The contribution of this collection to scholarship is fourfold: it contributes to the expansion of knowledge about the African continent through a critic's response to its many forms of representation by writers outside as well as inside Africa; the range of writings provides intertextual evidence supportive of Dorsinville's own complex representation of Africa in his fiction and memoirs; it is a documented record of a broad paradigm concerned with a postcolonial representation of the dialectic of home and exile, memory and identity, and selfhood and otherness; and it provides a fascinating display of a postcolonial writer-critic's intellectual journey enlivened by his use of voice in the African tradition of oral exchange whereby he positions himself as the one speaking to and for the many. The volumes follow the original chronology of the publication of the individual texts. The contents range widely from books on (or by) many African and Caribbean writers, as well as Doris Lessing, David Halberstam, Idi Amin and Muhammad Ali.

The contribution of this collection to scholarship is fourfold: it contributes to the expansion of knowledge about the African continent through a critic's response to its many forms of representation by writers outside as well as inside Africa; the range of writings provides intertextual evidence supportive of Dorsinville's own complex representation of Africa in his fiction and memoirs; it is a documented record of a broad paradigm concerned with a postcolonial representation of the dialectic of home and exile, memory and identity, and selfhood and otherness; and it provides a fascinating display of a postcolonial writer-critic's intellectual journey enlivened by his use of voice in the African tradition of oral exchange whereby he positions himself as the one speaking to and for the many. The volumes follow the original chronology of the publication of the individual texts. The contents range widely from books on (or by) many African and Caribbean writers, as well as Doris Lessing, David Halberstam, Idi Amin and Muhammad Ali.

This study is a contribution to literary and cultural history. It argues that, as mirrored acts of representation, the visual and verbal yield a common language based on the image defined by Ezra Pound as 'an intellectual and emotional complex in an instant of time.' The study refers to other modernist writers such as Joseph Conrad, T. S. Eliot, and Ernest Hemingway, the photography of Henri Cartier-Bresson, and the theories on perception of Maurice Merleau-Ponty, Jean-Paul Sartre, and John Berger. It applies these perspectives to the works of diverse writers who chose Cuba for a subject, finding a rich field for discussion of issues of representation, language and perception. In the concept of the gaze, it argues for the significance of a link between modernist theory and Cuban life represented in a range of works by Cristina Garcia, Edmundo Desnoes, Pico Iyer, Derek Walcott, and others, where nothing is what it seems.

Jacques Stephen Alexis, Jacques Roumain, René Depestre, Marie Chauvet, Frankétienne, J. J. Dominique, Jean Métellus, Dany Laferrière, Yanick Lahens, Lyonel Trouillot et Edwidge Danticat sont quelques-uns des écrivains haïtiens dont l'écriture est marquée par le contexte politique d'Haïti. Les régimes dictatoriaux ont, en effet, affecté l'espace créatif, imposant un certain nombre de contraintes auxquelles ces écrivains, chacun à leur manière, ont ingénieusement riposté et réagi. Ce recueil d'essais critiques et d'entretiens tente d'illustrer et d'analyser comment les oeuvres romanesques, poétiques et théâtrales s'accommodent du « pays assiégé » et déploient des stratégies linguistiques et formelles permettant de transcender les forces d'oppression. Jacques Stephen Alexis, Jacques Roumain, René Depestre, Marie Chauvet, Frankétienne, J. J. Dominique, Jean Métellus, Dany Laferrière, Yanick Lahens, Lyonel Trouillot and Edwidge Danticat are some of the Haitian writers whose writing is marked by Haiti's political history. Successive dictatorships have indeed shaped Haiti's creative space, imposing constraints that the authors ingeniously counteract and against which they all react. This collection of essays and interviews illustrates and analyzes the various ways in which the fictional, poetic and theatrical texts transcend the forces of oppression through linguistic and formal strategies.

Boasting new extracts from major works in the field, as well as an impressive list of contributors, this second edition of a bestselling Reader is an invaluable introduction to the most seminal texts in post-colonial theory and criticism.

Slave Portraiture in the Atlantic World is the first book to focus on the individualized portrayal of enslaved people from the time of Europe's full engagement with plantation slavery in the late sixteenth century to its final official abolition in Brazil in 1888. While this period saw the emergence of portraiture as a major field of representation in Western art, 'slave' and 'portraiture' as categories appear to be mutually exclusive. On the one hand, the logic of chattel slavery sought to render the slave's body as an instrument for production, as the site of a non-subject. Portraiture, on the contrary, privileged the face as the primary visual matrix for the representation of a distinct individuality. Essays address this apparent paradox of 'slave portraits' from a variety of interdisciplinary perspectives, probing the historical conditions that made the creation of such rare and enigmatic objects possible and exploring their implications for a more complex understanding of power relations under slavery.