Paterson Award for Literary Excellence. Milt Kessler Poetry Book Award, finalist. "Dawes's verse has an expressive power and lyric resonance that can be attributed to a trans-Atlantic consciousness weaned on the spiritual sources of reggae."--New York Times Book Review "Raised in Jamaica, Dawes takes some of his cues, and this book's title, from reggae music. But his voice in these long and short poems and sequences selected from each of his many books, which began appearing in the mid-1990s, is crystal clear, accessible and serious, mixing a timeless myth-making energy with a strong contemporary conscience..." --National Public Radio "This first U.S. selection from the Jamaica-bred, Nebraska-based poet (he also has a reputation in Britain) is his 16th book of verse in just 20 years; it reveals a writer syncretic, effusive, affectionate, alert to familial joys, but also sensitive to history, above all to the struggles of African diasporic history--the Middle Passage, sharecropper-era South Carolina, the Kingston of Bob Marley, whose song gives this big book its title. Dawes is at home with cityscape and seascape, patois and transatlantic tradition." --Publishers Weekly " Dawes] is highly original and intelligent, possessing poetic sensibility that is rooted and sound, unshakeable and unstopped, both in its vibrancy and direction. He writes poetry as it ought to be written."--World Literature Today "Dawes asserts himself as man and artist and finally, with grace achieved and grace said, sits down to begin life's tragic feast . . . a writer of major significance."--Brag Book "The notion of a reggae aesthetic--of the language moving to a different rhythm, under different kinds of pressure . . . underpins all Dawes' work as poet."--Stewart Brown Born in Ghana, raised in Jamaica, and educated in Canada, Kwame Dawes is a dynamic and electrifying poet. In this generous collection, new poems appear with the best work from fifteen previous volumes. Deeply nuanced in exploring the human condition, Dawes' poems are filled with complex emotion and consistently remind us what it means to be a global citizen. From "The Lessons": Fingers can be trained to make shapes that, pressed just right on the gleaming keys, will make a sound that can stay tears or cause them to flow for days. Anyone can learn to make some music, but not all have the heart to beat out the tunes that will turn us inside out. . . Kwame Dawes is the author of fifteen collections of poetry, two novels, four anthologies, and numerous essays and plays. In 2009 he won an Emmy Award for his interactive website, LiveHopeLove.com. Since 2011 he has taught at the University of Nebraska, and lives in Lincoln, Nebraska.

The method and plan of this dictionary of Jamaican English are basically the same as those of the Oxford English Dictionary, but oral sources have been extensively tapped in addition to detailed coverage of literature published in or about Jamaica since 1655. It contains information about the Caribbean and its dialects, and about Creole languages and general linguistic processes. Entries give the pronounciation, part-of-speach and usage of labels, spelling variants, etymologies and dated citations, as well as definitions. Systematic indexing indicates the extent to which the lexis is shared with other Caribbean countries.

"The definitive edition, revised and expanded with new material ..."--Cover.

Marshall Sarjeant is born at the beginning of the 20th century in Paradise, Jamaica. As a young man, he is entrusted with a mythical quest to overcome a curse that has been put on his family. He must do this by returning to Africa from where family members were brought as slaves. Marshall's epic journey takes him first to wartime Liverpool and then London, where he marries and mixes with a clubland crowd of gamblers, musicians, and politicians. In Africa, he finds a continent in the turbulent throes of attempting to escape a colonial past.Returning to Paradise, Marshall's life turns full circle in his epic mission to defeat the duppy, or ghost that started him on his voyage. In Duppy Conqueror, Ferdinand Dennis has created a powerful narrative of the Afro-Caribbean experience in which the personal and the political seamlessly collide. Its themes are as relevant today as when it was first published in 1998.

Jamaican music can be roughly divided into four eras, each with a distinctive beat - ska, rocksteady, reggae and dancehall. Ska dates from about 1960 to mid-1966, rocksteady from 1966 to 1968, while from 1969 to 1983 reggae was the popular beat. The reggae era had two phases, 'early reggae' up to 1974 and 'roots reggae' up to 1983. Since 1983 dancehall has been the prevalent sound. The authors describe each stage in the development of the music, identifying the most popular songs and artists, highlighting the significant social, political and economic issues as they affected the musical scene. While they write from a Jamaican perspective, the intended audience is 'any person, local or foreign, interested in an intelligent discussion of reggae music and Jamaica.'.

Winner of the ARSC’s Award for Best Research (History) in Folk, Ethnic, or World Music (2008) When Jamaican recording engineers Osbourne “King Tubby” Ruddock, Errol Thompson, and Lee “Scratch” Perry began crafting “dub” music in the early 1970s, they were initiating a musical revolution that continues to have worldwide influence. Dub is a sub-genre of Jamaican reggae that flourished during reggae’s “golden age” of the late 1960s through the early 1980s. Dub involves remixing existing recordings—electronically improvising sound effects and altering vocal tracks—to create its unique sound. Just as hip-hop turned phonograph turntables into musical instruments, dub turned the mixing and sound processing technologies of the recording studio into instruments of composition and real-time improvisation. In addition to chronicling dub’s development and offering the first thorough analysis of the music itself, author Michael Veal examines dub’s social significance in Jamaican culture. He further explores the “dub revolution” that has crossed musical and cultural boundaries for over thirty years, influencing a wide variety of musical genres around the globe. Ebook Edition Note: Seven of the 25 illustrations have been redacted.

“A rich and compelling collection that will make a significant contribution to the study of Jamaican/West Indian/black folklore and culture” –Daryl Cumber Dance, Virginia Commonwealth University “A fantastic collection from the rich storehouse of Jamaican traditional oral literature” –Rex Nettleford, University of the West Indies, Kingston, Jamaica “A Wealth of Information…. The author carries the presentation of the proverbs/sayings to the level of socio-anthropological significance” –E. Valerie Smith, Florida A&M University In 1992, Jamaicans throughout the world celebrate the thirtieth anniversary of Jamaica’s formal independence from Britain this collection of Creole sayings contributes to the lively interest in cultural preservation which exists this year in anticipation of the event. The sayings, an archive of the wit and wisdom of many generations, aim to trigger reflection and thought. They are never fully explained, and, says the author, “in the most extreme situation one might well need an entire week to ponder and think seriously” about their meaning. They exert pressure to conform to community standards, and they influence conduct in much the same way as religion does. Strong in imagery and often poetic, the maxims draw upon a variety of well-known flora, fauna, and real or imaginary creatures the anansi, for example, famous for “playin’ de fool fe ketch wise” (playing foolish in order to catch the wise), is regarded as a favorite hero in folklore. Creole, initially constructed as a coded language, employs a number of West African linguistic traditions. These Creole sayings, a valuable addition to the literature and ethnography of the Caribbean region, link Jamaican culture to its African past. They offer delightful reading to Latin American scholars, to students of comparative sociology and anthropology, and to the general public. G. Llewellyn Watson is professor of sociology at the University of Prince Edward Island, Charlottetowwn, Canada.