Podcasts about Caribbean literature

This discussion is with Dr. Imani D. Owens, an associate professor of English at Rutgers University-New Brunswick.  She studies and teaches African American and Caribbean literature, music, and performance. Her research has been supported by a Postdoctoral Fellowship in African American Studies at Princeton University, a Woodrow Wilson Career Enhancement Fellowship, and an NEH funded residency at the Schomburg Center for Research in Black Culture. Her work has appeared in the Cambridge Journal of Postcolonial Inquiry, Caribbean Literature in Transition, the Journal of Haitian Studies, MELUS, and small axe salon. She is currently a faculty fellow at the Rutgers Center for Cultural Analysis. In this conversation we discuss her book Turn the World Upside Down: Empire and Unruly Forms of Folk Culture in the U.S. and Caribbean (Columbia University Press: Black Lives in the Diaspora series) where she charts the connection between literary form and anti-imperialist politics in Caribbean and African American texts during the interwar period. 

This week on Black & Published, Nikesha speaks with Donna Hemans, author of the novel, The House of Plain Truth. Born in Jamaica and currently residing in the DMV area, Donna is the author of the novels River Woman and Tea by the Sea. Works that all center the Caribbean experience. In our conversation, Donna discusses the book that made her want to be a writer. Plus, the lesson she learned about writing the story you want to tell no matter the pressures of the publishing industry. And why she's still wrestling with how to define and hold on to home. Support the Show.Follow the Show: IG: @blkandpublished Twitter: @BLKandPublished Follow Me:IG: @nikesha_elise Twitter: @Nikesha_Elise Website: www.newwrites.com

About:Safiya Sinclair was born and raised in Montego Bay, Jamaica. She is the author of the memoir How to Say Babylon, winner of the National Book Critics Circle Award in Autobiography, a finalist the Kirkus Prize, and longlisted for the Women's Prize in Non-Fiction and the OCM Bocas Prize for Caribbean Literature. How to Say Babylon was named one of the 100 Notable Books of the year by the New York Times, a Top 10 Book of 2023 by the Washington Post, one of The Atlantic's 10 Best Books of 2023, a TIME Magazine Top 10 Nonfiction Book of 2023, a Read with Jenna/TODAY Show Book Club pick, and one of Barack Obama's Favorite Books of 2023. How to Say Babylon was also named a Best Book of the Year by The New Yorker, NPR, The Guardian, the Los Angeles Times, Vulture, Harper's Bazaar, and Barnes & Noble, among others, and was an ALA Notable Book of the Year. The audiobook of How to Say Babylon was named a Best Audiobook of the Year by Audible and AudioFile magazine.Sinclair's  other honors include a Pushcart Prize, fellowships from the Poetry Foundation, Civitella Ranieri Foundation, the Elizabeth George Foundation, MacDowell, Yaddo, the Bread Loaf Writers' Conference, and the Fine Arts Work Center in Provincetown. Her work has appeared in The New Yorker, Time Magazine, Harper's Bazaar, Granta, The Nation, and elsewhere. She is currently an Associate Professor of Creative Writing at Arizona State University.

How a giant of Caribbean literature would up among hay bales and cowboys

conversation with Professor Chanda Prescod-Weinstein, Black feminist theorist and theoretical physicist and Selma James, long-time feminist activist and Wages for Housework co-founder to discuss, "Our Time is Now," an anthology by Selma James and the legacies of intergenerational feminism.Selma James is a women's rights and anti-racist campaigner and author. From 1958 to 1962 she worked with C.L.R. James in the movement for West Indian federation and independence. In 1972 she co-founded the International Wages for Housework Campaign, and in 2000 helped launch the Global Women's Strike whose strategy for change is Invest in Caring, Not Killing. She coined the word unwaged, which has since entered the English language. In the 1970s she was the first spokeswoman of the English Collective of Prostitutes. She is a founding member of the International Jewish Anti-Zionist Network. She co-authored the classic The Power of Women and the Subversion of the Community, which launched the domestic labor debate.Dr. Chanda Prescod-Weinstein is an assistant professor of physics and astronomy and core faculty in women's and gender studies at the University of New Hampshire. Her research in theoretical physics focuses on cosmology, neutron stars, and dark matter. She additionally does research in Black feminist science, technology, and society studies. Dr. Prescod-Weinstein is also a columnist for New Scientist and Physics World. Nature recognized her as one of 10 peoplewho shaped science in 2020, and Essence magazine has recognized her as one of 15 Black Women Who Are Paving the Way in STEM and Breaking Barriers. A cofounder of Particles for Justice, she received the 2017 LGBT+ Physicists Acknowledgement of Excellence Award for her contributions to improving conditions for marginalized people in physics and the 2021 American Physical Society Edward A. Bouchet Award for her contributions to particle cosmology, including co-founding Particles for Justice. Her first book The Disordered Cosmos: A Journey into Dark Matter, Spacetime, and Dreams Deferred received the 2021 Los Angeles Times Book Prize in the science and technology category and was named a Best Book of 2021 by Publishers Weekly, Smithsonian Magazine, and Kirkus. It has been a finalist for several awards including the 2022 PEN/E.O. Wilson Literary Science Writing Award. The Disordered Cosmos was also long-listed for the OCM Bocas Prize in Caribbean Literature. Originally from East L.A., she divides her time between the New Hampshire Seacoast and Cambridge, Massachusetts.

conversation with Professor Chanda Prescod-Weinstein, Black feminist theorist and theoretical physicist and Selma James, long-time feminist activist and Wages for Housework co-founder to discuss, "Our Time is Now," an anthology by Selma James and the legacies of intergenerational feminism.Selma James is a women's rights and anti-racist campaigner and author. From 1958 to 1962 she worked with C.L.R. James in the movement for West Indian federation and independence. In 1972 she co-founded the International Wages for Housework Campaign, and in 2000 helped launch the Global Women's Strike whose strategy for change is Invest in Caring, Not Killing. She coined the word unwaged, which has since entered the English language. In the 1970s she was the first spokeswoman of the English Collective of Prostitutes. She is a founding member of the International Jewish Anti-Zionist Network. She co-authored the classic The Power of Women and the Subversion of the Community, which launched the domestic labor debate.Dr. Chanda Prescod-Weinstein is an assistant professor of physics and astronomy and core faculty in women's and gender studies at the University of New Hampshire. Her research in theoretical physics focuses on cosmology, neutron stars, and dark matter. She additionally does research in Black feminist science, technology, and society studies. Dr. Prescod-Weinstein is also a columnist for New Scientist and Physics World. Nature recognized her as one of 10 peoplewho shaped science in 2020, and Essence magazine has recognized her as one of 15 Black Women Who Are Paving the Way in STEM and Breaking Barriers. A cofounder of Particles for Justice, she received the 2017 LGBT+ Physicists Acknowledgement of Excellence Award for her contributions to improving conditions for marginalized people in physics and the 2021 American Physical Society Edward A. Bouchet Award for her contributions to particle cosmology, including co-founding Particles for Justice. Her first book The Disordered Cosmos: A Journey into Dark Matter, Spacetime, and Dreams Deferred received the 2021 Los Angeles Times Book Prize in the science and technology category and was named a Best Book of 2021 by Publishers Weekly, Smithsonian Magazine, and Kirkus. It has been a finalist for several awards including the 2022 PEN/E.O. Wilson Literary Science Writing Award. The Disordered Cosmos was also long-listed for the OCM Bocas Prize in Caribbean Literature. Originally from East L.A., she divides her time between the New Hampshire Seacoast and Cambridge, Massachusetts.

W dziewiątym odcinku rozmawiamy o haitańskiej powieści "Niedziela, 4 stycznia" (fr. "Bicentenaire") napisanej przez Lyonela Trouillot, przetłumaczonej przez Jacka Giszczaka i wydanej przez Karakter. Usłyszycie: • Czy dżingiel Zamorskiego zostaje na dłużej? • Jakie książki otrzymają nagrodę na Festiwalu Bocas w tym roku? • Kim jest Nadia Huggins? • O co chodzi z nowym logo Zamorskiego? • Co to jest barbadoski tuk? Nie mylić z tuk tukiem, czyli autorikszą :) • Co łączy śpiew klasyczny i Karaiby? • Co robił muzyk jazzowy Shabaka Hutchings w Królewskiej Operze w Londynie? • Jak Trouillot przeciwstawia się stereotypizacji Haiti w „Niedzieli, 4 stycznia”? • Co wydarzyło się tytułowej niedzieli? • Kim są Lucien i Little Joe? • • O czym opowiada film dokumentalny "Ghosts of Cité Soleil" (2006)? Jak zawsze będziemy wdzięczni za subskrybowanie i ocenianie Zamorskiego! Wspomniane w podkaście: Artystka wizualna Nadia Huggins (Saint Vincent / Trynidad): https://nadiahuggins.com/ Spektakl "Insurrection: A Work in Progress" (2023): https://www.roh.org.uk/tickets-and-events/insurrection-by-peter-brathwaite-details Audycja BBC "Rebel Sounds: Musical Resistance in Barbados" (2023): https://www.bbc.co.uk/programmes/m001hg3t Dr Stefan Walcott: https://www.instagram.com/stefanwalcott/?hl=en Baryton Peter Brathwaite: https://www.peterbrathwaitebaritone.com/ Przykład barbadoskiej muzyki tuk: https://www.youtube.com/watch?v=duqUxN6oy78 2023 OCM Bocas Prize for Caribbean Literature: https://www.bocaslitfest.com/awards/ocm/ „Niedziela, 4 stycznia” - wizytówka na stronie Wydawnictwa Karakter: https://www.karakter.pl/ksiazki/niedziela-4-stycznia „Chciałem pokazać moment (....)” – Lyonel Trouillot w rozmowie z Piotrem Kieżunem (2016): https://kulturaliberalna.pl/2016/12/06/piotr-kiezun-wywiad-lyonel-trouillot-haiti/ „Kraj słońca w cieniu” – recenzja Marcina Wesołego / Caribeya (2016): http://caribeya.pl/kraj-slonca-w-cieniu/ "Literatura na Świecie" nr 7–8 (2020), "Haiti": https://instytutksiazki.pl/aktualnosci,2,nowy-numer-literatury-na-swiecie-juz-w-ksiegarniach,5541.html Film dokumentalny "I Am Not Your Negro" (2016), reż. Raoul Peck https://www.againstgravity.pl/films/nie-jestem-twoim-murzynem --- Poza „Niedzielą, 4 stycznia”, Karakter opublikował także „Dzieci bohaterów”. Obydwie powieści Lyonela Trouillot w przekładzie Jacka Giszczaka. ---  Rozmawiają Olga Godlewska i Bartosz Wójcik.  Podkast powstał przy Zamorskim Klubie Czytelniczym. Zapraszamy do naszej grupy dyskusyjnej: ⁠⁠https://www.facebook.com/groups/zamorskiklubczytelniczy Znajdziesz nas na Instagramie: ⁠⁠⁠ ⁠https://www.instagram.com/olga_godlewska/⁠⁠ ⁠⁠⁠ ⁠https://www.instagram.com/bartosz__wojcik/

