DOCSLIB.ORG

Hybrid Identity and the Coming of Age Genre in Caribbean Women's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hybrid Identity and the Coming of Age Genre in Caribbean Women's NARRATIVES OF BECOMING: HYBRID IDENTITY AND THE COMING OF AGE GENRE IN CARIBBEAN WOMEN’S LITERATURE by LIANNE VELLA A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of African Studies and Anthropology College of Arts and Law The University of Birmingham June 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The coming of age genre is a popular and longstanding one within the Caribbean, particularly with reference to female writers. This thesis considers how women writers from across the Caribbean have reconceptualised and altered the coming of age genre to narrate their female hybrid Caribbean identities. I focus on a close textual analysis of four main novels - Julia Alvarez’s How the García Girls Lost Their Accents, Michelle Cliff’s No Telephone to Heaven, Edwidge Danticat’s Breath, Eyes, Memory and Cristina García’s Dreaming in Cuban - as well as considering several other secondary coming of age texts from across the Caribbean, all of which emerge from various distinct linguistic and cultural contexts. In doing so this work looks at the links between texts from across the region in order to discuss how the female genre differs from the masculine tradition, how it presents a gendered identity formation and how that process of becoming is marked by the hybrid identities of the authors and their protagonists. CONTENTS Introduction: Formations of Becoming .......................................................................... 1 Chapter One: Language and Voice .............................................................................. 25 Chapter Two: Narratives and Storytelling ................................................................... 72 Chapter Three: Mothers, Bodies and Sexuality ......................................................... 122 Chapter Four: Homes and Histories ........................................................................... 183 Conclusion: Mapping a New Coming of Age ............................................................ 230 Works Cited ............................................................................................................... 243 INTRODUCTION: FORMATIONS OF BECOMING The coming of age novel provides a vehicle for the discussion of identity and its surrounding issues. Through the movement from childhood to adulthood this genre allows a discussion of personal identity and selfhood and works as an allegory, or parallel imagining, of nationhood and national identity. As such, it is particularly useful as a trope for newly independent countries or areas with complex identities. In the Caribbean, the issue of identity has always been of particular importance and so it is this area of the world - and how they choose this genre to express those anxieties and issues - that is of interest to me. In this thesis I will be comparing a number of coming of age narratives from across the Caribbean, which are written by women writers and which feature female protagonists, in order to discuss issues of identity formation, with a particular emphasis on hybrid identity. The coming of age novel as a genre emerges out of the tradition of the bildungsroman. It has sometimes been called the novel of formation or the novel of development but the bildungsroman specifically refers to a particular set of texts that emerged from Germany and were read in an Enlightenment context. It appeared as a term in 1819 and was retrospectively attached to a certain kind of narrative, such as Goethe’s Wilhelm Meister (1795). It is often defined as ‘a novel recounting the early emotional development and moral education of its protagonist’ (Millard, 2). Consequently, the bildungsroman values certain notions of linear progression and coherent identity. It relies heavily on Enlightenment ideas of human perfectibility and Romantic views of childhood as a discrete season of youth, out of which emerges a creative and coherent individual. As the term has evolved however, the genre has been variously defined and there is some debate, particularly among German scholars, 1 as to its precise meaning and translation. It has since been adopted to refer to any novel of youthful development but critics, such as James Hardin, have argued that ‘there is no consensus on the meaning of the term bildungsroman’ (x) and that literary critics have ‘tended to use the term ahistorically’ in ways which change its meaning particularly outside of the specifically Enlightenment context of ‘bildung’ (Hardin, xi). As a genre term then, the bildungsroman seems problematic for use in a contemporary context. It provides a useful foundation for thinking about novels of childhood and of development into adulthood but it is also mired in its particular European and