plantation-owner’s daughter finds her English identity thrown into confusion in the creolising space of the unnamed Caribbean island, and a male slave reflects on his life as a ‘virtual Englishman’. In Crossing the River (1993), the black diaspora created by slavery is examined over a two hundred and fifty

in Caryl Phillips, David Dabydeen and Fred D’Aguiar
Susan Stanford Friedman

time into a single year, 1913, and a single space, France – even, Paris. French Modernist Studies comes into being at a time when the national paradigm for literary study has been fading, even in its institutional forms, as language departments merge, as the reformulated field of world literature gains momentum, and as nation-state fields morph into regional and global studies – for example, American Studies encompassing the Atlantic, the Hemispheric, Pacific Rim and most recently the Archipelagic in the Caribbean and Oceania – and as global linguistic fields expand

in 1913: The year of French modernism
Manu Samriti Chandler

overtook the White population’. 15 E. D. Rowland, ‘Census of British Guiana, 1891’, Timehri , 6 (June 1892), 56, quoted in Mary Noel Menezes, British Policy towards the Amerindians in British Guiana, 1803–1873 (Georgetown: Caribbean Press, 2011), p. 42. 16 Frank B. Wilderson III, Red, White & Black: Cinema and the Structure of U. S. Antagonisms (Durham: Duke University Press, 2010), p. 5. 17 For Wilderson, writing in the context of the United States, it is the Black American who exists in antagonistic relationship to the human, while ‘[t]he Red

in Worlding the south
Abigail Ward

relation to the Caribbean epic genre, while Tobias Döring investigates terror and the sublime, and Heike H. Härting explores, among other topics, how ‘Turner’ ‘invites us to examine the ways in which the conceptual links between metaphor and transfiguration constitute practices of representation embedded in imperialism’. 13 The many different approaches to Dabydeen’s work suggest its richness and complexity, and also illustrate what Bruce King has called in a review of A Harlot’s Progress ‘Dabydeen’s puckish sense of humour’. 14 Dabydeen’s works are undeniably

in Caryl Phillips, David Dabydeen and Fred D’Aguiar