Sarah Quesada dedicó casi una década a la investigación y redacción de The African Heritage of Latinx and Caribbean Literature (Cambridge UP, 2022), ahora responde con humor y sencillez preguntas sobre cómo encaja este libro en el campo de los estudios trasatlánticos, o más bien cómo intenta cambiarlos. Para ella no puede haber verdaderos estudios de Latinoamérica o la latinidad sin reconocer, estudiar y difundir la importancia de la diáspora africana en la conformación de las identidades culturales contemporáneas de las Américas. Nuestra conversación se mueve desde “La muerte bocarriba” de Julio Cortázar hasta los problemas de casting racista que enfrentó la actriz cubanoamericana Gina Torres (https://www.suggest.com/gina-torres-reveals-why-she-felt-trapped-latina-woman-early-career/2671471/), pasando por el uso subversivo de plataformas neoliberales de comercialización de la memoria histórica. La entrevista es así de amplia porque a Sarah Quesada le molestan el facilismo investigativo y el racismo estructural. Una de las partes que más atrevidas del texto es su discusión de la etiqueta “latinidad” y su rechazo eurocéntrico a reconocer el aporte cultural de las poblaciones africanas y afrodescendientes en América Latina. En cambio, Quesada afirma que los estudios de la ficción latinx tienen mucho que ganar de los análisis comparativos con los archivos de la colonización africana y la ficción producida en el continente. Porque revela cómo la conexión afrolatina se mueve en ambas direcciones. Todo su libro es un ejercicio consciente de disrupción epistemológica: busca romper con la expectativa de una presentación histórica lineal y teleológica de la mayor parte quienes la leemos o escuchamos. Con la puesta en función de conceptos como la “retrodicción” de Paul Ricoeur (27) y una mirada crítica a lo que clasifica, o no, como documento histórico, su premisa es “que las conexiones afrolatinoamericanas en cuerpos literarios pueden funcionar como memoriales textuales de una herencia africana por largo tiempo descuidada.” (21) El resultado es un libro ameno, que se siente como una mirada en reverso a la historia y obliga a repensar las conexiones entre América Latina, la comunidad latina en Estados Unidos y África en los últimos dos siglos. Sarah Quesada (https://sarahquesada.com/, twitter: @SarahmQuesada) es profesora asistente en el departamento de Estudios Romances de Duke University. Antes de unirse a Duke, fue profesora asistente de inglés y estudios latinx en la Universidad de Notre Dame, investigadora postdoctoral en Estudios Latina/Latino en la Universidad de Illinois Urbana-Champaign y recibió una beca de la Fundación Andrew Mellon de apoyo a disertaciones doctorales. Sus intereses de investigación principales son las literaturas del Sur Global, específicamente latinx, latinoamericana y africana. Trabaja en la intersección de estudios atlánticos, estudios de la diáspora africana y literatura del mundo. Su foco comparativo también incluye en trabajo de archivo y de campo. Ha pasado tiempo en Francia y sus departamentos de ultramar, específicamente Guinea francesa, así como en Brasil, Benín, Senegal, Cuba y República Dominicana. Su investigación involucra entrevistas a “sujetos humanos” principalmente a lo largo de la Ruta del Esclavo de la UNESCO en África, y consulta de archivos coloniales a lo largo del mundo atlántico. Entrevista a cargo de Yasmín Portales-Machado escritora de ciencia ficción, activista LGBTQ, curiosa sobre las relaciones entre consumo cultural y política en Cuba. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sarah Quesada dedicó casi una década a la investigación y redacción de The African Heritage of Latinx and Caribbean Literature (Cambridge UP, 2022), ahora responde con humor y sencillez preguntas sobre cómo encaja este libro en el campo de los estudios trasatlánticos, o más bien cómo intenta cambiarlos. Para ella no puede haber verdaderos estudios de Latinoamérica o la latinidad sin reconocer, estudiar y difundir la importancia de la diáspora africana en la conformación de las identidades culturales contemporáneas de las Américas. Nuestra conversación se mueve desde “La muerte bocarriba” de Julio Cortázar hasta los problemas de casting racista que enfrentó la actriz cubanoamericana Gina Torres (https://www.suggest.com/gina-torres-reveals-why-she-felt-trapped-latina-woman-early-career/2671471/), pasando por el uso subversivo de plataformas neoliberales de comercialización de la memoria histórica. La entrevista es así de amplia porque a Sarah Quesada le molestan el facilismo investigativo y el racismo estructural. Una de las partes que más atrevidas del texto es su discusión de la etiqueta “latinidad” y su rechazo eurocéntrico a reconocer el aporte cultural de las poblaciones africanas y afrodescendientes en América Latina. En cambio, Quesada afirma que los estudios de la ficción latinx tienen mucho que ganar de los análisis comparativos con los archivos de la colonización africana y la ficción producida en el continente. Porque revela cómo la conexión afrolatina se mueve en ambas direcciones. Todo su libro es un ejercicio consciente de disrupción epistemológica: busca romper con la expectativa de una presentación histórica lineal y teleológica de la mayor parte quienes la leemos o escuchamos. Con la puesta en función de conceptos como la “retrodicción” de Paul Ricoeur (27) y una mirada crítica a lo que clasifica, o no, como documento histórico, su premisa es “que las conexiones afrolatinoamericanas en cuerpos literarios pueden funcionar como memoriales textuales de una herencia africana por largo tiempo descuidada.” (21) El resultado es un libro ameno, que se siente como una mirada en reverso a la historia y obliga a repensar las conexiones entre América Latina, la comunidad latina en Estados Unidos y África en los últimos dos siglos. Sarah Quesada (https://sarahquesada.com/, twitter: @SarahmQuesada) es profesora asistente en el departamento de Estudios Romances de Duke University. Antes de unirse a Duke, fue profesora asistente de inglés y estudios latinx en la Universidad de Notre Dame, investigadora postdoctoral en Estudios Latina/Latino en la Universidad de Illinois Urbana-Champaign y recibió una beca de la Fundación Andrew Mellon de apoyo a disertaciones doctorales. Sus intereses de investigación principales son las literaturas del Sur Global, específicamente latinx, latinoamericana y africana. Trabaja en la intersección de estudios atlánticos, estudios de la diáspora africana y literatura del mundo. Su foco comparativo también incluye en trabajo de archivo y de campo. Ha pasado tiempo en Francia y sus departamentos de ultramar, específicamente Guinea francesa, así como en Brasil, Benín, Senegal, Cuba y República Dominicana. Su investigación involucra entrevistas a “sujetos humanos” principalmente a lo largo de la Ruta del Esclavo de la UNESCO en África, y consulta de archivos coloniales a lo largo del mundo atlántico. Entrevista a cargo de Yasmín Portales-Machado escritora de ciencia ficción, activista LGBTQ, curiosa sobre las relaciones entre consumo cultural y política en Cuba. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sarah Quesada dedicó casi una década a la investigación y redacción de The African Heritage of Latinx and Caribbean Literature (Cambridge UP, 2022), ahora responde con humor y sencillez preguntas sobre cómo encaja este libro en el campo de los estudios trasatlánticos, o más bien cómo intenta cambiarlos. Para ella no puede haber verdaderos estudios de Latinoamérica o la latinidad sin reconocer, estudiar y difundir la importancia de la diáspora africana en la conformación de las identidades culturales contemporáneas de las Américas. Nuestra conversación se mueve desde “La muerte bocarriba” de Julio Cortázar hasta los problemas de casting racista que enfrentó la actriz cubanoamericana Gina Torres (https://www.suggest.com/gina-torres-reveals-why-she-felt-trapped-latina-woman-early-career/2671471/), pasando por el uso subversivo de plataformas neoliberales de comercialización de la memoria histórica. La entrevista es así de amplia porque a Sarah Quesada le molestan el facilismo investigativo y el racismo estructural. Una de las partes que más atrevidas del texto es su discusión de la etiqueta “latinidad” y su rechazo eurocéntrico a reconocer el aporte cultural de las poblaciones africanas y afrodescendientes en América Latina. En cambio, Quesada afirma que los estudios de la ficción latinx tienen mucho que ganar de los análisis comparativos con los archivos de la colonización africana y la ficción producida en el continente. Porque revela cómo la conexión afrolatina se mueve en ambas direcciones. Todo su libro es un ejercicio consciente de disrupción epistemológica: busca romper con la expectativa de una presentación histórica lineal y teleológica de la mayor parte quienes la leemos o escuchamos. Con la puesta en función de conceptos como la “retrodicción” de Paul Ricoeur (27) y una mirada crítica a lo que clasifica, o no, como documento histórico, su premisa es “que las conexiones afrolatinoamericanas en cuerpos literarios pueden funcionar como memoriales textuales de una herencia africana por largo tiempo descuidada.” (21) El resultado es un libro ameno, que se siente como una mirada en reverso a la historia y obliga a repensar las conexiones entre América Latina, la comunidad latina en Estados Unidos y África en los últimos dos siglos. Sarah Quesada (https://sarahquesada.com/, twitter: @SarahmQuesada) es profesora asistente en el departamento de Estudios Romances de Duke University. Antes de unirse a Duke, fue profesora asistente de inglés y estudios latinx en la Universidad de Notre Dame, investigadora postdoctoral en Estudios Latina/Latino en la Universidad de Illinois Urbana-Champaign y recibió una beca de la Fundación Andrew Mellon de apoyo a disertaciones doctorales. Sus intereses de investigación principales son las literaturas del Sur Global, específicamente latinx, latinoamericana y africana. Trabaja en la intersección de estudios atlánticos, estudios de la diáspora africana y literatura del mundo. Su foco comparativo también incluye en trabajo de archivo y de campo. Ha pasado tiempo en Francia y sus departamentos de ultramar, específicamente Guinea francesa, así como en Brasil, Benín, Senegal, Cuba y República Dominicana. Su investigación involucra entrevistas a “sujetos humanos” principalmente a lo largo de la Ruta del Esclavo de la UNESCO en África, y consulta de archivos coloniales a lo largo del mundo atlántico. Entrevista a cargo de Yasmín Portales-Machado escritora de ciencia ficción, activista LGBTQ, curiosa sobre las relaciones entre consumo cultural y política en Cuba. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sarah Quesada dedicó casi una década a la investigación y redacción de The African Heritage of Latinx and Caribbean Literature (Cambridge UP, 2022), ahora responde con humor y sencillez preguntas sobre cómo encaja este libro en el campo de los estudios trasatlánticos, o más bien cómo intenta cambiarlos. Para ella no puede haber verdaderos estudios de Latinoamérica o la latinidad sin reconocer, estudiar y difundir la importancia de la diáspora africana en la conformación de las identidades culturales contemporáneas de las Américas. Nuestra conversación se mueve desde “La muerte bocarriba” de Julio Cortázar hasta los problemas de casting racista que enfrentó la actriz cubanoamericana Gina Torres (https://www.suggest.com/gina-torres-reveals-why-she-felt-trapped-latina-woman-early-career/2671471/), pasando por el uso subversivo de plataformas neoliberales de comercialización de la memoria histórica. La entrevista es así de amplia porque a Sarah Quesada le molestan el facilismo investigativo y el racismo estructural. Una de las partes que más atrevidas del texto es su discusión de la etiqueta “latinidad” y su rechazo eurocéntrico a reconocer el aporte cultural de las poblaciones africanas y afrodescendientes en América Latina. En cambio, Quesada afirma que los estudios de la ficción latinx tienen mucho que ganar de los análisis comparativos con los archivos de la colonización africana y la ficción producida en el continente. Porque revela cómo la conexión afrolatina se mueve en ambas direcciones. Todo su libro es un ejercicio consciente de disrupción epistemológica: busca romper con la expectativa de una presentación histórica lineal y teleológica de la mayor parte quienes la leemos o escuchamos. Con la puesta en función de conceptos como la “retrodicción” de Paul Ricoeur (27) y una mirada crítica a lo que clasifica, o no, como documento histórico, su premisa es “que las conexiones afrolatinoamericanas en cuerpos literarios pueden funcionar como memoriales textuales de una herencia africana por largo tiempo descuidada.” (21) El resultado es un libro ameno, que se siente como una mirada en reverso a la historia y obliga a repensar las conexiones entre América Latina, la comunidad latina en Estados Unidos y África en los últimos dos siglos. Sarah Quesada (https://sarahquesada.com/, twitter: @SarahmQuesada) es profesora asistente en el departamento de Estudios Romances de Duke University. Antes de unirse a Duke, fue profesora asistente de inglés y estudios latinx en la Universidad de Notre Dame, investigadora postdoctoral en Estudios Latina/Latino en la Universidad de Illinois Urbana-Champaign y recibió una beca de la Fundación Andrew Mellon de apoyo a disertaciones doctorales. Sus intereses de investigación principales son las literaturas del Sur Global, específicamente latinx, latinoamericana y africana. Trabaja en la intersección de estudios atlánticos, estudios de la diáspora africana y literatura del mundo. Su foco comparativo también incluye en trabajo de archivo y de campo. Ha pasado tiempo en Francia y sus departamentos de ultramar, específicamente Guinea francesa, así como en Brasil, Benín, Senegal, Cuba y República Dominicana. Su investigación involucra entrevistas a “sujetos humanos” principalmente a lo largo de la Ruta del Esclavo de la UNESCO en África, y consulta de archivos coloniales a lo largo del mundo atlántico. Entrevista a cargo de Yasmín Portales-Machado escritora de ciencia ficción, activista LGBTQ, curiosa sobre las relaciones entre consumo cultural y política en Cuba. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sarah Quesada dedicó casi una década a la investigación y redacción de The African Heritage of Latinx and Caribbean Literature (Cambridge UP, 2022), ahora responde con humor y sencillez preguntas sobre cómo encaja este libro en el campo de los estudios trasatlánticos, o más bien cómo intenta cambiarlos. Para ella no puede haber verdaderos estudios de Latinoamérica o la latinidad sin reconocer, estudiar y difundir la importancia de la diáspora africana en la conformación de las identidades culturales contemporáneas de las Américas. Nuestra conversación se mueve desde “La muerte bocarriba” de Julio Cortázar hasta los problemas de casting racista que enfrentó la actriz cubanoamericana Gina Torres (https://www.suggest.com/gina-torres-reveals-why-she-felt-trapped-latina-woman-early-career/2671471/), pasando por el uso subversivo de plataformas neoliberales de comercialización de la memoria histórica. La entrevista es así de amplia porque a Sarah Quesada le molestan el facilismo investigativo y el racismo estructural. Una de las partes que más atrevidas del texto es su discusión de la etiqueta “latinidad” y su rechazo eurocéntrico a reconocer el aporte cultural de las poblaciones africanas y afrodescendientes en América Latina. En cambio, Quesada afirma que los estudios de la ficción latinx tienen mucho que ganar de los análisis comparativos con los archivos de la colonización africana y la ficción producida en el continente. Porque revela cómo la conexión afrolatina se mueve en ambas direcciones. Todo su libro es un ejercicio consciente de disrupción epistemológica: busca romper con la expectativa de una presentación histórica lineal y teleológica de la mayor parte quienes la leemos o escuchamos. Con la puesta en función de conceptos como la “retrodicción” de Paul Ricoeur (27) y una mirada crítica a lo que clasifica, o no, como documento histórico, su premisa es “que las conexiones afrolatinoamericanas en cuerpos literarios pueden funcionar como memoriales textuales de una herencia africana por largo tiempo descuidada.” (21) El resultado es un libro ameno, que se siente como una mirada en reverso a la historia y obliga a repensar las conexiones entre América Latina, la comunidad latina en Estados Unidos y África en los últimos dos siglos. Sarah Quesada (https://sarahquesada.com/, twitter: @SarahmQuesada) es profesora asistente en el departamento de Estudios Romances de Duke University. Antes de unirse a Duke, fue profesora asistente de inglés y estudios latinx en la Universidad de Notre Dame, investigadora postdoctoral en Estudios Latina/Latino en la Universidad de Illinois Urbana-Champaign y recibió una beca de la Fundación Andrew Mellon de apoyo a disertaciones doctorales. Sus intereses de investigación principales son las literaturas del Sur Global, específicamente latinx, latinoamericana y africana. Trabaja en la intersección de estudios atlánticos, estudios de la diáspora africana y literatura del mundo. Su foco comparativo también incluye en trabajo de archivo y de campo. Ha pasado tiempo en Francia y sus departamentos de ultramar, específicamente Guinea francesa, así como en Brasil, Benín, Senegal, Cuba y República Dominicana. Su investigación involucra entrevistas a “sujetos humanos” principalmente a lo largo de la Ruta del Esclavo de la UNESCO en África, y consulta de archivos coloniales a lo largo del mundo atlántico. Entrevista a cargo de Yasmín Portales-Machado escritora de ciencia ficción, activista LGBTQ, curiosa sobre las relaciones entre consumo cultural y política en Cuba. Learn more about your ad choices. Visit megaphone.fm/adchoices