Enlightenment context. As such, although this study will remain aware of the structure of the bildungsroman and how it informs the texts discussed, it will also remain aware of the corresponding limitations. Thus, I will be using an overlapping term, one which contains the same idea of a narrative that follows a character’s progression from childhood to adulthood but which is less rooted in a European, Enlightenment tradition. The alternative term ‘coming of age’ is defined as ‘to reach maturity’ or ‘to reach full legal adult status’1. The term coming of age obviously produces its own set of semantic difficulties. To come of age is to become an adult, to reach a certain status where one has the rights and responsibilities of a mature individual but all of these defining terms are of course, imprecise and culturally relative. Coming of age is therefore an unstable definition and, as a corollary, is a more flexible genre term. This terminology has been much used in anthropological research, such as Margaret Mead’s Coming of Age in Samoa however, it has also been used in its literary form in the discussion of texts, for example Marjorie Garber’s Coming of Age in Shakespeare or Ken Millard’s Coming of Age in Contemporary American Fiction. The question of course becomes: 1 Several dictionaries use either one or both of these definitions. 2 when do characters come of age? Formative experiences or the reaching of that illusive term maturity can, after all, occur at any age. Merle Collins’ Angel for example, could be termed the coming of age narrative of Angel’s mother Doodsie as much as it is for the title character, even though Doodsie is already legally an adult woman and a mother at the start of the text. Barbara White, an influential critic of the genre, chooses to narrow the definition of coming of age to a very specific age: ‘I have as a general rule restricted my discussion to fiction with major characters between twelve and nineteen’ (xii). Thus, her discussion of the female coming of age novel centres on adolescence as the time of change and she defines her texts and the genre accordingly. This narrow view of the genre seems to be, to some extent, arbitrary and restrictive. In contrast, Susan Fraiman’s discussion of the bildungsroman or, as she prefers to call it, the novel of development expands the concept of coming of age rather than limiting it. She sees the period of becoming as ‘a lifelong act continuing well past any discrete season of youth’ (Fraiman, x). This broader view of the genre seems more fitting and useful. My choice of the term coming of age is informed particularly by its imprecision, its ability to include texts which the term bildungsroman would exclude because its structural definitions are more severe. The coming of age novel refers to any novel where a process of becoming occurs and as such, as a genre, while it may be imprecisely defined, it allows a discussion of what coming of age can actually mean; of what a coming into selfhood, into an adult interaction with the world, would look like. The texts studied here follow their characters from childhood beyond what would normally be considered the period of adolescence and young adulthood and in doing so, extend outwards the confines of what can be considered a coming of age narrative or coming of age experiences. All genre definitions are fluid and are remade with every text as they fit into or reshape 3 the genres we give them. The collection of texts addressed here aims to further expand the definition of the coming of age novel by depicting the process of coming into oneself as a continual and often unresolved process, one in which becoming is actually a series of becomings, out of which emerge ever changing and fluid identities. Thus the coming of age genre, as I will be discussing it, denies the structural rigidity and historical fixity of the bildungsroman and the self-imposed limits of the novel of adolescence that Barbara White refers to. Terms such as coming of age and becoming seem particularly apt when discussing the Caribbean given Stuart Hall’s pronouncements on identity. A foundational Caribbean cultural theorist, Hall maintains that ‘we should think, instead, of identity as a “production” which is never complete, always in process, and always constituted within, not outside, representation’ (222). Hall’s influential work moves the discussion of identity away from the rigidity implicit in the traditional bildungsroman to a discussion of on-going production and so the notion of narratives of becoming encapsulates more of the discussions surrounding Caribbean literature than other attendant terms. Another reason to be aware but wary of the bildungsroman is its particularly masculine context. E.K Labovitz discusses the female bildungsroman in her critical study The Myth of the Heroine and her aim is to uncover a set of texts that may be called female bildungsroman.
