The aim of the following paper is an analyses of selected poems of Claire Harris and Olive Senior in regard of the theme that connects the poetic work of these two women writers – identity. At first glance, it might come as quite a surprise to some readers that the literary artist Harris and Senior share a connection in their poetical exploration of themes. However after having a short glance, a commonalty between them will became apparent. Due to the subject the essay is informed by concepts of feminism, post-colonialism and cultural studies in order to depict the different ways in which identity is addressed in their work.

This volume is a critical examination of selected poetry of Edward Kamau Braithwaite, Claire Harris, Olive Senior, and David Dabydeen. The author highlights the power of language as it classifies, divides, informs, and synthesizes the lives of Caribbean peoples throughout the Caribbean basin.

15 essays and two interviews that examine the work of West Indian writers living in Canada. The authors of these essays and interviews dissect issues of history, gender, power, identity and levels of discourse in moving scholars, researchers and students into arenas of study and critique of the West Indian Woman writer residing in Canada.

Contemporary Caribbean Women's Poetry provides detailed readings of individual poems by women poets whose work has not yet received the sustained critical attention it deserves. These readings are contextualized both within Caribbean cultural debates and postcolonial and feminist critical discourses in a lively and engaged way; revisiting nationalist debates as well as topical issues about the performance of gendered and raced identities within poetic discourse. Newly available in paperback, this book is groundbreaking reading for all those interested in postcolonialism, Gender Studies, Caribbean Studies and contemporary poetry.

Using nature as both model and metaphor, Toronto resident Olive Senior delves into birds, flying, and Caribbean life in her third book of poems. Following her much-loved collections, Gardening in the Tropics and Talking of Trees, this long-awaited book of poems is sure to delight readers around the world. Translated into several languages, represented in numerous anthologies, and broadcast in Canada, Britain, and the Caribbean, Senior's work enjoys international acclaim. Her work is taught at universities around the world, and her short story collection, Summer Lightning, has been a literature textbook in Caribbean schools. She has taught creative writing workshops at universities in Canada, the US, the UK, and the Caribbean, and is on the faculty of the Humber School for Writers. With her warm and chatty writing style, Wright invites her readers into the depths of her daily life, giving a captiviating insider's glance into her personal and professional life. Her observations about the nature of the music industry fascinate, as we learn that Wright is painfully aware of this industry's competitive nature. Wright fully understands that in the music business pretty good is not good enough.

Making History Happen: Caribbean Poetry in America examines Lorna Goodison’s Turn Thanks (1999), McCallum’s The Water Between Us (1999), and Claudia Rankine’s Plot (2001) and Don’t Let Me Be Lonely (2004). Engaging familiar themes and issues of time, language, and identity, the readings focus on “Signifying” moments in the works of the poets under discussion. Reflecting on some of the ways that transnational women poets of the black diaspora are using tropes of mobility to create a renewed sense of identity and a sense of belonging to a communal network, the readings also demonstrate that the project of re-writing individual self-identity in light of one’s expanding consciousness or awareness of the “other” is more urgent, and more demandingly realistic, in contemporary poetry written by women poets who occupy transnational spaces. In these works, re-memory becomes a process that transforms, the gathering of memory reflecting the interrelatedness of communal and individual subjective identities. Rankine’s poetry collections are used to close the discourse in this book, for the call they make. An intriguing crossing of genres, their structural use of time and space reflects the stylistic inventiveness that has become a hallmark of transnational poets of the black diaspora. In its transformation of language, and of images that remain open-ended in their meanings, Don’t Let Me Be Lonely fuses poetry, dialogue, and prose with images from television and other forms of communication media to create a poetic collection that is relentless in its confrontation with the way we make cultural meanings. The collection of essays in this book calls attention to an emerging poetic body of Caribbean writing in America that requires naming, for it is new.