The African Heritage of Latinx and Caribbean Literature (Cambridge University Press, 2022) unearths a buried African archive within widely-read Latinx writers of the last fifty years. It challenges dominant narratives in World Literature and transatlantic studies that ignore Africa's impact in broader Latin American culture. Sarah Quesada argues that these canonical works evoke textual memorials of African memory. She shows how the African Atlantic haunts modern Latinx and Caribbean writing, and examines the disavowal or distortion of the African subject in the constructions of national, racial, sexual, and spiritual Latinx identity. Quesada shows how themes such as the 19th century 'scramble for Africa,' the decolonizing wars, Black internationalism, and the neoliberal turn are embedded in key narratives. Drawing from multilingual archives about West and Central Africa, she examines how the legacies of colonial French, Iberian, British and U.S. Imperialisms have impacted on the relationships between African and Latinx identities. This is the first book-length project to address the African colonial and imperial inheritance of Latinx literature. -From the Cambridge University Press website. Anna E. Lindner is a doctoral candidate in the Communication Department at Wayne State University in Detroit, Michigan. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

The African Heritage of Latinx and Caribbean Literature (Cambridge University Press, 2022) unearths a buried African archive within widely-read Latinx writers of the last fifty years. It challenges dominant narratives in World Literature and transatlantic studies that ignore Africa's impact in broader Latin American culture. Sarah Quesada argues that these canonical works evoke textual memorials of African memory. She shows how the African Atlantic haunts modern Latinx and Caribbean writing, and examines the disavowal or distortion of the African subject in the constructions of national, racial, sexual, and spiritual Latinx identity. Quesada shows how themes such as the 19th century 'scramble for Africa,' the decolonizing wars, Black internationalism, and the neoliberal turn are embedded in key narratives. Drawing from multilingual archives about West and Central Africa, she examines how the legacies of colonial French, Iberian, British and U.S. Imperialisms have impacted on the relationships between African and Latinx identities. This is the first book-length project to address the African colonial and imperial inheritance of Latinx literature. -From the Cambridge University Press website. Anna E. Lindner is a doctoral candidate in the Communication Department at Wayne State University in Detroit, Michigan. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latino-studies

The African Heritage of Latinx and Caribbean Literature (Cambridge University Press, 2022) unearths a buried African archive within widely-read Latinx writers of the last fifty years. It challenges dominant narratives in World Literature and transatlantic studies that ignore Africa's impact in broader Latin American culture. Sarah Quesada argues that these canonical works evoke textual memorials of African memory. She shows how the African Atlantic haunts modern Latinx and Caribbean writing, and examines the disavowal or distortion of the African subject in the constructions of national, racial, sexual, and spiritual Latinx identity. Quesada shows how themes such as the 19th century 'scramble for Africa,' the decolonizing wars, Black internationalism, and the neoliberal turn are embedded in key narratives. Drawing from multilingual archives about West and Central Africa, she examines how the legacies of colonial French, Iberian, British and U.S. Imperialisms have impacted on the relationships between African and Latinx identities. This is the first book-length project to address the African colonial and imperial inheritance of Latinx literature. -From the Cambridge University Press website. Anna E. Lindner is a doctoral candidate in the Communication Department at Wayne State University in Detroit, Michigan. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The African Heritage of Latinx and Caribbean Literature (Cambridge University Press, 2022) unearths a buried African archive within widely-read Latinx writers of the last fifty years. It challenges dominant narratives in World Literature and transatlantic studies that ignore Africa's impact in broader Latin American culture. Sarah Quesada argues that these canonical works evoke textual memorials of African memory. She shows how the African Atlantic haunts modern Latinx and Caribbean writing, and examines the disavowal or distortion of the African subject in the constructions of national, racial, sexual, and spiritual Latinx identity. Quesada shows how themes such as the 19th century 'scramble for Africa,' the decolonizing wars, Black internationalism, and the neoliberal turn are embedded in key narratives. Drawing from multilingual archives about West and Central Africa, she examines how the legacies of colonial French, Iberian, British and U.S. Imperialisms have impacted on the relationships between African and Latinx identities. This is the first book-length project to address the African colonial and imperial inheritance of Latinx literature. -From the Cambridge University Press website. Anna E. Lindner is a doctoral candidate in the Communication Department at Wayne State University in Detroit, Michigan. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

The African Heritage of Latinx and Caribbean Literature (Cambridge University Press, 2022) unearths a buried African archive within widely-read Latinx writers of the last fifty years. It challenges dominant narratives in World Literature and transatlantic studies that ignore Africa's impact in broader Latin American culture. Sarah Quesada argues that these canonical works evoke textual memorials of African memory. She shows how the African Atlantic haunts modern Latinx and Caribbean writing, and examines the disavowal or distortion of the African subject in the constructions of national, racial, sexual, and spiritual Latinx identity. Quesada shows how themes such as the 19th century 'scramble for Africa,' the decolonizing wars, Black internationalism, and the neoliberal turn are embedded in key narratives. Drawing from multilingual archives about West and Central Africa, she examines how the legacies of colonial French, Iberian, British and U.S. Imperialisms have impacted on the relationships between African and Latinx identities. This is the first book-length project to address the African colonial and imperial inheritance of Latinx literature. -From the Cambridge University Press website. Anna E. Lindner is a doctoral candidate in the Communication Department at Wayne State University in Detroit, Michigan. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/caribbean-studies

The African Heritage of Latinx and Caribbean Literature (Cambridge University Press, 2022) unearths a buried African archive within widely-read Latinx writers of the last fifty years. It challenges dominant narratives in World Literature and transatlantic studies that ignore Africa's impact in broader Latin American culture. Sarah Quesada argues that these canonical works evoke textual memorials of African memory. She shows how the African Atlantic haunts modern Latinx and Caribbean writing, and examines the disavowal or distortion of the African subject in the constructions of national, racial, sexual, and spiritual Latinx identity. Quesada shows how themes such as the 19th century 'scramble for Africa,' the decolonizing wars, Black internationalism, and the neoliberal turn are embedded in key narratives. Drawing from multilingual archives about West and Central Africa, she examines how the legacies of colonial French, Iberian, British and U.S. Imperialisms have impacted on the relationships between African and Latinx identities. This is the first book-length project to address the African colonial and imperial inheritance of Latinx literature. -From the Cambridge University Press website. Anna E. Lindner is a doctoral candidate in the Communication Department at Wayne State University in Detroit, Michigan. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The African Heritage of Latinx and Caribbean Literature (Cambridge University Press, 2022) unearths a buried African archive within widely-read Latinx writers of the last fifty years. It challenges dominant narratives in World Literature and transatlantic studies that ignore Africa's impact in broader Latin American culture. Sarah Quesada argues that these canonical works evoke textual memorials of African memory. She shows how the African Atlantic haunts modern Latinx and Caribbean writing, and examines the disavowal or distortion of the African subject in the constructions of national, racial, sexual, and spiritual Latinx identity. Quesada shows how themes such as the 19th century 'scramble for Africa,' the decolonizing wars, Black internationalism, and the neoliberal turn are embedded in key narratives. Drawing from multilingual archives about West and Central Africa, she examines how the legacies of colonial French, Iberian, British and U.S. Imperialisms have impacted on the relationships between African and Latinx identities. This is the first book-length project to address the African colonial and imperial inheritance of Latinx literature. -From the Cambridge University Press website. Anna E. Lindner is a doctoral candidate in the Communication Department at Wayne State University in Detroit, Michigan. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