Load more

Recommended publications
  • Ethical Engagement
    ETHICAL ENGAGEMENT: CRITICAL STRATEGIES FOR APPROACHING AUTOETHNOGRAPHIC FICTION BY Sandra Cox Copyright 2011 Submitted to the graduate degree program in English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Dr. Marta Caminero-Santangelo, Chairperson Dr. Doreen Fowler Dr. Stephanie Fitzgerald Dr. Giselle Anatol Dr. Ann Schofield Date Accepted April 18, 2011 ii The Dissertation Committee for Sandra Cox certifies that this is the approved version of the following dissertation: ETHICAL ENGAGEMENT: CRITICAL STRATEGIES FOR APPROACHING AUTOETHNOGRAPHIC FICTION Committee: Dr. Marta Caminero-Santangelo, Chairperson Dr. Doreen Fowler Dr. Stephanie Fitzgerald Dr. Giselle Anatol Dr. Ann Schofield Date Accepted April 18, 2011 iii Dissertation Abstract: Critics of American literature need ways to ethically interpret ethnic difference, particularly in analyses of texts that memorialize collective experiences wherein that difference is a justification for large-scale atrocity. By examining fictionalized autoethnographies—narratives wherein the author writes to represent his or her own ethnic group as a collective identity in crisis—this dissertation interrogates audiences‘ responses and authors‘ impetus for reading and producing novels that testify to experiences of cultural trauma. The first chapter synthesizes some critical strategies specific to autoethnographic fiction; the final three chapters posit a series of textual applications of those strategies. Each textual application demonstrates that outsider readers and critics can treat testimonial literatures with respect and compassion while still analyzing them critically. In the second chapter, an explication of the representations of African American women‘s experiences with the cultural trauma of slavery is brought to bear upon analyses of Toni Morrison‘s A Mercy (2009) and Alice Walker‘s Now Is the Time to Open Your Heart (2003).
    [Show full text]
  • To View/Download the AP List of Free Response Titles
    Titles from Open Response Questions* Updated from an original list by Norma J. Wilkerson. Works referred to on the AP Literature exams since 1971 (specific years in parentheses) Please note that only authors were recommended in early years, not specific titles.. A Absalom, Absalom by William Faulkner (76, 00, 10, 12) Adam Bede by George Eliot (06) The Adventures of Augie March by Saul Bellow (13) The Adventures of Huckleberry Finn by Mark Twain (80, 82, 85, 91, 92, 94, 95, 96, 99, 05, 06, 07, 08, 11, 13) The Aeneid by Virgil (06) Agnes of God by John Pielmeier (00) The Age of Innocence by Edith Wharton (97, 02, 03, 08, 12, 14) Alias Grace by Margaret Atwood (00, 04, 08) All the King’s Men by Robert Penn Warren (00, 02, 04, 07, 08, 09, 11) All My Sons by Arthur Miller (85, 90) All the Pretty Horses by Cormac McCarthy (95, 96, 06, 07, 08, 10, 11, 13) America is in the Heart by Carlos Bulosan (95) An American Tragedy by Theodore Dreiser (81, 82, 95, 03) American Pastoral by Philip Roth (09) The American by Henry James (05, 07, 10) Angels in America by Tony Kushner (09) Angle of Repose by Wallace Stegner (10) Anna Karenina by Leo Tolstoy (80, 91, 99, 03, 04, 06, 08, 09, 16) Another Country by James Baldwin (95, 10, 12) Antigone by Sophocles (79, 80, 90, 94, 99, 03, 05, 09, 11, 14) Anthony and Cleopatra by William Shakespeare (80, 91) Apprenticeship of Duddy Kravitz by Mordecai Richler (94) Armies of the Night by Norman Mailer (76) As I Lay Dying by William Faulkner (78, 89, 90, 94, 01, 04, 06, 07, 09) As You Like It by William Shakespeare (92 05, 06, 10, 16) Atonement by Ian McEwan (07, 11, 13, 16) Autobiography of an Ex-Colored Man by James Weldon Johnson (02, 05) The Awakening by Kate Chopin (87, 88, 91, 92, 95, 97, 99, 02, 04, 07, 09, 11, 14) B “The Bear” by William Faulkner (94, 06) Beloved by Toni Morrison (90, 99, 01, 03, 05, 07, 09, 10, 11, 14, 15, 16) A Bend in the River by V.
    [Show full text]
  • 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.
