Williams (Xavier U.) presents 367 three-to-four page essays, 101 commissioned new for this edition, on significant African American works of literature, from Afrocentricity: The Theory of Social Change, a work of cultural criticism by Molefi K. Asante,to Zami: A New Spelling of My Name, the "biomythography" of Audre Lorde. The works covered range from early colonial era writings through works of the beginning of the 21st century. Most of the essays address a single long work, while others review an author's work in a certain genre, such as short fiction, poetry, essays, or speeches. Each entry begins with information on title, subtitle, author's name and birth/death dates, type of work, date of first publication and production. For fiction, information is also presented on type of plot, setting, and principal characters. The essays then describe events or contents of the work and address broad themes and meanings connected to the work. Essays on fiction works include discussion of main character or characters, while nonfiction work includes sections on "form and content" and "analysis." All essays end with discussion of critical context. Also included with the essays are annotated bibliographies on secondary sources. The final volume includes indexes organized by type of work, title, and authors. Examples of works covered, in addition to the two already mentioned, include Ain't I a Woman by bell hooks, The Autobiography of Malcolm X, Babel-17 by Samuel R. Delany, The Black Muslims in America by C. Eric Lincoln; The Content of Our Character by Shelby Steele, Kindred by Octavia E. Butler, Roots by Alex Haley, The Signifying Monkey by Henry Louis Gates, Up from Slavery by Booker T. Washington, and Walkin' the Dog by Walter Mosley. Annotation ©2009 Book News, Inc., Portland, OR (booknews.com).

In Shakespeare’s Tempest, Caliban says to Miranda and Prospero: "...you taught me language, and my profit on’t Is, I know how to curse. " With this statement, he gives voice to an issue that lies at the centre of post-colonial studies. Can Caliban own Prospero’s language? Can he use it to do more than curse? Caliban’s Voice examines the ways in which post-colonial literatures have transformed English to redefine what we understand to be ‘English Literature’. It investigates the importance of language learning in the imperial mission, the function of language in ideas of race and place, the link between language and identity, the move from orature to literature and the significance of translation. By demonstrating the dialogue that occurs between writers and readers in literature, Bill Ashcroft argues that cultural identity is not locked up in language, but that language, even a dominant colonial language, can be transformed to convey the realities of many different cultures. Using the figure of Caliban, Ashcroft weaves a consistent and resonant thread through his discussion of the post-colonial experience of life in the English language, and the power of its transformation into new and creative forms.

Originally published: New York: Cambridge University Press, 1997.

BLOOD RUBIES It would bring bad luck, they said. But she split her pair of ruby earrings and gave one to each of her beautiful twin babies. Within hours she was burned to death in a fire. The twins lived. KATHERINE ​ Raised by a poor, childless couple, Katherine was shy and withdrawn, except in her love for the Sisters of the Immaculate Conception. In her heart, Katherine had found God. In her father’s heart, they found a butcher knife. ANDREA She grew up with all that money could buy. She was pretty and popular and went to the best schools. Her parents loved her dearly, and gladly did anything to please her. But what made Andrea happy, would make them dead. THEY MET IN THEIR NIGHTMARES In the dark of sleep, Katherine and Andrea had terrible dreams of being the other. Until the hand of evil that guided their waking lives brought them face to face with each other . . . and the crossed fate of horror awaiting them both.

Major essays on the work of Derek Walcott, Kamau Brathwaite, Lorna Goodison, Kwame Dawes, and other prominent Caribbean, African, British, and American poets are featured in this collection that has as its subtext a mistrust of postcolonial theory and its whole academic industry/enterprise. Stewart Brown includes autobiographical, literary essays that establish the ground from which the other essays are written, asserting that poetry is more important than its criticism. Thoroughly revised, expanded, and updated, these essays were written mainly for literary rather than academic journals, and are wide-ranging, provocative, and intellectually rigorous.