The African Heritage of Latinx and Caribbean Literature (Cambridge University Press, 2022) unearths a buried African archive within widely-read Latinx writers of the last fifty years. It challenges dominant narratives in World Literature and transatlantic studies that ignore Africa's impact in broader Latin American culture. Sarah Quesada argues that these canonical works evoke textual memorials of African memory. She shows how the African Atlantic haunts modern Latinx and Caribbean writing, and examines the disavowal or distortion of the African subject in the constructions of national, racial, sexual, and spiritual Latinx identity. Quesada shows how themes such as the 19th century 'scramble for Africa,' the decolonizing wars, Black internationalism, and the neoliberal turn are embedded in key narratives. Drawing from multilingual archives about West and Central Africa, she examines how the legacies of colonial French, Iberian, British and U.S. Imperialisms have impacted on the relationships between African and Latinx identities. This is the first book-length project to address the African colonial and imperial inheritance of Latinx literature. -From the Cambridge University Press website. Anna E. Lindner is a doctoral candidate in the Communication Department at Wayne State University in Detroit, Michigan. On Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The African Heritage of Latinx and Caribbean Literature (Cambridge University Press, 2022) unearths a buried African archive within widely-read Latinx writers of the last fifty years. It challenges dominant narratives in World Literature and transatlantic studies that ignore Africa's impact in broader Latin American culture. Sarah Quesada argues that these canonical works evoke textual memorials of African memory. She shows how the African Atlantic haunts modern Latinx and Caribbean writing, and examines the disavowal or distortion of the African subject in the constructions of national, racial, sexual, and spiritual Latinx identity. Quesada shows how themes such as the 19th century 'scramble for Africa,' the decolonizing wars, Black internationalism, and the neoliberal turn are embedded in key narratives. Drawing from multilingual archives about West and Central Africa, she examines how the legacies of colonial French, Iberian, British and U.S. Imperialisms have impacted on the relationships between African and Latinx identities. This is the first book-length project to address the African colonial and imperial inheritance of Latinx literature. -From the Cambridge University Press website. Anna E. Lindner is a doctoral candidate in the Communication Department at Wayne State University in Detroit, Michigan. On Twitter.

On the Shelf for June 2022 The Lesbian Historic Motif Podcast - Episode 231 with Heather Rose Jones Your monthly roundup of history, news, and the field of sapphic historical fiction. In this episode we talk about: How I put together a podcast episode SFF Pride Storybundle Recent and upcoming publications covered on the blogFrye, Susan & Karen Robertson (eds). Maids and Mistresses, Cousins and Queens: Women's Alliances in Early Modern England. Oxford University Press, New York. ISBN 0-19-511735-2 Garber, Linda. 2022. Novel Approaches to Lesbian History. Palgrave, Cham. ISBN 978-3-030-85416-4 Medd, Jodie (ed). 2015. The Cambridge Companion to Lesbian Literature. Cambridge University Press, Cambridge. ISBN 978-1-107-66343-5 Book ShoppingTinsley, Omise'eke Natasha. 2010. Thiefing Sugar: Eroticism between Women in Caribbean Literature. Duke University Press, Durham. ISBN 978-0-8223-4777-4 Donato, Clorinda. 2020. The Life and Legend of Catterina Vizzani: Sexual identity, science and sensationalism in eighteenth-century Italy and England. Voltaire Foundation, Oxford. ISBN 978-1-78962-221-8 By Your Side: The First 100 Years of Yuri Manga & Anime by Erica Friedman New and forthcoming fictionEmma: Restraint and Presumption by Garnet Marriott & Jane Austen On Stolen Land by Stephanie Rabig Something Happened in River Falls by Karyn Walters Valiant Ladies by Melissa Grey Glorious Poison by Kat Dunn The Bluestocking Beds Her Bride: An Age Gap Regency Romance (Must Love Scandal) by Fenna Edgewood title by author Briefly, A Delicious Life by Nell Stevens Perilous Passages (The Wellington Mysteries #2) by Edale Lane Beautiful Little Fool by Sarah Zane LOTE by Shola von Reinhold Last Call at the Nightingale by Katharine Schellman Harlem Sunset (A Harlem Renaissance Mystery Book 2) by Nekesa Afia In the Shadow of Love (Shadow Series #2) by J.E. Leak Dead Letters from Paradise by Ann McMan Vera Kelly: Lost and Found (Vera Kelly #3) by Rosalie Knecht Jobs for Girls with Artistic Flair by June Gervais What I've been reading:Light from Uncommon Stars by Ryka Aoki Blood Moon by Catherine Lundoff Toad Words by T. Kingfisher A Master of Djinn by P. Djèlí Clark Black Water Sister by Zen Cho Spear by Nicola Griffith A transcript of this podcast is available here. (Interview transcripts added when available.) Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Twitter: @heatherosejones Facebook: Heather Rose Jones (author page)

Today on Sojourner Truth we bring you a conversation with Professor Chanda Prescod-Weinstein, Black feminist theorist and theoretical physicist and Selma James, long-time feminist activist and Wages for Housework co-founder, to discuss, "Our Time is Now," an anthology by Selma James and the legacies of inter-generational feminism. Selma James is a women's rights and anti racist campaigner and author. From 1958 to 1962 she worked with C.L.R. James in the movement for West Indian federation and independence. In 1972 she co founded the International Wages for Housework Campaign, and in 2000 helped launch the Global Women's Strike whose strategy for change is Invest in Caring, Not Killing. She coined the word unwaged, which has since entered the English language. In the 1970s she was the first spokeswoman of the English Collective of Prostitutes. She is a founding member of the International Jewish Anti-Zionist Network. She co authored the classic The Power of Women and the Subversion of the Community, which launched the domestic labor debate. Dr. Chanda Prescod-Weinstein is an assistant professor of physics and astronomy and core faculty in women's and gender studies at the University of New Hampshire. Her research in theoretical physics focuses on cosmology, neutron stars, and dark matter. She additionally does research in Black feminist science, technology, and society studies. Dr. Prescod-Weinstein is also a columnist for New Scientist and Physics World. Nature recognized her as one of 10 people who shaped science in 2020, and Essence magazine has recognized her as one of 15 Black Women Who Are Paving the Way in STEM and Breaking Barriers. A cofounder of Particles for Justice, she received the 2017 LGBT+ Physicists Acknowledgement of Excellence Award for her contributions to improving conditions for marginalized people in physics and the 2021 American Physical Society Edward A. Bouchet Award for her contributions to particle cosmology, including co-founding Particles for Justice. Her first book The Disordered Cosmos: A Journey into Dark Matter, Spacetime, and Dreams Deferred received the 2021 Los Angeles Times Book Prize in the science and technology category and was named a Best Book of 2021 by Publishers Weekly, Smithsonian Magazine, and Kirkus. It has been a finalist for several awards including the 2022 PEN/E.O. Wilson Literary Science Writing Award. The Disordered Cosmos was also longlisted for the OCM Bocas Prize in Caribbean Literature. Originally from East L.A., she divides her time between the New Hampshire Seacoast and Cambridge, Massachusetts.

Today on Sojourner Truth we bring you a conversation with Professor Chanda Prescod-Weinstein, Black feminist theorist and theoretical physicist and Selma James, long-time feminist activist and Wages for Housework co-founder, to discuss, "Our Time is Now," an anthology by Selma James and the legacies of inter-generational feminism. Selma James is a women's rights and anti racist campaigner and author. From 1958 to 1962 she worked with C.L.R. James in the movement for West Indian federation and independence. In 1972 she co founded the International Wages for Housework Campaign, and in 2000 helped launch the Global Women's Strike whose strategy for change is Invest in Caring, Not Killing. She coined the word unwaged, which has since entered the English language. In the 1970s she was the first spokeswoman of the English Collective of Prostitutes. She is a founding member of the International Jewish Anti-Zionist Network. She co authored the classic The Power of Women and the Subversion of the Community, which launched the domestic labor debate. Dr. Chanda Prescod-Weinstein is an assistant professor of physics and astronomy and core faculty in women's and gender studies at the University of New Hampshire. Her research in theoretical physics focuses on cosmology, neutron stars, and dark matter. She additionally does research in Black feminist science, technology, and society studies. Dr. Prescod-Weinstein is also a columnist for New Scientist and Physics World. Nature recognized her as one of 10 people who shaped science in 2020, and Essence magazine has recognized her as one of 15 Black Women Who Are Paving the Way in STEM and Breaking Barriers. A cofounder of Particles for Justice, she received the 2017 LGBT+ Physicists Acknowledgement of Excellence Award for her contributions to improving conditions for marginalized people in physics and the 2021 American Physical Society Edward A. Bouchet Award for her contributions to particle cosmology, including co-founding Particles for Justice. Her first book The Disordered Cosmos: A Journey into Dark Matter, Spacetime, and Dreams Deferred received the 2021 Los Angeles Times Book Prize in the science and technology category and was named a Best Book of 2021 by Publishers Weekly, Smithsonian Magazine, and Kirkus. It has been a finalist for several awards including the 2022 PEN/E.O. Wilson Literary Science Writing Award. The Disordered Cosmos was also longlisted for the OCM Bocas Prize in Caribbean Literature. Originally from East L.A., she divides her time between the New Hampshire Seacoast and Cambridge, Massachusetts.