    [Show full text]
  • Narratives of Return: the Contemporary Caribbean Woman Writer and the Quest for Home
    1 Narratives of Return: The Contemporary Caribbean Woman Writer and the Quest for Home Rachel Grace Thompson Goldsmiths College, University of London PhD English and Comparative Literature 2 I hereby declare that all of the work presented in this thesis is my own. Rachel Grace Thompson. August 2014. 3 Acknowledgements To Phill, who has been there every step of this process over the past four years. For your constancy, your support, and your hugs. For listening to me and encouraging me. And for your patience and understanding through frequent tears of frustration and despair. Thank you. To my parents, who first instilled, then encouraged and nurtured a life-long love of literature. For everything from those first bedtime stories to the weekly Saturday morning trips to Fairwater library. For lending me your library cards when I had filled up my own. For taking me to Pembroke Dock when I had spent the summer reading my way through the books in Tenby. For nurturing the bookworm in me, reading to me, and with me. For your unwavering belief in my academic potential, for pushing and challenging me. For taking so much pride in each and every one of my achievements, no matter how large or small. For everything you have taught me and for the endless opportunities you have given me. And for your continuing emotional and financial support, without which none of this would have been possible. Words will never fully express my gratitude. To mum and dad, thank you. 4 Abstract This thesis investigates how diasporic Caribbean women writers use the vehicle of the novel to effect a ‘writing back’ to the Caribbean home through what I propose to consider as a specific sub- genre of Caribbean literature: ‘narratives of return’.
    [Show full text]
  • Edwidge Danticat
    UNIVERSITY OF PUGET SOUND PRESENTS Edwidge Danticat Create Dangerously UNIVERSITY OF PUGET SOUND SCHNEEBECK CONCERT HALL MARCH 31, 2015 | 8 P.M. Edwidge Danticat Edwidge Danticat has been writing since she was 9 years old. When she was very young, her parents immigrated to New York from Port-au- Prince, Haiti, leaving her behind to be raised by family, until she joined them in Brooklyn at the age of 12. Memories from those formative years in Haiti remain vivid to this day, and the love of Haiti and all things Haitian that Danticat developed as a child has deeply influenced her writing. After earning a bachelor’s degree in French literature from Barnard College, Danticat pursued a Master of Fine Arts degree at Brown University, where, as her thesis, she wrote her first novel,Breath, Eyes, Memory, telling the story of four generations of Haitian women who overcome poverty and powerlessness. Danticat published her second book, Krik? Krak! at the age of 26, and became the youngest finalist ever for the National Book Award. The collection of short stories paints portraits of Haiti and Haitian Americans before democracy came to that nation. In an interview with NPR, she explained that the book was an effort “to raise the voice of a lot of the people that I knew growing up … poor people, who had extraordinary dreams, but also very amazing obstacles.” The title for the collection comes from the Haitian tradition of a storyteller calling out for an audience (“Krik?”), and willing listeners gathering around and answering (“Krak!”). A natural storyteller, Danticat has written numerous books and essays, and edited multiple anthologies.
    [Show full text]
  • By LAUREN RENEE
    “PLACING IDENTITY: JOURNEYS TO SELF THROUGH COMMUNAL AUTONOMY IN AFRICAN DIASPORIC WOMEN’S LITERATURE” by LAUREN RENEE CHAMBERS (Under the Direction of Barbara McCaskill) ABSTRACT The construction of identity formation is informed by the myriad places women inhabit, experience, and transgress. Place provides a lens into specific categories of women’s experiences, primarily one’s relation to community. My concept of “communal autonomy” refers to how individuals develop a sense of self and interact within larger communities. My study traces how female characters in Postcolonial and western African diasporic works use place to negotiate conflicting gender expectations as they mature into womanhood in communities and nations that silence their existence. I begin with a discussion of place as community in the autobiography Call Me Woman (1985) by South African author Ellen Kuzwayo, followed by a chapter on Edwidge Danticat’s novel Breath, Eyes, Memory (1994) that explores specific home places in the novel as sources of knowledge Sophie uses to fashion her identity. I then turn to the novel Paradise (1997) by Toni Morrison, to explore the configuration of women as outsiders who function as a community mitigated by place. Finally, I examine a representative twenty- first century voice of African diasporic literature offered by Nigerian author Chimamanda Ngozi Adichie. Her novel Purple Hibiscus (2003) presents communities as versions of extended family the protagonist Kambili uses to construct identity. Place calls into question specific institutions and thereby spaces women inhabit in seeking knowledge to define the self. Social institutions such as the home, family, and nation constitute communities through the gendered expectations and behaviors reinforced within these spaces.
