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Caribbean Voices Broadcasts
APPENDIX © The Author(s) 2016 171 G.A. Griffi th, The BBC and the Development of Anglophone Caribbean Literature, 1943–1958, New Caribbean Studies, DOI 10.1007/978-3-319-32118-9 TIMELINE OF THE BBC CARIBBEAN VOICES BROADCASTS March 11th 1943 to September 7th 1958 © The Author(s) 2016 173 G.A. Griffi th, The BBC and the Development of Anglophone Caribbean Literature, 1943–1958, New Caribbean Studies, DOI 10.1007/978-3-319-32118-9 TIMELINE OF THE BBC CARIBBEAN VOICES EDITORS Una Marson April 1940 to December 1945 Mary Treadgold December 1945 to July 1946 Henry Swanzy July 1946 to November 1954 Vidia Naipaul December 1954 to September 1956 Edgar Mittelholzer October 1956 to September 1958 © The Author(s) 2016 175 G.A. Griffi th, The BBC and the Development of Anglophone Caribbean Literature, 1943–1958, New Caribbean Studies, DOI 10.1007/978-3-319-32118-9 TIMELINE OF THE WEST INDIES FEDERATION AND THE TERRITORIES INCLUDED January 3 1958 to 31 May 31 1962 Antigua & Barbuda Barbados Dominica Grenada Jamaica Montserrat St. Kitts, Nevis, and Anguilla St. Lucia St. Vincent and the Grenadines Trinidad and Tobago © The Author(s) 2016 177 G.A. Griffi th, The BBC and the Development of Anglophone Caribbean Literature, 1943–1958, New Caribbean Studies, DOI 10.1007/978-3-319-32118-9 CARIBBEAN VOICES : INDEX OF AUTHORS AND SEQUENCE OF BROADCASTS Author Title Broadcast sequence Aarons, A.L.C. The Cow That Laughed 1369 The Dancer 43 Hurricane 14 Madam 67 Mrs. Arroway’s Joe 1 Policeman Tying His Laces 156 Rain 364 Santander Avenue 245 Ablack, Kenneth The Last Two Months 1029 Adams, Clem The Seeker 320 Adams, Robert Harold Arundel Moody 111 Albert, Nelly My World 496 Alleyne, Albert The Last Mule 1089 The Rock Blaster 1275 The Sign of God 1025 Alleyne, Cynthia Travelogue 1329 Allfrey, Phyllis Shand Andersen’s Mermaid 1134 Anderson, Vernon F. -
Rewriting the Caribbean Female Body: a Conversation with Opal Palmer Adisa
ATLANTIS Journal of the Spanish Association of Anglo-American Studies 38.1 (June 2016): 203-220 issn 0210-6124 Rewriting the Caribbean Female Body: A Conversation with Opal Palmer Adisa Elisa Serna Martínez Universidad de Granada [email protected] Opal Palmer Adisa is a familiar figure on the Caribbean-American literary scene with fourteen volumes of poetry and prose to her credit. She has been awarded the Caribbean-American Heritage Legacy Award (2008), the Pushcart Prize, the PEN Oakland/Josephine Miles Literary Award for Tamarind and Mango Women (1992) and the Distinguished Bay Area Woman Writer Award, amongst others. Her first novel,It Begins with Tears (1997) is included in Rick Ayers and Amy Crawford’s Great Books for High School Kids: A Teacher’s Guide to Books that Can Change Teens’ Lives (2004). Adisa was born in Kingston, Jamaica, in 1954 into a middle-class family where she grew up with a wide sense of family, and an awareness of the broader historical and spiritual significance of daily life, both of which inform much of her writing. At age sixteen Adisa migrated to New York where she finished her last year of high school and graduated from college. Then she moved to California, where she completed her PhD at the University of Berkeley. A distinguished professor of creative writing and literature at the California College of the Arts, Adisa is a literary critic and she has published widely about parenting, writing and poetry. Dominant themes in Adisa’s texts are family life and the search for the sacred in everyday Afro-Caribbean history; she is interested in exploring questions on sexual agency and women’s self determination. -
Vol 25 / No. 2 / November 2017 Volume 24 Number 2 November 2017