Barbara Jenkins - I Never Heard Pappy Play the Hawaiian GuitarBarbara Jenkins, who is no stranger to the literary world, is a special example of there being no singular mould from which all writers emerge and that literary DNA flows through us all. After forging a prestigious career as a high school geography teacher, she found her penchant for the written arts after being convinced to participate in a post-retirement writers' group.      She has won several prizes from the Bocas Lit Fest, the Commonwealth Short Story Prize (Caribbean Region) twice, the Guyana Prize for Caribbean Literature and the Bloody Scotland-Bocas Lit Fest Crime Writing Prize. This episode's reading, 'I Never Heard Pappy Play The Hawaiian Guitar', is a story from her award-winning debut collection, Sic Transit Wagon and Other Stories, which was published in 2013 by PeepalTree Press. Barbara's memoir, 'The Stranger Who Was Myself' is forthcoming from Peepal Tree in September, 2022_________________________________________________________________________________________SUPPORT Caribbean writers and the BCLFBUY a copy of  Sic Transit Wagon: And Other Stories by Barbara Jenkins here

Myriam J. A. Chancy-Guggenheim Fellow & HBA Chair of the Humanities at Scripps College, is a Haitian-Canadian/American writer born in Port-au-Prince, Haiti, and subsequently raised there and in Canada.  After obtaining her BA in English/Philosophy (4-YR ADV, with Honors), from the University of Manitoba (1989) and her MA in English Literature from Dalhousie University (1990) [pronounced Dal-house-zie], she completed her Ph. D. in English at the University of Iowa (1994).   Myriam Chancy was awarded the 2011 Guyana Prize in Literature Caribbean Award for Best Fiction 2010 for her third novel, The Loneliness of Angels (Peepal Tree Press 2010; also shortlisted in the fiction category for the 2011 OCM Bocas Prize in Caribbean Literature), garnered a shortlisting for Best First Book, Canada/Caribbean region category, of the Commonwealth Prize in 2004 for her first novel, Spirit of Haiti (London: Mango Publications, 2003), and published a second novel, The Scorpion's Claw (Peepal Tree Press 2005) to critical praise. Her novel on the 2010 Haiti earthquake, What Storm, What Thunder will appear fall 2021 with Harper Collins Canada and Tin House in the USA. At the end of a long, sweltering day, as markets and businesses begin to close for the evening, an earthquake of 7.0 magnitude shakes the capital of Haiti, Port-au-Prince Award-winning author Myriam J. A. Chancy masterfully charts the inner lives of the characters affected by the disaster.