    [Show full text]
  • Summer 2020 AP Lit Reading List
    AP Literature and Composition Summer Reading List 2020-2021 Drama Ayad Akhtar, The Who & The What Suzan-Lori Parks, Topdog/Underdog Samuel Beckett, Waiting for Godot Yasmina Reza, God of Carnage John Leguizamo, Latin History for Morons Peter Shaffer, Equus Edward Albee, Who’s Afraid of Virginia Woolf? William Shakespeare, King Lear Anton Chekhov, Three Sisters William Shakespeare, Henry V Kristoffer Diaz, The Elaborate Entrance of Chad Deity Sophocles, Antigone T.S. Eliot, Murder in the Cathedral Sophocles, Oedipus Rex David Henry Hwang, M. Butterfly Tennessee Williams, The Glass Menagerie Tony Kushner, Angels in America August Wilson, Gem of the Ocean Eugene O’Neill, Long Day’s Journey Into Night George C. Wolfe, The Colored Museum Literature Chimamanda Adichie , Americanah Thomas Hardy, Tess of the d’Urbervilles Chimamanda Adichie , Half of a Yellow Sun Ernest Hemingway, The Sun Also Rises Rudolfo Anaya, Bless Me Ultima James Joyce, A Portrait of the Artist as a Young Man Jane Austen, Northanger Abbey James Joyce, Ulysses Jane Austen, Pride and Prejudice Joy Kogawa, Obasan James Baldwin, Go Tell it on the Mountain Chang-Rae Lee, Native Speaker James Baldwin, If Beale Street Could Talk Nana Kwame Adjei-Brenyah, Friday Black Charlotte Brontë, Jane Eyre Gabriel García Márquez, One Hundred Years of Solitude Emily Brontë, Wuthering Heights Gabriel García Márquez, Love in the Time of Cholera Kate Chopin, The Awakening Herman Melville, Billy Budd Sandra Cisneros, Woman Hollering Creek Herman Melville, Moby Dick Joseph Conrad, Heart of Darkness Toni Morrison, Sula Edwidge Danticat, Breath, Eyes, Memory Flannery O’Connor, Wise Blood Junot Diaz, The Brief Wondrous Life of Oscar Wao Alan Paton, Cry, the Beloved Country Charles Dickens, Bleak House Leslie Marmon Silko, Ceremony Charles Dickens, Great Expectations Upton Sinclair, The Jungle Fyodor Dostoevsky, Crime and Punishment Leo Tolstoy, Anna Karenina William Faulkner, The Sound and the Fury Edith Wharton, Ethan Frome George Eliot, The Mill on the Floss Virginia Woolf, Mrs.