1 Vol 25 / No. 2 / November 2017 Volume 24 Number 2 November 2017 Published by the discipline of Literatures in English, University of the West Indies CREDITS Original image: Self-portrait with projection, October 2017, img_9723 by Rodell Warner Anu Lakhan (copy editor) Nadia Huggins (graphic designer) JWIL is published with the financial support of the Departments of Literatures in English of The University of the West Indies Enquiries should be sent to THE EDITORS Journal of West Indian Literature Department of Literatures in English, UWI Mona Kingston 7, JAMAICA, W.I. Tel. (876) 927-2217; Fax (876) 970-4232 e-mail: [email protected] OR Ms. Angela Trotman Department of Language, Linguistics and Literature Faculty of Humanities, UWI Cave Hill Campus P.O. Box 64, Bridgetown, BARBADOS, W.I. e-mail: [email protected] SUBSCRIPTION RATE US$20 per annum (two issues) or US$10 per issue Copyright © 2017 Journal of West Indian Literature ISSN (online): 2414-3030 EDITORIAL COMMITTEE Evelyn O’Callaghan (Editor in Chief) Michael A. Bucknor (Senior Editor) Glyne Griffith Rachel L. Mordecai Lisa Outar Ian Strachan BOOK REVIEW EDITOR Antonia MacDonald EDITORIAL BOARD Edward Baugh Victor Chang Alison Donnell Mark McWatt Maureen Warner-Lewis EDITORIAL ADVISORY BOARD Laurence A. Breiner Rhonda Cobham-Sander Daniel Coleman Anne Collett Raphael Dalleo Denise deCaires Narain Curdella Forbes Aaron Kamugisha Geraldine Skeete Faith Smith Emily Taylor THE JOURNAL OF WEST INDIAN LITERATURE has been published twice-yearly by the Departments of Literatures in English of the University of the West Indies since October 1986. Edited by full time academics and with minimal funding or institutional support, the Journal originated at the same time as the first annual conference on West Indian Literature, the brainchild of Edward Baugh, Mervyn Morris and Mark McWatt. -
Dionne Brand's Global Intimacies: Practising Affective Citizenship
Dionne Brand’s Global Intimacies: Practising Affective Citizenship Diana Brydon “I say this big world is the story, I don’t have any other” (Inventory 84) Rosi Braidotti suggests that “The human has been subsumed in global relations of intimacy, complicity and proximity with forces of the inhuman and post-human kind: scientific, industrial and military complexes, global communication networks, processes of commodification and exchange on a global scale” (264). She argues further that it is the task of critical theory to track the “fluctuations“ of this new disorder (264). In this paper I ask what tracking these fluctuations involves, for the poet Dionne Brand who sets herself this task in her long poem, Inventory, and for the critic who reads her work fully attentive to the historical legacies of humanism and their entanglements with the humanities and the humanitarian.1 The CFP for this special issue asks two related questions that I pursue here: “what good is the study of literature?” and “how does the turn to ethics position literary criticism in relation to politics?” It is not possible to answer these questions definitively. In this paper, I follow Brand’s lead into registering the visceral force of the kinds of global intimacies enumerated by Braidotti in order to ask what these practices imply for the political projects of citizenship and community in contemporary times. I argue that to fully grasp the implications of how Brand’s poetry engages and is engaged in these emerging global complicities, critics need to attend to the dynamics of the experiential dimensions of its affect as well as its explicit meaning.2 “On Poetry,” the last essay in Dionne Brand’s Bread Out of Stone, concludes: “Poetry is here, just here. -
LOCATING the IDEAL HOMELAND TN the LITERATURE of EDWIDGE DANTICAT by JULIANE OKOT BITEK B.F.A., the University of British Columb
LOCATING THE IDEAL HOMELAND TN THE LITERATURE OF EDWIDGE DANTICAT by JULIANE OKOT BITEK B.F.A., The University of British Columbia, 1995 A THESIS SUBMITTED IN PARTIAL FULIFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) May2009 © Juliane Okot Bitek, 2009 ABSTRACT Edwidge Danticat, who has lived most of her life in the United States, retains a strong link with Haiti and primarily writes about the Haitian experience inside and outside the country. For Danticat, the ‘ideal homeland’ is a psychic space where she can be Haitian, American, and belong to both countries. Danticat’s aspiration and position as one who can make claim to both Haiti and the United States somewhat supports Stuart Hall’s notion of cultural identity as a fluid entity and an identity that is becoming and is, not one that is static and was. However, Danticat locates her ‘ideal homeland’ within the Haitian Dyaspora, as a social construct that includes all the people of the Haitian descent in the