In this episode, Jolie speaks with Academy Award-nominated Guatemalan filmmaker Jayro Bustamante and associate professor of contemporary Latin American and Caribbean Literature, Film, and Trans-Atlantic studies Dr. Pedro Porbén. They discuss the role that films have historically played in political and social revolutions and explore the cultural significance and societal symbolism of legends and fictitious monsters in literature and film.  Announcer: From Bowling Green State University and the Institute for the Study of Culture and Society, this is BG Ideas.Musical Intro :I'm going to show you this with a wonderful experiment.Jolie:Welcome back to the Big Ideas podcast. A collaboration between the Institute for the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. I'm Jolie Sheffer, associate professor of English and American culture studies and the director of ICS. Due to the ongoing pandemic, we are not recording in the studio, but remotely via phone and computer. As always, the opinions expressed on this podcast are those of the individuals involved and do not necessarily represent those of BGSU or its employees. The region in which Bowling Green State University and its campuses are situated, inhabit the Great Black Swamp and the lower Great Lakes region. This land is the homeland of the Wyandotte, Kickapoo, Miami, Potawatomi, Ottawa, and multiple other Indigenous tribal nations, present and past, who were forcibly removed to and from the area. We recognize these historical and contemporary ties in our efforts towards de-colonizing history. And we honor the Indigenous individuals and communities who have been living and working on this land from time immemorial.Jolie:Today, we're joined by Jayro Bustamante and Dr. Pedro Porben. Jayro Bustamante is a Guatemalan born director who has recently released his third film La Llorona. He has received the Venice Days, Best Director award at the Venice International Film Festival. And he's been listed as one of the most promising filmmakers of 2020, in Sight & Sound magazine. And he's made it to the short list for the academy awards. Dr. Pedro Porben is an associate professor here at BGSU teaching contemporary Latin American and Caribbean literature, film, and cultural and critical theory as well as transatlantic studies. Thank you both for joining me today. Very glad to have you here.Jayro:Thank you so much.Pedro:Thank you for having us.Jayro:Happy to be here too.Jolie:My first question is for you Jayro. You recently released your third film to great acclaim. Without giving away any spoilers, can you give us a brief summary of the plot of La Llorona?Jayro: La Llorona is a film talking about a motherland who is [inaudible 00:02:14] their disappeared children. And in a way, separates traits of Guatemala. Jolie:How did you make your way into filmmaking? Your work is deeply engaged with social issues. And how did you find your way to filmmaking as the right way for you to make a statement around the social issues that matter to you?Jayro:Oh, it's very complicated because I think it's a whole thing. It's a whole life. And then I grew up in a community in the central Highlands of Guatemala. And my grandma was a woman, Mayan descendant. And I discovered when I was eight, that she was making a lot of effort to hide her origins. And after that I discovered that my family was making efforts to hide her origins. And the village was making effort to hide the origins of every Indigenous people. And at that moment, I had conscious that in Guatemala being an Indigenous people was the cause of shame. And in a way I decide to dedicate my career, to fight against discrimination and to quote Rigoberta Menchú, I can say that at that moment, my conscious was born.Jolie:And for you, how did you decide filmmaking would be the best way or the right way for the kind of social action once your consciousness was raised?Jayro:Oh for me, I consider myself morea storyteller than a filmmaker, but films, movies are the tools that I prefer to tell my stories. And I come from a family with a very, very long history in telling stories, in oral telling stories. And it's a traditional thing in my mother's family. But I was very upset with the fact that one word can create different images in the mind of the people reading. So I discovered I liked films because films give me the opportunity to show the image that I wanted to create.Jolie:Pedro for you, you are studying film and literature and stories, right of Latin America and the Caribbean? How for you, did you find your way into that conjunction right through the scholarly direction, but how did those things come together for you?Pedro:That is an excellent question. And I don't even know how to answer that properly in such a short amount of time, but growing up in Cuba, being educated on the revolution, pushed me in the direction of looking for the monstrosity of some events that were happening at the same time that it was growing no prize. So these idea that we're living in a perfect society, but is so infused with monsters because the idea that everything that is not the revolution, it was against the revolution therefore it's a monster that has been constructed in a sense during our daily life. Jolie:Well, you've given me a beautiful segue on the subject of monsters. Jayro, you've created a story that takes a very old kind of mythological figure, in Mexican and Latin American culture, right, of La Llorona. And you've used it in a really fresh and new way. Could you talk a little bit about how you came about sort of maybe deciding to tell this story through this reimagination of this familiar kind of mythological figure?Jayro:Yeah. I made three films talking about the words insults in Guatemala, and creating a very big separation between people. So the third one is communist and people in Guatemala use companies to insult all the others who defend human rights. So I wanted to talk about that. And I was thinking about the fact that if in Guatemala, being somebody who protects human rights, they they serve an insult. But I was conscious about the fact that my people don't want to talk about that. And so I decided to hide the message and I made as a marketing study to understand that, which kind of films Guatemalan people are watching. And they're watching, in 98%, horror films and superhero films. Jayro:And in a way, La Llorona is a time of a superhero with all the elements coming from horror. So in a way, it was the perfect match to talk about that. And that permit me to change. Maybe not change, but make another version about La Llorona more close to the original version, because in the original one La Llorona, was a divinity, it was Mesoamerican for instance, and after the Spanish conquest, La Llorona became a misogynistic story. So I want to come back to the origin.Jolie:Yeah, I love that. As, a feminist myself, right, you've turned this, the woman as traitor to the nation, right. And also as sort of destroyer of her own family. You've turned that around and she becomes the conscience of the nation sort of speaking what has been buried. I wonder if Pedro, if you could provide us a little bit of a context for whether it's specifically the figure of La Llorona or sort of the idea of monstrosity across Latin America and how different places and different artists have really explored these sorts of old stories to tell a new ways to speak to kind of social issues in much the way that Jayro has done with this film. Pedro:So we'll have to think about the idea of the monster in... The post-modern fantastic monster, if you will, how has been represented, right? Because basically that's the core of your question. So the post-modern fantastic monster moves in between anomaly and domestication. The idea that the postmodern fiction has continued to produce all kinds of impossible and disturbing monsters, but at the same time, there are many works, many cultural products from literature to film that trivialize and tame, if you will, their monster stripping down the monstrosity of the monster, right? By attributing normality to the monster, that creature is incorporated into reality. So what I found extremely compelling in Jayro's movie is that movement towards deconstructing the heinousness and also the excesses of a monster. So instead of playing within the framework of a more Hollywood-esque kind of movie, Jayro is moving away from that. And he's bringing La Llorona as a pretext to analyze contemporary issues. I think Jayro is moving La Llorona and genocide, and the most ferocity of the ethnic cleansing, he's moving that and opening a huge spectrum of criticism throughout the entire Latin America cinema.Jolie:What I'm hearing is one of the things that stories like Jayro's reveal to us is that what seems to be the supernatural monster, the real monster is within. I think about in your film, Jayro, the ways in which, what seems to be a specter from outside the horror keeps getting peeled back and it's like, who's the real monster, right? Is it the dictator? Is it his family for continuing to defend him and refusing to recognize that someone can be a nice person and also do monstrous things? Right. So I think those are kind of really running things. I also think too, Pedro, about the way that, like the figure of Caliban has been, in a lot of Latin American literature and philosophy, has been reclaimed and turned around to sort of represent a different story.Jolie:I have a question, Jayro, about the relationship between art and commerce in your work. You were alluding to the ways in which you were very thoughtful about wanting to use a genre that would be appealing to your audience. And I think too often, the narrative we hear is sort of, it's a trade-off. It's either one or the other. Either you can have artistic integrity or you're a sellout just trying to reach an audience. And what you're suggesting is there's actually more of a synergy, right, of finding the way in which to use the forms an audience values, understands, appreciates, in order to sort of Trojan horse your message in. Could you talk a little bit more about how you think about the relationship between art and commerce in your work?Jayro: I wanted to try to touch the most bigger outings that I can. And I think to do that, you have to be universal. And if you want to talk about that real local side, you have to understand how humans will understand that. But sometimes you can give them a new way to receive the story. So for example, in La Llorona I really love, to go back to the monster, I really love the fact that normally for people, people are monsters. But in Mesoamerica, that people are not monsters. They are our ancestors and we are living with them all the time. And we are living in magical realities all the time. So in that film, I didn't want to use all the political drama and or horror drama I wanted to put a little bit of a magical realism at the same time. So I developed kind of a balance with three baskets, and I was putting an element of each one of the baskets you have to balance. Jolie:I'm wondering Pedro, if you could provide us with some other examples of contemporary writers in Latin America and the Caribbean, you are taking a kind of well-known ghost story monster kind of mythological figure and are recasting it to tell a very contemporary story and to maybe unsettle some of those binaries that Jayro's just talked about?Pedro:In the 21st century, there are not too many writers engaging with the idea of monsters and monstrosity as in the 20th century. In the 20th century, as a result of the boom of, as Jayro has said before, the emergence of magical realism and other genres, there was this temptation, if you will, to frame a narrative within monstrosity and talk about monsters. But as the 21st century entered into the picture that has been, I would say a little bit less interest on that kind of representation in literature and film. Probably because the idea of the monster has evolved from the 20th to the 21st century. And now of course, we're living under a pandemic.Pedro:So that changes everything right? Because it changes our framework of references. And we don't engage anymore with these fantastic universes of monsters, which is actually interesting in these that although there haven't been so many in literature, science fiction is, I would say, one of the genres that is using monsters as a background, more frequently. Especially in Caribbean science fiction, which is more or less what I work with. Many Cuban writers have been trying to approach this idea of the monster from different vantage points and trying to incorporate them into... The genre is fantastic, right? Which is again, a very wide genre because you can incorporate in there like magical realism and fantasy, and then the other sub genres. So that's pretty much monsters have been entering the 21st century. Jolie:I want to shift gears into a different realm of questions, which is really about collaboration. And Jayro, filmmaking is such a collaborative genre, I wonder if you could talk a bit with us about how you approach collaboration? Because I think not only is filmmaking generally, but I think your particular approach and your interest in representing Mayan people on film, the use of native languages, things like that. So could you talk a bit about some of your priorities around collaboration when it comes to filming a story like La Llorona?Jayro:Oh, thank you. That's a very important thing for me, because I felt that we are living a very nice moment in Guatemala, and maybe it's not a very nice moment in terms of industry or money. We are prepared to make films and we didn't have the industry with all the hipness of the industry. So we are more as a family, as a troop of theater working together. So there is less direction, and there are more people participating in creative moments. And I think that is the magic that we are living. And for me, it's more important because when I started in Guatemala in 2013, I wanted to make my first film, but I discovered that in Guatemala we didn't have a real industry.Jayro:So I had to become a producer and I didn't find actors so I had to train there. And after that I made a film and I didn't find distributors. So I had to distribute my film and train people to do that after that, and the actors that I trained, they became a real actors with plenty talents and some other gifts that they have that I decide to follow them and I became their agent, so. But this is very interesting.Jolie:Pedro, in your work and your role, I'd like you to talk a bit about collaboration as a scholar and Jayro is here as the keynote for the Latino issues conference and you and many others are part of a cluster of folks involved in studying Latin American and Latino issues as part of an ICS cluster. Could you talk about what collaboration means to you as you think of yourself as a scholar, as a teacher, as a community member?Pedro:Well, that's a really important question. Collaboration in this moment in time is crucial. Just to give you an idea, last semester in my class, we had nine people from all over the world that came to our class to talk about not only the issues that we're discussing, but to present their own work. And that was beautiful in so many ways because I basically couldn't pay them anything so they came out of freewill. They offered their time. But way before that, as you mentioned, the ICS cluster, we have been collaborating and doing a lot of activities together and trying to come up with the most crazy ideas ever. This conference, the Latino issues conference, Latina, Latino, Latin X issues conference, it's one of the best examples. Pedro:You have not only faculty, but staff and people from all over the university to collaborate and are working together towards this event, which is huge. We're celebrating the 25th anniversary of the conference this year. And these are people from different units across the university, right? Everybody working together, collaborating, putting energy and time and emotion, creating a community of knowledge, community of people who are working together towards a goal, which is basically informing the community at large of Latino, Latin X issues in general. Since I came to Bowling Green, I had realized that you have to collaborate, you have to work together, if you want to accomplish anything at the university level. Jolie:We're going to take a quick break. Thank you for listening to the Big Ideas Podcast.Announcer :If you are passionate about big ideas, consider sponsoring this program.To have your name or organization mentioned here, please contact us at ics@bgsu.edu.Jolie:Hello, and welcome back to the Big Ideas Podcast. Today I'm talking to Jayro Bustamante and Pedro Porben about monsters and storytelling in Latin American culture. I have a question, I'll start this one for you, Pedro, and then I'll transition it to Jayro. You study films and revolution in Latin America. What role, besides simply documenting them, have you seen film and cultural products play in fomenting, in helping articulate or shaping revolutions, in sort of the Latin American and Caribbean world? Pedro:I mean they go together like perfectly because basically cinema has always been a tool that any social movement has used in order to communicate their goals. For instance, the beginning of the Mexican cinema right, the Mexican revolution and the uses of cinema to move the revolution across a huge country that otherwise people wouldn't be connected. I mean, I'm trying to think about this idea of Anderson and imagine communities through film, because basically that's how the film industry has been used in Latin America, in Cuba, in particular, which is again, my homeland. Jolie:Well, and so the way I'd ask you Jayro is, in this sort of new industry that you're helping to create, how are you seeing or hoping to see your work, your collaborative work, make new changes in Guatemala and beyond?Jayro:For sure it's not only me. There are a lot of other filmmakers doing great work and there were another inspiration for me. And I really believe about the fact that some films change societies or can create impact. And as Pedro said, movies are an excellent tool. So after that, I think we have to create our filmmakers with a very, very strong conscious about ethics and empathy to push the stories to that way. And we are trained to do that in my production company. Even if we are 70% of Indigenous people, we are discriminating them all the time, and women at the same time. And right now the most important icon in my country is María Mercedes Coroy who is the actress who played La Llorona. And so there is one thing that I'm really proud about. She is the most important woman at that moment in the media. And she's Indigenous and a woman and single, and so on. So all that is a social change. As your question say, revolution are not always the political revolution. Revolution can be just an attitude, a change in attitude.Jolie:So I have another kind of shift gears, but I think it follows on a lot of what you're talking about, which is, this one I'll start with Jayro, what role does research play in your process? What kind of research did you do as you were writing La Llorona? Were you talking to people who had lived through the Civil War? Like what role does research play in your process and how does it inform what ends up on the screen?Jayro:The period that I'm in research is the period that I am enjoying willing. And so I build a structure in my production company with people working with me to make the research. And they have a very interesting way to abort all the subjects that you want to study or character that you want to commit. And I'm using that. But when I had enough of information, real information, I mean, I really want to stop that and start the other part of my work that is fiction. And at that moment, I will love to say bye-bye to the real characters and start with fiction.Jayro:For example, with La Llorona our characters are based in the real process about genocide in my country. But I didn't want to create my characters taking inspiration from the real general or the real family. In a way because I don't think that they deserve a film. And in another way, because I was looking for an [inaudible 00:24:30] about the fact that if that people are not all in Guatemala, but Latin America, that people, I mean, these kind of military people, dictators, are saying that they save us and all the people that they kill deserve to be killed because they were communist. I was wondering if, at night they continue thinking like that. And so I prefer to just go up to the fiction in that moment. I tried to find the answer that I'm looking for.Pedro:Can I actually say something about the last point that you ask Jayro? Because I'm extremely interested in what Jayro had just said about placing the camera inside the home of the monster. That is something that when I watched the film for the first time, struck me profundamente, I was like, "What's going on in this film?" If a film doesn't move me, if I don't feel engaged, or as used to say, if I don't feel interpolated by the text, I don't care about the movie. But this movie from the beginning took me in into a different dimension that I was not expecting, right.Pedro:Right now I'm thinking about Lovecraft, the master of horror, I think Lovecraft said something like, "The oldest and most intense emotion of humanity is fear. And the oldest, most intense of fears, is a fear of the unknown." But I would raise these and propose a different question after watching Jayro's movie. The worst fear is actually living with the monster and pretending that is an unknown entity. So that's where my entire system was upside down, [inaudible 00:26:35] if you can actually accomplish something like that, like if you are actually getting in to my private space, interpolated me as a spectator, then I want to engage with your movie. Then that's the change. That's a movie that is going to make a change, right. Jolie:Well, and to that point,I think one of the things that is so powerful about the film is it's grounded in such specificity, right? There is no mistaking that this isn't just any Latin American country, right? There is such attention in terms of language, costume, other things, that this is about Guatemalan history, and yet watching it and thinking about the questions it raises about what happens when we do not in fact kind of address the demons and the ghosts in our own land, like to me, made connections to all sorts of things. Like I have visited extermination camps in Poland, right? And those landscapes walking through them, I felt the weight of history. I felt like it was a haunted landscape. I felt like there was something that like was unsettled in that land. And I think that's one of the beauties of the film, is it raises these questions.Jolie:It makes you connect with the larger issues of the film without it sacrificing that specificity. I don't think that's a question, but it is an observation. Either of you want to add anything?Pedro:It is a beautiful comment.Jolie:I do have a question, Jayro, which is how much are you conscious of trying to kind of frame the language of the film or its imagery, the use of La Llorona as a figure that isn't unique to Guatemala, how much are you trying to weigh the specificity of the Guatemalan history and culture with broader themes that speak to other audiences?Jayro:I really believe that genocide is the bigger horror that a human can imagine. So I don't think that La Llorona is so local because he's talking about that. And I think that's one of or more use. And so as a human, we know that. And we know how somebody feels being discriminated, and we know how we felt we used discrimination. So in a way, I think it's a universal film. AndI wanted to tell about... It's kind of a space in fiction to make a catharsis, that is the film. As Latin American people, we need that to pretend in a fictional world that somebody protects us because overstate are not doing that. So it's very nice because it's colorful, but it's sad at the same time to understand that we need to have a fictional world to feel protected.Pedro:Do you mind if I add a little bit of something? What is different in La Llorona is that, it's forcing me to actually engage with the movie with the culture of product, with these texts at such a different level. Because his movie's actually redefining what national cinema is in the 21st century. We are accustomed to the idea of national cinema that came from the revolutions in the 20th century or the national movements, liberation movements, et cetera. But Jayro, not only by challenging and redefining the themes, but by creating the infrastructure that the national cinema needs in order to function in places where there is no cinema industry. And if there is a cinema industry, the industry has been controlled by the people who have been trying to silence the genocide.Pedro: So by opening these new avenues of creation by incorporating the silence of voices into not only the acting or performative space, but to creating the infrastructure for the production of new cinematic texts, Jayro is actually, again, as I said before, raising the bar really high, right? In the case of Guatemala, you have to collaborate among people with different ethnicities, different languages, different backgrounds, but a similar pain. Similar history of violence and a huge need of what the movie is actually doing. Trying to talk about something that is so painful. Opening in the sense, not closing the wound, which is a different kind of criticism, if you will.Jolie:I have a final question for each of you and you'll take this in your own way, but what are your hopes for what audiences will take away from the film, but also what are your hopes for the future of Guatemalan cinema and the future for kind of social change more broadly, and the role of art in helping to foster that social change? So, Jayro, will you take that first?Jayro:There is a lot of hope for that. But I will start with a modest hope. And in our country, the state, spent a lot of money and a lot of energy to silence our history. So in school, we never studied that. And normally people are afraid to talk about that. So if somebody watched the film and the film became an appeal to that, people to look for a little bit more about our story that simple, movies are so magical because there are two universes. Or, three, or 4, or 100. And one of that universe is glamor and fame and red carpets. And movies have that too. And La Llorona in my country, even if people don't like the film, they like the fact that La Llorona has been in a lot of festivals, winning a lot of prizes, and is nominated for the Golden Globe's and we were in some red carpet. So I think if a film can open a door, the way is there fora new generation of filmmakers. And I'm sure that we will start to here about new stories in Mesoamerica.Jolie:And Pedro, what are your hopes for your students, right? Jayro was talking about a new generation of filmmakers, sort of thinking about the conference and about your classes. What are your hopes that the current generation of students will learn from the classes you teach and from films like Jayro's that they can take out into the world?Pedro:I want my students to actually feel, the film. To move beyond this idea that the [inaudible 00:33:36] have to be passive and do not engage with the product. I want them to feel that this movie's talking to them, that it's talking to the silent spaces that we have in our conscious, in our framework of reference, that they will engage in a way with movies after the class that is more critical. And they will approach movies after this class in a different way that they will explore cultural products under a different lens or using different tools, or trying to open their understanding of the world in general. And to question everything. I hope that people will start paying more attention to genocide in Guatemala, and the crisis in Latin America in general. They will understand a little bit better what's going on in our countries instead of just like receiving tweets. That they would go and explore a little bit more after watching the Jayro's film that they would explore a little bit more about Guatemala and the history of violence in Latin America.Jolie: Thank you both so much for joining me. This was a great conversation. Listeners can keep up with ICS by following us on Facebook, Twitter, and Instagram @icsbgsu. You can listen to Big Ideas wherever you find your favorite podcasts. Please subscribe and rate us on your preferred platform. Our producers for this episode are Chris Cavera and Marco Mendoza with sound editing by Deanna MacKeigan and Marco Mendoza. Research assistance for the episode was provided by Deanna MacKeigan with editing by Stevie Scheurich.  