    [Show full text]
  • About This Volume Robert C
    About This Volume Robert C. Evans 7KH 8QLWHG 6WDWHV KDV ORQJ SULGHG LWVHOI RQ EHLQJ D QDWLRQ RI immigrants, and certainly immigrants or their immediate descendants have long made valuable contributions to the nation’s literature. :DYHDIWHUZDYHRILPPLJUDQWVIURPPDQ\QDWLRQV²DW¿UVWPDLQO\ from Europe, but then (more recently), mostly from other continents RUUHJLRQV²KDYHDGGHGERWKWRWKHSRSXODWLRQDQGWRWKHFXOWXUHRI the country. Immigrant writers and their children have brought with them both memories and dreams, both experiences and aspirations. Sometimes they have found their status as immigrants exciting; sometimes they have found it exasperating; usually their attitudes have been mixed. In the process of sharing their thoughts and H[SHULHQFHVZLWKUHDGHUVRI¿FWLRQWKH\KDYHRIWHQHQULFKHGERWK American literature and the English language. In her introductory essay to this volume, Natalie Friedman offers helpful reminders of the history of the often close relations EHWZHHQ LPPLJUDQWV DQG VKRUW ¿FWLRQ 6KH VXJJHVWV WKDW VKRUW VWRULHV²EHFDXVH RI WKHLU VLPXOWDQHRXV EUHYLW\ DQG SRVVLELOLWLHV IRU FRPSOH[LW\²KDYH IUHTXHQWO\ EHHQ LGHDO IRUPV IRU LPPLJUDQW ZULWHUV6WRULHVFDQRIWHQEHZULWWHQPRUHTXLFNO\DQGUHDGPRUH ZLGHO\ WKDQ QRYHOV DQG PDQ\ KDYH DSSHDUHG ¿UVW LQ SHULRGLFDOV especially designed for immigrant readers. Friedman discusses the early twentieth-century Jewish writer Abraham Cahan as a good example of larger trends. In so doing, she also provides valuable background information about the roots of American immigrant VKRUW ¿FWLRQ LQ WKH ZULWLQJV RI LPPLJUDQWV ZKR RIWHQ FDPH IURP Europe. A similar emphasis on an earlier writer from Europe appears LQ6ROYHLJ=HPSHO¶VLOOXPLQDWLQJHVVD\RQWKHVKRUW¿FWLRQRIWKH Norwegian American writer O. E. Rølvaag. As Zempel notes, writers and their works “do not exist in isolation; instead, they are embedded in a wide variety of historical situations.
    [Show full text]
  • Rejection and Disaffiliation in Twenty-First Century Immigration Narratives
    I Was Never An American: Rejection and Disaffiliation in Twenty-First Century Immigration Narratives Author: Mary Catherine Daily-Bruckner Persistent link: http://hdl.handle.net/2345/bc-ir:104159 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2015 Copyright is held by the author. This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License (http://creativecommons.org/licenses/ by-nd/4.0/). Boston College The Graduate School of Arts and Sciences Department of English I WAS NEVER AN AMERICAN: REJECTION AND DISAFFILIATION IN TWENTY-FIRST CENTURY IMMIGRATION NARRATIVES a dissertation By MARY CATHERINE DAILY-BRUCKNER submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2015 © copyright by MARY CATHERINE DAILY-BRUCKNER 2015 Abstract Title: I Was Never An American: Rejection and Disaffiliation in Twenty-First Century Immigration Narratives Author: Mary Catherine Daily-Bruckner Dissertation Advisors: Christopher Wilson, Carlo Rotella, Christina Klein, Min Song This dissertation explores traditional patterns of immigration narratives and reads them alongside not only their contemporary, divergent counterparts but also historical moments that contribute to the narrative transformations. By way of this examination, literary changes over time become readable, highlighting the speed at which the rhetoric and aims of many immigration narratives became patently anti-America in the twenty- first century, significantly departing from the traditions established in the twentieth century, which, at their core still held pro-America aims. The first chapter, “The Solution is the Problem: Immigrant Narratives of Internment and Detention,” considers nonfiction narratives regarding immigration detention within the borders of the United States.
    [Show full text]
  • Jessica Williams Email: [email protected] Office Hours: by Appointment
    Introduction to Prose and Poetry CRWRI-UA.815.025 Spring 2021, W&F 6:10-7:30 PM Location TBD Instructor: Jessica Williams Email: [email protected] Office Hours: By appointment “This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal.” -Toni Morrison “You think your pain and your heartbreak are unprecedented in the history of the world, but then you read.” -James Baldwin “We have poetry / So we do not die of history.” -Meena Alexander Course Description & Objectives: Welcome to Introduction to Prose and Poetry! In this class we’ll read short stories and poems and try to understand how each piece of writing achieves its lasting effects. Good writing isn’t magic—it’s just that the gears are all hidden under the hood. In order to build a frame of reference you can use to think critically about the craft elements of the these pieces, you have to do a good deal of reading. Some weeks will be dedicated to reading and others to workshopping your peers’ writing and your own. By the end of the semester, you’ll have a final portfolio of creative writings and a renewed appreciation for storytelling as an art form. Course Structure: Class conversation will be based on assigned readings in weeks 1-4 and 8-11, so please come having read closely. In general, we will discuss poetry on Wednesdays and prose on Fridays.