diaspora, whatever their countries of citizenship. This ideal homeland is an emotional and literary space for continued expression and creation of Haitian identity, history and culture. It is not a geographical space and as such, requires that membership in it engage through text. This paper investigates ways in which Danticat expresses the ideal homeland in her fiction and nonfiction works. I use Dionne Brand, Kamau Brathwaite, Edward Soja and Judith Lewis Herman among others, as theorists to discover this ideal homeland in order to show that Danticat, like many diasporic writers, is actively engaged in locating for themselves where they can engage in their work as they create new communities and take charge of how they tell their stories and how they identify themselves. -
Creole Modernism
ANKHI MUKHERJEE Creole Modernism As affirmations of the modern go, few can match the high spirits of Susan Stanford Friedman’s invitation to formulate a “planetary epistemology” of modernist studies. As she explains in a footnote, Friedman uses the term “planetarity” in a different sense than Gayatri Chakravorty Spivak in Death of a Discipline, where the latter proposes that “if we imagine ourselves as planetary subjects rather than global agents, planetary creatures rather than global entities, alterity remains underived from us.”1 If Spivak’s planet-thought is a “utopian gesture of resistance against globalization as the geohistorical and economic domination of the Global South,” Friedman’s own use of the term ‘planetarity’ is epistemological, implying “a consciousness of the earth as planet, not restricted to geopolitical formations and potentially encompassing the non-human as well as the human.”2 Friedman’s planetary epistemology needs the playground of “modernism/modernity,” the slash denoting a simultaneous separation and connection, “the paradox of all borders,” which she considers to be richly generative (475). For modernism is not simply outside or after modernity, a belated reaction to the shock of it. It is contained within modernity (or particular modernities) as its aesthetic domain, and interacts with other domains, commercial, technological, societal, and governmental. It follows that “Every modernity has its distinctive modernism” (475). Pluralizing the key terms to engage with the polylogue of languages and cultures issuing from forms of modernism/modernity everywhere, Friedman’s invocation of this transformational (planetary) model of cultural circulation opens up possibilities for modernist studies to venture fearlessly outside the Anglo-American field and into “elsewhere” places that constitute modernism’s Other: the colonies and ex- colonies of South Asia and the Caribbean, the American South, and the Diaspora. -
Eintou Pearl Springer Taitu Heron : Sharon Lake : Bernice L
Vol. 3, No. 2 :: Spring 2018 Caribbean Life + Olympian Feats, pt.2 In this issue: Eintou Pearl Springer Taitu Heron : Sharon Lake : Bernice L. McFadden : Nancy Ann Miller Keisha Oliver : Richard Schrader : Keino Senior : Kristine Simelda Carol Sorhaindo : Celia Sorhaindo : Obediah Michael Smith + more This issue is dedicated to the people of the Caribbean who have been impacted by Hurricanes Irma and Maria, and in particular the people of Dominica and Barbuda. They need our support so help in all ways that you can. Surviving a hurricane and deciding to forge ahead and rebuild is an Olympian feat. Hurricane Irma in the Eastern Caribbean, September 6, 2017 This issue is dedicated to Tamara Natalie Madden August 16, 1975 – November 4, 2017 A Jamaican-born painter and mixed-media artist (whose work was featured in IC Winter 2015) Tamara Natalie Madden - Peacock — In Memoriam — It is with heavy hearts that we bid a sad farewell to two members of the IC family: Kisembe Springer, also known as Ìyánífá Ifáfùnmiláyò Efuntola, and Catherine L. James Palmer. Kisembe was the daughter of Trinidadian poet, Eintou Pearl Springer, and Miss Catherine was the mother of our editor and founder, Opal Palmer Adisa. No words can describe the loss to Kisembe’s and Miss Catherine’s families and communities, so, instead, we honour their legacies of love and dedication. Kisembe and Miss Catherine, walk good with the ancestors. Ase. Ase. Ase. Catherine L. James Palmer Kisembe Springer CONTENTS Editor’s Letter © 2018 Caribbean Visual and Performing Arts. 15 Coalescing Hurricanes Irma and Maria with the Machete-Wielding Mother By Opal Palmer Adisa All rights reserved. -