Part of the Humanities Cultural Programme, one of the founding stones for the future Stephen A. Schwarzman Centre for the Humanities. In his autobiography, The Life and Rhymes of Benjamin Zephaniah (2018), award-winning poet, lyricist, musician, and activist Benjamin Zephaniah speaks out candidly about the writer's responsibility to step outside the medium of literature and engage in political activism: “You can't just be a poet or writer and say your activism is simply writing about these things; you have to do something as well, especially if your public profile can be put to good use.” In conversation with Elleke Boehmer and Malachi McIntosh, he will address the complex relationship of authorship and activism in a celebrity-driven media culture and the ways in which his celebrity persona relates to his activist agenda. The conversation will tie in with contemporary debates about the role of literature and the celebrity author as a social commentator. Pre-recorded introduction: Elleke Boehmer is Professor of World Literature in English at the University of Oxford and a Fellow of the Royal Society of Literature. She is the author and editor of over twenty books, including Colonial and Postcolonial Literature (1995, 2005), Empire, the National and the Postcolonial: Resistance in Interaction (2002), Stories of Women (2005), Indian Arrivals 1870-1915: Networks of British Empire (2015), Postcolonial Poetics: 21st-century critical readings (2018), and a widely translated biography of Nelson Mandela (2008). She is the award-winning author of five novels, including Bloodlines (2000), Nile Baby (2008), and The Shouting in the Dark (2015), and two collections of short stories, most recently To the Volcano, and other stories (2019). Boehmer is the Director of the Oxford Centre for Life Writing and principal investigator of Postcolonial Writers Make Worlds. Speakers: Benjamin Zephaniah is one of Britain's most eminent contemporary poets, best known for his compelling spoken-word and recorded performances. An award-winning playwright, novelist, children's author, and musician, he is also a committed political activist and outspoken campaigner for human and animal rights. He appears regularly on radio and TV, literary festivals, and has also taken part in plays and films. He continues to record and perform with his reggae band, recently releasing the album Revolutionary Minds. His autobiography, The Life and Rhymes of Benjamin Zephaniah (2018), was shortlisted for the Costa Biography Award. Malachi McIntosh is editor and publishing director of Wasafiri. He previously co-led the Runnymede Trust's award-winning Our Migration Story project and spent four years as a lecturer in postcolonial literature at the University of Cambridge. He is the author of Emigration and Caribbean Literature (2015) and the editor of Beyond Calypso: Re-Reading Samuel Selvon (2016). His fiction and non-fiction have been published widely, including in the Caribbean Review of Books, Flash: The International Short-Short Story Magazine, The Guardian, The Journal of Romance Studies, Research in African Literatures, and The Cambridge Companion to British Black and Asian Literature. Q and A Chaired by Professor Wes Williams, TORCH Director. The event is organised in association with the Postcolonial Writers Make Worlds project and The Oxford Centre for Life-Writing (OCLW) and forms part of the webinar series Art and Action: Literary Authorship, Politics, and Celebrity Culture.

Part of the Humanities Cultural Programme, one of the founding stones for the future Stephen A. Schwarzman Centre for the Humanities. In his autobiography, The Life and Rhymes of Benjamin Zephaniah (2018), award-winning poet, lyricist, musician, and activist Benjamin Zephaniah speaks out candidly about the writer's responsibility to step outside the medium of literature and engage in political activism: “You can't just be a poet or writer and say your activism is simply writing about these things; you have to do something as well, especially if your public profile can be put to good use.” In conversation with Elleke Boehmer and Malachi McIntosh, he will address the complex relationship of authorship and activism in a celebrity-driven media culture and the ways in which his celebrity persona relates to his activist agenda. The conversation will tie in with contemporary debates about the role of literature and the celebrity author as a social commentator. Pre-recorded introduction: Elleke Boehmer is Professor of World Literature in English at the University of Oxford and a Fellow of the Royal Society of Literature. She is the author and editor of over twenty books, including Colonial and Postcolonial Literature (1995, 2005), Empire, the National and the Postcolonial: Resistance in Interaction (2002), Stories of Women (2005), Indian Arrivals 1870-1915: Networks of British Empire (2015), Postcolonial Poetics: 21st-century critical readings (2018), and a widely translated biography of Nelson Mandela (2008). She is the award-winning author of five novels, including Bloodlines (2000), Nile Baby (2008), and The Shouting in the Dark (2015), and two collections of short stories, most recently To the Volcano, and other stories (2019). Boehmer is the Director of the Oxford Centre for Life Writing and principal investigator of Postcolonial Writers Make Worlds. Speakers: Benjamin Zephaniah is one of Britain's most eminent contemporary poets, best known for his compelling spoken-word and recorded performances. An award-winning playwright, novelist, children's author, and musician, he is also a committed political activist and outspoken campaigner for human and animal rights. He appears regularly on radio and TV, literary festivals, and has also taken part in plays and films. He continues to record and perform with his reggae band, recently releasing the album Revolutionary Minds. His autobiography, The Life and Rhymes of Benjamin Zephaniah (2018), was shortlisted for the Costa Biography Award. Malachi McIntosh is editor and publishing director of Wasafiri. He previously co-led the Runnymede Trust's award-winning Our Migration Story project and spent four years as a lecturer in postcolonial literature at the University of Cambridge. He is the author of Emigration and Caribbean Literature (2015) and the editor of Beyond Calypso: Re-Reading Samuel Selvon (2016). His fiction and non-fiction have been published widely, including in the Caribbean Review of Books, Flash: The International Short-Short Story Magazine, The Guardian, The Journal of Romance Studies, Research in African Literatures, and The Cambridge Companion to British Black and Asian Literature. Q and A Chaired by Professor Wes Williams, TORCH Director. The event is organised in association with the Postcolonial Writers Make Worlds project and The Oxford Centre for Life-Writing (OCLW) and forms part of the webinar series Art and Action: Literary Authorship, Politics, and Celebrity Culture.

On this segment, I am joined by Shari Paul who is a speculative fiction writer from Trinidad and Tobago. Furthermore, she shares what it was like being able to pursue creative writing at a university level as well as discussing what it is like being published by FIYAH Literary Magazine and The Dark Magazine for her short stories; The Epic Of Sakina, Stretch and After Life and much more! Connect with Shari Paul - Shari Paul's Blog A compliation of Shari Paul's short stories --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/sincerelythelilacwriter/message

Caribbean writers have undoubtedly left their mark on history. In this episode, we talk with  author Desiree C. Bailey about Caribbean literature, common themes that have inspired her story and her recently published book What Noise Against the Cane, which combines Caribbean history, music, and culture. Desiree C. Bailey is the author of What Noise Against the Cane (Yale University Press, 2021), winner of the 2020 Yale Series of Younger Poets Prize. She is also the author of the fiction chapbook In Dirt or Saltwater (O'clock Press, 2016) and has short stories and poems published in Best American Poetry, Best New Poets, American Short Fiction, Callaloo, the Academy of American Poets and elsewhere. Desiree has a BA from Georgetown University, an MFA in Fiction from Brown University and an MFA in Poetry from New York University. She has received fellowships from the Norman Mailer Center, Kimbilio Fiction, Callaloo Creative Writing Workshop, Poets House, The Conversation and Princeton in Africa. She has received awards from the New York State Council on the Arts/New York Foundation for the Arts and Poets & Writers. Desiree was born in Trinidad and Tobago, and lives in Brooklyn, NY. Connect with Desiree on Instagram and Twitter. Connect with Strictly Facts -  Instagram | Facebook | TwitterLooking  to read more about the topics covered in this episode? Subscribe to the newsletter at www.strictlyfactspod.com to get the Strictly Facts Syllabus to your email!Produced by Breadfruit Media

Sir Derek Alton Walcott, KCSL, OBE, OCC (23 January 1930 – 17 March 2017) was a Saint Lucian poet and playwright. He received the 1992 Nobel Prize in Literature.[1] He was the University of Alberta's first distinguished scholar in residence, where he taught undergraduate and graduate writing courses. He also served as Professor of Poetry at the University of Essex from 2010 to 2013. His works include the Homeric epic poemOmeros (1990), which many critics view "as Walcott's major achievement."[2] In addition to winning the Nobel Prize, Walcott received many literary awards over the course of his career, including an Obie Award in 1971 for his play Dream on Monkey Mountain, a MacArthur Foundation "genius" award, a Royal Society of Literature Award, the Queen's Medal for Poetry, the inaugural OCM Bocas Prize for Caribbean Literature,[3] the 2011 T. S. Eliot Prize for his book of poetry White Egrets[4] and the Griffin Trust For Excellence in Poetry Lifetime Recognition Award in 2015.Bio via Wikipedia See acast.com/privacy for privacy and opt-out information.

Multi-award-winning writer and memoirist Monique Roffey was born in Trinidad and educated in the UK. She has won the OCM Bocas Prize for Caribbean Literature and claimed the 2020 Costa Book of the Year award for her recent novel, ‘The Mermaid of Black Conch’. Roffey also teaches the next generation of writers as a lecturer at Manchester Metropolitan University.

In this episode, Perry Flores, a senior at Fordham University, brings his unique perspective as an anthropology major, to the study of anti-colonial literature in the Caribbean.

"Folklore is the bedrock of Caribbean speculative fiction, our own way of interpreting and managing trauma." Karen Lord This enchanting panel visits the nature and purpose of folklore - past, present and future. Is folklore still relevant to today’s society? Do folklore traditions differ in various Caribbean ethnic cultures? Were folkstories ever truth-based? These are some of the burning questions we will ask and attempt to answer. As we look at folklore through the lenses of very different writers, the focus invariably shifts to one of sustainability. Can it go with us into the future? The invisible world was always a presence and partner to our ancestors. How are the stories being interpreted in contemporary Caribbean literature and what is the reception from a global market thriving with stories that dabble in mythical and magical worlds?Hosted by Karen Lord (Barbados), who is joined by panelists: Gerard Besson (TT)Breanne McIvor (TT)Monique Roffey (TT)Imam Baksh (GUY)Vashti Bowlah (TT)Shop BCLF Books - https://bookshop.org/shop/bclfbooksGet BCLF Merch - https://www.bklyncbeanlitfest.com/merchLet's be social - Instagram | Facebook | Website

We all know that stories have the power to change us. We've teamed up with BOCAS Lit Fest in Trinidad & Tobago for #ReadCaribbean to select Caribbean books that have had an impact on our lives, and this is the result. No, we didn't do 100 books in this podcast but we chose these page-turners that have helped to shape and influence our thinking. Doing this list we all realised that these were some of the books that made us become love Caribbean books. What book made you become interested (read: obsessed) with Caribbean Literature? _ See BOCAS Lit Fest's 100 Caribbean Books and use #MyCaribbeanLibrary on social media to see the amazing responses from readers all over the world! Become a Patreon member of our book club: rebelwomenlit.com/join Shop books and merch: rebelwomenlit.com/store Follow us on Instagram and Twitter Books Mentioned in This Episode: Krik? Krak! by Edwidge Danticat Annie John by Jamaica Kincaid A Small Place by Jamaica Kincaid (included in our Patreon travel club) Beka Lamb by Zee Edgell Gardening in the Tropics by Olive Senior The Fear of Stones and other Stories by Kei Miller Caribbean Slavery in the Atlantic World by Verene Shepherd How Europe Underdeveloped Africa by Walter Rodney

