Liminal Spaces is an intimate exploration into the migration narratives of fifteen women of Guyanese heritage. It spans diverse inter-generational perspectives – from those who leave Guyana, and those who are left – and seven seminal decades of Guyana’s history – from the 1950s to the present day – bringing the voices of women to the fore. The volume is conceived of as a visual exhibition on the page; a four-part journey navigating the contributors’ essays and artworks, allowing the reader to trace the migration path of Guyanese women from their moment of departure, to their arrival on diasporic soils, to their reunion with Guyana. Eloquent and visually stunning, Liminal Spaces unpacks the global realities of migration, challenging and disrupting dominant narratives associated with Guyana, its colonial past, and its post-colonial present as a ‘disappearing nation’. Multimodal in approach, the volume combines memoir, creative non-fiction, poetry, photography, art and curatorial essays to collectively examine the mutable notion of ‘homeland’, and grapple with ideas of place and accountability. This volume is a welcome contribution to the scholarly field of international migration, transnationalism, and diaspora, both in its creative methodological approach, and in its subject area – as one of the only studies published on Guyanese diaspora. It will be of great interest to those studying women and migration, and scholars and students of diaspora studies. Grace Aneiza Ali is a Curator and an Assistant Professor and Provost Fellow in the Department of Art & Public Policy, Tisch School of the Arts, New York University. Her curatorial research practice centers on socially engaged art practices, global contemporary art, and art of the Caribbean Diaspora, with a focus on her homeland Guyana.

This volume brings together fifteen scholars from Africa, Europe and the United States to explore how Africa is represented in and through the performing arts and cinema. Essays include discussions of Lorraine Hansberry’s A Raisin in the Sun, American influences on Nollywood, Nigerian video films, the representation of women in cinema, African dance in the diaspora, children’s music, and media portrayals of savagery from pop cinema through news reports of Ferguson, Missouri. Using a variety of methodologies and approaches, the contributors consider how African societies and cultures have been represented to themselves, to the continent at large, and in the diaspora. The volume represents an extended dialogue between African scholars and artists about the challenges of representing themselves and their respective societies within and without Africa. Many of the contributors are scholar-practitioners, offering practical guides on how to approach these performance and media forms as artists. As such, this book will serve as both model and building block for the next generation of representors, students, and audiences.

Examines the ways in which the inclusion of African diasporic religious practices serves as a transgressive tool in narrative discourses in the Americas. Oshun’s Daughters examines representations of African diasporic religions from novels and poems written by women in the United States, the Spanish Caribbean, and Brazil. In spite of differences in age, language, and nationality, these women writers all turn to variations of traditional Yoruba religion (Santería/Regla de Ocha and Candomblé) as a source of inspiration for creating portraits of womanhood. Within these religious systems, binaries that dominate European thought—man/woman, mind/body, light/dark, good/evil—do not function in the same way, as the emphasis is not on extremes but on balancing or reconciling these radical differences. Involvement with these African diasporic religions thus provides alternative models of womanhood that differ substantially from those found in dominant Western patriarchal culture, namely, that of virgin, asexual wife/mother, and whore. Instead we find images of the sexual woman, who enjoys her body without any sense of shame; the mother, who nurtures her children without sacrificing herself; and the warrior woman, who actively resists demands that she conform to one-dimensional stereotypes of womanhood.

"A magnificent starting place for any reader interested in becoming part of the collective enterprise of discovering and uncovering the silent, forgotten, and underrated voices of black women." THE WASHINGTON POST BOOK WORLD From all over the world and through the ages, here is a dazzling collection of two hundred women writers of African descent, showcased as never before, including: Toni Cade Bambara, Gwendolyn Brooks, Alice Childress, Maryse Conde, Aldo do Espirito Santo, Marita Golden, Pilar Lopez Gonzales, June Jordan, Terry McMillan, Queen of Sheba, Sojourner Truth, Harriet Tubman, Phillis Weatley, and many, many others.

Nearly three decades after her pioneering anthology, Daughters of Africa, Margaret Busby curates an extraordinary collection of contemporary writing by 200 women writers of African descent, including Zadie Smith, Bernardine Evaristo and Chimamanda Ngozi Adichie. A glorious portrayal of the richness and range of African women's voices, this major international book brings together their achievements across a wealth of genres. From Antigua to Zimbabwe and Angola to the USA, overlooked artists of the past join key figures, popular contemporaries and emerging writers in paying tribute to the heritage that unites them, the strong links that endure from generation to generation, and their common obstacles around issues of race, gender and class. Bold and insightful, brilliant in its intimacy and universality, this landmark anthology honours the talents of African daughters and the inspiring legacy that connects them-and all of us.

In this quiet but engaging debut novel, an American teenager spends the summer with her relatives in southern India and gains new insight into her past, her family and her heritage. Born in Kerala, Maya spent the first four years of her life there, cared for mainly by her grandmother, Ammamma, until she was sent to live with her parents in New York. At 15, with her parents' marriage undergoing a rough patch, she is sent back to India to stay with her Aunt Reema and Uncle Sanjay, their 10-year-old daughter, Brindha, and Ammamma at their house in the tea hills above Coimbatore. It's been years since Maya came to visit, and this time she is keenly aware of cultural differences: the different spheres of men and women and the persistence of the caste system. She feels stifled by the attentions of Ammamma and resentful of the time she must spend with the old woman. When Maya suffers an accident while most of the family is away, she and Ammamma grow closer, and Maya learns a hidden family fact. But only when Ammamma falls ill and the entire family gathers, including Maya's parents from New York, does Maya begin to comprehend more deeply the complexities of relationships.

An examination of the meanings of blackness in the Brazilian state of Bahia, which is often called the most African part of Brazil.