    [Show full text]
  • Black Women and the Search for Spiritual Liberation in Edwidge
    BLACK WOMEN AND THE SEARCH FOR SPIRITUAL LIBERATION IN EDWIDGE DANTICAT'S BREATH, EYES, MEMORYAND TONI MORRISON'S PARADISE by RAFFAELA N. WILSON (Under the Direction of Barbara McCaskill) ABSTRACT For the Black community in Haiti and the United States, Christianity has often been cited as a source for spiritual connection, healing and liberation. It has been romanticized--and at times rightfully so--as a source for communal development and preservation within these communities. In this thesis, I explore Edwidge Danticat's Breath, Eyes, Memory and Toni Morrison's Paradise and how these authors engage in a subversive dialogue across the Americas about the role of Christianity in the lives of Black women. Specifically, I propose Danticat and Morrison illuminate how the Black community appropriates Christianity to reinstitute gender hierarchy and gender oppression. Critical to the investigation of this matter is the role of the Virgin Mary as the ideal standard for womanhood. INDEX WORDS: Edwidge Danticat, Breath, Eyes, Memory, Toni Morrison, Paradise, women, Christianity, Vodou, Candomble, Virgin Mary BLACK WOMEN AND THE SEARCH FOR SPIRITUAL LIBERATION IN EDWIDGE DANTICAT'S BREATH, EYES, MEMORYAND TONI MORRISON'S PARADISE by RAFFAELA N. WILSON B.A. Loyola University, 1994 A Thesis submitted to the Graduate Faculty of the University of Georgia as Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2009 © 2009 Raffaela N. Wilson All Rights Reserved BLACK WOMEN AND THE SEARCH FOR SPIRITUAL LIBERATION IN EDWIDGE DANTICAT'S BREATH, EYES, MEMORYAND TONI MORRISON'S PARADISE by RAFFAELA N. WILSON Major Professor: Barbara McCaskill Committee: Lesley Feracho Channette Romero Electronic Version Approved Maureen Grasso Dean of the Graduate School The University of Georgia December 2009 iv ACKNOWLEDGEMENTS I would like to extend a special thanks to Dr.
    [Show full text]
  • Paule Marshall’S Coming of Age and the “Third Migration” of African-American Literature
    No. 21 May 2010 Travellin’ woman Joshua Jelly-Schapiro on Paule Marshall’s coming of age and the “third migration” of African-American literature Brooklyn brownstones. Photograph by Drew Spencer At a small book party in a Harlem storefront in the fall of 1959, it would have taken a lot to distract attention from the guest of honour, a striking thirty-year-old woman, eight months pregnant at the time, who was celebrating the publication of her debut novel. The arrival of Langston Hughes, though, certainly did the trick. The party was just getting under way when he appeared in the doorway. His arrival awed everyone — including the writer being feted, whom Hughes had never met before deigning to toast the release of her “somewhat standard coming-of-age story,” as Paule Marshall too modestly describes her first novel today, “about a girl not unlike myself born and raised in a Brooklyn community that was both African-American and West Indian.” Hughes was famously generous to younger writers, and he later arranged for this one to accompany him on a State Department–sponsored tour of Europe. Taking a fond interest in Marshall and her career, he continued, until his death in 1967, to offer her encouragement in the form of postcards penned in his trademark green ink, and regular late-night phone calls entreating her to hurry up and finish her second novel (“I have a book out for every year you’ve been alive!” he’d crow). -1- He wasn’t alone in admiringBrown Girl, Brownstones, a bildungsroman that mines its author’s experience to tell the story of Selina Boyce, a child of immigrant parents from Barbados, whose self-realisation entails transcending the insular mores of her mother’s home and a tight-knit West Indian community in Brooklyn.
    [Show full text]