December 1987
, • DECEMBER 1987 Poetry Mark Mc W aU, Ras Michael J eune, McDonald Dash, Sasenarine Persaud, Mahadai Das, Pamela Mordecai, A. J. Se..)'1l1our, Ian McDonald. The at r e Joel Benjamin, Jeremy Poynting, Frank Thomasson, Ron Robinson. Art i c I e s Alan Persico, Frank Birbalsingh, Nesha Haniff. • Review A Goodly Heritage (Elma Seymour). • Kyk 37 - Edited by A. J. Seymour and Ian MCDonald CONTENTS Friends of Kyk-Over-AI 2 Across the Editor's Desk This issue - a "Theatre" Issue• 3 Mahadai Das - Appeal 3 Poetry in Schools 4 BIM No. 70 5 The New Voices, Nos. 29/30 6 Journal Of West Indian Literature 6 The 3rd Walter Rodney Memorial Lecture 7 The Guyana Prize 8 The Printing of Kyk No. 37 8 • Poetry Remembering Anna Regina Mark McWatt 9 River Passage 10 Klickity Klack Ras Michael Jeune 14 Sun Suddenly McDonald Dash 17 Rain Storm Sasenarine Persaud 18 Bones Mahadai Das 19 Genesis Pamela Mordecai 20 Two Love Poems A. J. Seymour 21 That My Son Be Kept Safe Ian McDonald 22 Theatre The Early Theatre in Guyana Joel Benjamin 24 At Homes, Tagore and Jive Jeremy Poynting 45 Down Memor Lane Frank Thomasson 49 Guyanese Professional Theatre Ron Robinson 55 Articles Martin Carter's "B ent" Alan Persico 59 Interview with Jan Carew Frank B irbalsingh 66 Edna Manley Nesha Haniff 76 Review • A Goodly Heritage (Elma Seymour) N esha Haniff 78 Contributors 80 • • • - ... FRIENDS OF KYK-OVER-AL A great many individuals and organisations have con tributed to the successful re-Iaunching of Kyk-Over-Al. -
Kamau Brathwaite's Born to Slow Horses And
THE GRIFFIN TRUST For Excellence In Poetry Trustees: FOR IMMEDIATE RELEASE Margaret Atwood KAMAU BRATHWAITE’S BORN TO SLOW HORSES Carolyn Forché AND Scott Griffin SYLVIA LEGRIS’ NERVE SQUALL Robert Hass WIN THE 2006 GRIFFIN POETRY PRIZE Michael Ondaatje Robin Robertson Toronto, ON (June 1, 2006) – Kamau Brathwaite and Sylvia Legris are the International and Canadian winners of the 6th annual Griffin Poetry Prize. The C$100,000 Griffin Poetry David Young Prize, the richest prize in the world for a single volume of poetry, is divided between the two winners. The prize is for first edition books of poetry, including translations, published in English in 2005, and submitted from anywhere in the world. The awards event was hosted by Scott Griffin, founder of the prize. Simon Armitage, renowned poet, author and playwright assumed the role of Master of Ceremonies. Judges Lisa Robertson and Eliot Weinberger announced the International and Canadian winners for 2006. More than 400 guests celebrated the awards, including former Governor-General, the Right Honourable Adrienne Clarkson, acclaimed Canadian actors Albert Schultz and Sarah Polley, Senator Jerry Grafstein and his wife Carol, among others. In addition, poets, publishers and other literary luminaries attended the celebration. The evening’s theme was Shangri-La and featured a silk route marketplace replete with banners of fuschia, purple and gold. Hundreds of pigmy orchids and butterflies in a dizzying array of colours adorned the room. The event, which took place at The Stone Distillery in Toronto, offered up a menu of decidedly Asian fusion cuisine. Appetizers included mango and Thai basil sushi rolls, deep-fried plantain, sweet corn tamales, crab cakes on a bed of remoulade, and a sweet potato and jicama salad. -
Ms. Chamberlin, J. Edward Papers Coll. 731 1 Gift of J. Edward