On Friday the 11th October 2019, from 5-9pm in Trafalgar Square (London), Extinction Rebellion will be launching Writers Rebel, an initiative to encourage writers to address the climate emergency in their work. In this episode we first speak to Writers Rebel organisers and novelists, James Miller (who wrote Lost Boys and Sunshine State), Monique Roffrey (whose novel Archipelago won the OCM Bocas Award for Caribbean Literature), and Chloe Aridjis, (who wrote Book of Clouds, was guest curator at Tate Liverpool, and has been awarded a Guggenheim Fellowship). We then speak to feminist, academic and psychologist Susie Orbach, discussing what kind of stories suit our troubled times, and Pultizer Prize finalist Jonathan Franzen, around the fallout from his recent New Yorker piece. On Friday, readers will include Ali Smith, Romesh Gunesekera, Robert Macfarlane, Naomi Alderman, Polly Stenhem, Simon Schama, A.L. Kennedy, Paul Farley, and Daljit Nagra. Extinction Rebellion has three demands. 1) Tell the Truth - Government must tell the truth by declaring a climate and ecological emergency, working with other institutions to communicate the urgency for change. 2) Act Now - Government must act now to halt biodiversity loss and reduce greenhouse gas emissions to net zero by 2025. 3) Beyond Politics - Government must create and be led by the decision of a Citizens' Assembly on climate and ecological justice. Producers - Jessica Townsend, Lucy Evans Editors - Dave Stitch, Lucy Evans Presenter - Jessica Townsend Social Media Producer - Barney Weston

photo by Marlon James Andre Bagoo is a Trinidadian poet and writer, author of Trick Vessels (2012), BURN (2015), Pitch Lake (2017) and The City of Dreadful Night (2018). They served as a judge in the 2018 Small Axe Literary Competition and the 2019 OCM Bocas Prize for Caribbean Literature. They will read at Carifesta XIV on August 17, and conduct a poetry workshop at the National Library, Port of Spain, on August 23. Their new film poem, ‘Langston Dreams of Fancy Sailors’ will screen at the Trinidad and Tobago Film Festival from August 19 to August 23 at Medulla Art Gallery, Woodbrook, Port of Spain. Their poetry has appeared in Almost Island, Boston Review, Cincinnati Review, St Petersburg Review, Poetry, and The Poetry Review.  BURN (Shearsman, 2015) Pitch Lake (Peepal Tree Press, 2017)

It’s 1948, haughty Hortense Joseph arrives in London from British colonised Jamaica, with her perfect white gloves and full trunk, she is ready for the ‘motherland’. Brought up with the consciousness that her "golden skin" makes her a superior creature in a country of darker skins, she soon discovers that her qualifications have no meaning in Britain and her status is precisely the same as that of any other black migrant. Similarly, her husband, Gilbert, an RAF man, returns from the war expecting to be received as a hero in the ‘motherland’, but finds his status as a black man in Britain to be second class.The novel's other two main characters are their English landlady, Queenie, raised as a farmer's daughter, and Bernard, Queenie's mumbling husband, who arrives back from wartime service to find "coons" renting rooms in his house. Unlike her deeply racist spouse, Queenie serves as refreshing break from bigoted English society.

Profs Susheila Nasta and Mark Stein speak about the genesis of their new Cambridge History project, Dr Gail Low discusses the networks and institutions of Caribbean-British writing. Dr Henghameh Saroukhani considers the literary importance of Linton Kwesi Johnson’s dub poetry, and Dr Florian Stadtler looks at recent Asian-British cinema.

Profs Susheila Nasta and Mark Stein speak about the genesis of their new Cambridge History project, Dr Gail Low discusses the networks and institutions of Caribbean-British writing. Dr Henghameh Saroukhani considers the literary importance of Linton Kwesi Johnson's dub poetry, and Dr Florian Stadtler looks at recent Asian-British cinema.

M. NourbeSe Philip reads from She Tries Her Tongue, Her Silence Softly Breaks (1988) and Zong! (2008) as she describes her poetic development. In discussion with Prof. Elleke Boehmer, Prof. Marina Warner offers a response that emphasises the transformative power of story, and Matthew Reynolds discusses Philip's linguistic innovations.

Writers Selma Dabbagh and Courttia Newland read from their work, and discuss why they write, who they write for, their imagined audiences, and how their writing relates to their identities.

M. NourbeSe Philip reads from She Tries Her Tongue, Her Silence Softly Breaks (1988) and Zong! (2008) as she describes her poetic development. In discussion with Prof. Elleke Boehmer, Prof. Marina Warner offers a response that emphasises the transformative power of story, and Matthew Reynolds discusses Philip’s linguistic innovations.

Writers Selma Dabbagh and Courttia Newland read from their work, and discuss why they write, who they write for, their imagined audiences, and how their writing relates to their identities.

A panel discussion Part of the 'Humanities & Identities' Lunchtime Seminar Series

A panel discussion Part of the 'Humanities & Identities' Lunchtime Seminar Series

Episode 38: Tanya Shields On Caribbean Literature And Plantation Narrative by Institute for the Arts and Humanities (UNC-CH)

At the Miami Book Fair, I interviewed Colin Channer, author of the poetry collection Providential and the novella The Girl With the Golden Shoes. We talked about Jamaica, Caribbean literature, and his creative journey.

In this podcast Jennifer Williams speaks to Jamaican-born, American-based poet Shara McCallum about her new Robert Burns poetry project which brought her to Scotland for a research visit; the lyric self; female and minority voices in poetry and much more. With thanks to James Iremonger for the music in this podcast. https://jamesiremonger.wordpress.com/tabla/ SHARA MCCALLUM http://www.poetryfoundation.org/poems-and-poets/poets/detail/shara-mccallum Originally from Jamaica, Shara McCallum is the author of five books of poetry: Madwoman (forthcoming fall 2016, Alice James Books, US; spring 2017, Peepal Tree Press, UK); The Face of Water: New and Selected Poems (Peepal Tree Press, UK, 2011); This Strange Land (Alice James Books, US, 2011), a finalist for the OCM Bocas Prize for Caribbean Literature; Song of Thieves (University of Pittsburgh Press, US, 2003); and The Water Between Us (University of Pittsburgh Press, US, 1999), winner of the Agnes Lynch Starrett Prize for Poetry. Recognition for her work includes a Witter Bynner Fellowship from the Library of Congress, a National Endowment for the Arts Poetry Fellowship, a Walter E. Dakin Fellowship from the Sewanee Writers’ Conference, a Tennessee Arts Commission Individual Artist Grant, a Cave Canem Fellowship, inclusion in the Best American Poetry series, and a poetry prize from the Academy of American Poets. Her poems have appeared in literary journals, magazines, and anthologies in the US, the Caribbean, Latin America, the UK and other parts of Europe, and Israel; have been reprinted in over thirty textbooks and anthologies of American, African American, Caribbean, and world literatures; and have been translated into Spanish, French, Italian, and Romanian. McCallum is also an essayist and publishes reviews and essays regularly in print and online at such sites as the Poetry Society of America. She has delivered readings throughout the US and internationally, including at the Library of Congress, Folger Shakespeare Library, Geraldine R. Dodge Poetry Festival, Miami Book Fair International, Calabash Festival (Jamaica), Bocas Lit Fest (Trinidad), StAnza (Scotland), Poesia en el Laurel (Spain), Incoci di Civilta (Italy), and at numerous colleges and universities. Since 2003, McCallum has served as Director of the Stadler Center for Poetry at Bucknell University, where she is a Professor in the Creative Writing Program. She has been a faculty member in the University of Memphis MFA program, Drew University Low-Residency MFA Program, Stonecoast Low-Residency MFA program, and at the University of West Indies in Barbados.

Coming Up… Main Fiction: “Hiraeth: A Tragedy in Four Acts‏” by Karen Lord Originally published in Reach for Infinity, edited by Jonathan Strahan Karen Lord, a Barbadian author and research consultant, is known for her debut novel Redemption in Indigo, which won the 2008 Frank Collymore Literary Award, the 2010 Carl Brandon Parallax Award, the 2011 William L. Crawford Award, the 2011 Mythopoeic Fantasy Award for Adult Literature and the 2012 Kitschies Golden Tentacle (Best Debut), and was longlisted for the 2011 Bocas Prize for Caribbean Literature and nominated for the 2011 World Fantasy Award for Best Novel. Her second novel

Jesse interviews Dr. Catana Tully - who grew up trilingual (German, Spanish, English) in Guatemala. In tenth grade she entered a boarding school in Jamaica, WI and received her Advanced Level Higher Schools Certificate from Cambridge University, England. Expecting to become an international interpreter, she continued her studies at the Sprachen und Dolmetscher Institut in Munich, Germany. However, she was called to work in a play and discovered her affinity for the dramatic arts. She became the actress and fashion model Catana Cayetano appearing in Film and TV in Germany, Austria, and Italy. In Upstate New York, she completed a BA in Cultural Studies, MA in Latin American and Caribbean Literature, and DA in Humanistic Studies. She was a tenured Associate Professor at SUNY Empire State College, and in retirement returned to work in ESC’s Center for International Programs, serving as Mentor and instructor in the Lebanon program, and Interim Program Director for the Dominican Republic. In 2011 she dedicated herself to publishing Split at the Root. She is currently preparing an academic version discussing the psychological issues imbedded in the memoir.  We will look at her work in Split at the Root.  You can learn more about Dr. Catana Tully at www.splitattheroot.com and www.catanatully.com   Clare Hedin:  www.clarehedin.com Shimshai:  www.shimshai.com

Five women writers from various regions of the globe discuss the voice and role of women past, present and future, on the page and living life as only women can. The conversation will be moderated by Linda A. Duggins, Hachette Book Group (pictured.) Authors include:Connie May Fowler, How Clarissa Burden Learned to Fly (Grand Central Publishing)Iris Gomez, Try to Remember (Grand Central Publishing)Elizabeth Nunez, Anna-In-Between (Akashic Press)Dolen Perkins-Valdez, Wench (Amistad/HarperCollins)Tiphanie Yanique, How to Escape From a Leper Colony (Graywolf Press) Connie May Fowler is an award-wining novelist, memoirist, and screenwriter. She is the author of seven books, including her new novel, How Clarissa Burden Learned to Fly, which will be released in April. Her books have received the Chautauqua South Literary Award, the Southern Book Critics Circle Award, and the Francis Buck Award; three of her novels have been Dublin International Literary Award nominees. (www.conniemayfowler.com) Iris Gomez is the author of two poetry collections, Housicwhissick Blue and When Comets Rained, which earned a prestigious national poetry prize from the University of California. Originally from Colombia, she is a public interest immigration lawyer and law school lecturer. Her novel, Try to Remember, will be released in May. (www.irisgomez.com)  Elizabeth Nunez is the author of seven novels, inlcuding Prospero's Daughter (New York Times Editors' Choice) and Bruised Hibiscus (American Book Award). She is coeditor, with Jennifer Sparrow, of the anthology Stories from Blue Latitudes: Caribbean Women Writers at Home and Abroad. (http://aalbc.com/authors/elizabet.htm)  Dolen Perkins-Valdez's fiction and essays have appeared in The Kenyon Review, African American Review, and other publications. A former George McCandlish Fellow in American Literature at George Washington University, Dolen was a finalist for the 2009 Robert Olen Butler Short Fiction prize. Wench is her first novel. (www.dolenperkinsvaldez.com)  Tiphanie Yanique is from the Hospital Ground neighborhood of St. Thomas, Virgin Islands. She is an assistant professor of Creative Writing and Caribbean Literature at Drew University and an associate editor with Post-No-Ills. (http://tiphanieyanique.blogspot.com/) Program partners: Recorded On: Saturday, March 6, 2010