Ms. Chamberlin, J. Edward papers Coll. 731 Gift of J. Edward Chamberlin 2015 Includes Lorna Goodison material such as drafts, proofs and notes for From Harvey River; early drafts of ‘Supplying Salt and Light/Oracabessa’; Travelling Mercies; By Love Possessed; drafts for unpublished ‘The Book of Amber’; Controlling the Silver; personal and professional correspondence, including Rex Nettleford, Derek Walcott and others; ink doodles and drawings within texts; appearances; photographs; “Run of poetry by Canadian Poets (each illustrated) in Saturday Night, January 1989 – January 1995. Poetry editor J. Edward Chamberlin”; and various other material related to the lives and work of Lorna Goodison and J. Edward Chamberlin Extent: 17 boxes and items (3 metres) Box 1 Lorna Goodison 26 folders From Harvey River Drafts, proofs Folders 1-8 Lorna Goodison From Harvey River Clean word processed draft Folders 9-14 Lorna Goodison From Harvey River Edited draft with images, holograph notes and some correspondence Folders 15-22 Lorna Goodison From Harvey River Word processed draft with holograph revisions Folders 23-26 Lorna Goodison From Harvey River Clean word processed draft, variously paged Box 2 Lorna Goodison 23 folders From Harvey River Drafts, proofs Folders 1-7 Lorna Goodison From Harvey River Clean word processed draft, variously paged Folders 8-14 Lorna Goodison From Harvey River Word processed draft with revisions 1 Ms. Chamberlin, J. Edward papers Coll. 731 Folders 15-17 Lorna Goodison From Harvey River Word processed draft Folder 18 ‘early -
James Kelman's Interview with John La Rose
The full interview with John La Rose1 More than twenty five years ago I was asked to interview John La Rose for the arts and culture journal Variant 19. Malcolm Dickson was then editor. The interview took place in John’s house in Finsbury Park. Malcolm organized the recording apparatus and also jumped about taking photographs. I had known John for a few years by then and had been in his company quite often; my only plan, therefore, was to start talking. He was a very strong and experienced orator, and with a tremendous breadth of knowledge. He was used to the toughest forms of meetings, those that began in confrontation and moved towards negotiation. I knew he would go where he thought necessary and return near enough to the starting point: my job was to resist interfering. The general population are unaware of the depth and complexity of the struggle of black people and other minorities in the United Kingdom. This transcription of a talk by John La Rose allows an insight into that and of the richness of the Caribbean side of its social and intellectual tradition. Insight here is gained into the inseparable nature of the culture and the political. There is also the matter of John's own centrality to some of the more crucial political interventions in his time. It should be a matter of concern how easily such a figure can be airbrushed from the political and cultural history of the UK, and the fundamental role played by John La Rose, his peers and contemporaries. -
Poui VI (December, 2004)
INTRODUCTION For several reasons, Poui No. 6 seems like a very special issue: there are contributions from 31 writers, more than we have had in any of the previous issues, and as a consequence, this issue runs to 132 pages, the biggest yet. I do not have the impression that there were more submissions this year than in the past, but there certainly was more material of a quality suitable for inclusion, and this is certainly very gratifying for the editors who have to read all the submissions. There is a nice balance, in this issue, of poetry and prose fiction, with ten items in the latter category, accounting for about 50 out of the 114 pages of submitted material published – almost half. In addition most of the prose pieces (by Velma Pollard, Chip Livingstone, Debra Providence, Krishna Ramsumair, Robert Schmid and George Sammy) are powerful and very moving. As in recent years, we must thank our regular and committed contributors for continuing to send us their work; it is these faithful contributors who keep the annual publication going, although the exposure of their work is not as great as we all would like – many copies of past issues remain piled in the departmental store-room and we would welcome ideas and suggestions about how the publication might be more widely and more effectively marketed. We also welcome the fair number of new voices heard in Poui for the first time this year: we hope you will continue to support the publication with your contributions in coming years. Another reason why this issue is special is because we are privileged to include a recent poem by our own beloved Kamau Brathwaite, who has graciously served as Editorial Consultant to Poui from the first issue and who has kindly agreed to be our ‘Featured Poet’ in this issue.