Tee is suspended between the warmth, spontaneity and exuberance of Tantie's household and the formality and pretension of Aunt Beatrice's world, which Tee is obliged to accept when she wins a scholarship. Her initiation into the negro middle class is an uneasy one.
This book offers a variety of approaches to children's literature from a postcolonial perspective that includes discussions of cultural appropriation, race theory, pedagogy as a colonialist activity, and multiculturalism. The eighteen essays divide into three sections: Theory, Colonialism, Postcolonialism. The first section sets the theoretical framework for postcolonial studies; essays here deal with issues of "otherness" and cultural difference, as well as the colonialist implications of pedagogic practice. These essays confront our relationships with the child and childhood as sites for the exertion of our authority and control. Section 2 presents discussions of the colonialist mind-set in children's and young adult texts from the turn of the century. Here works by writers of animal stories in Canada, the U.S. and Britain, works of early Australian colonialist literature, and Frances Hodgson Burnett's A Little Princess come under the scrutiny of our postmodern reading practices. Section 3 deals directly with contemporary texts for children that manifest both a postcolonial and a neo-colonial content. In this section, the longest in the book, we have studies of children's literature from Canada, Australia, Africa, the Caribbean, and the United States.
On a Caribbean island, the morning after a full moon, Felix Hobain tears through the market in a drunken rage. Taken away to sober up in jail, all that night he is gripped by hallucinations: the impoverished hermit believes he has become a healer, walking from village to village, tending to the sick, waiting for a sign from God. In this dream, his one companion, Moustique, wants to exploit his power. Moustique decides to impersonate a prophet himself, ignoring a coffin-maker who warns him he will die and enraging the people of the island. Hobain, half-awake in his desolate jail cell, terrorized by the specter of his friend's corruption, clings to his visionary quest. He will try to transform himself; to heal Moustique, his jailer, and his jail-mates; and to be a leader for his people. Dream on Monkey Mountain was awarded the 1971 Obie Award for a Distinguished Foreign Play when it was first presented in New York, and Edith Oliver, writing in The New Yorker, called it "a masterpiece." Three of Derek's Walcott's most popular short plays are also included in this volume: Ti-Jean and His Brothers; Malcochon, or The Six in the Rain; and The Sea at Dauphin. In an expansive introductory essay, "What the Twilight Says," the playwright explains his founding of the seminal dramatic company where these works were first performed, the Trinidad Theatre Workshop. First published in 1970, Dream on Monkey Mountain and Other Plays is an essential part of Walcott's vast and important body of work.
La Gumas powerful, firsthand account depicts the dedicated South African people who risked their lives in the underground movement against apartheid. The main characters, Beukes and Elias, are among others determined to undermine apartheids blatant oppression and demeaning tactics. The authors knack for rich descriptions and weaving the past with the present transports readers to the grind of working in an underground political organization and the challenges of confronting hardships, change, and injustice on a daily basis.
As the first in her family to go to secondary school, twelve-year-old Lacey struggles with a variety of problems including a cruel teacher and a difficult home life with her father and stepmother.
Teased for her light skin and red hair during her childhood on St. Chris, Grace is puzzled about why she looks different from her family. As she comes into adulthood, Grace confronts the mystery of her own identity and the story of her birth mother in this sprawling, large-hearted novel.
In Simon Gikandi’s view, Caribbean literature and postcolonial literature more generally negotiate an uneasy relationship with the concepts of modernism and modernity—a relationship in which the Caribbean writer, unable to escape a history encoded by Europe, accepts the challenge of rewriting it. Drawing on contemporary deconstructionist theory, Gikandi looks at how such Caribbean writers as George Lamming, Samuel Selvon, Alejo Carpentier, C. L. R. James, Paule Marshall, Merle Hodge, Zee Edgell, and Michelle Cliff have attempted to confront European modernism.
This is the story of one woman's life; that of Gwyneth Cuffie, a seemingly ordinary woman: teacher, lover of children and music, and pillar of her community. Beautifully written and deeply compassionate, the novel follows Gwynneth's life, as she charts her own path through the turbulent times of her island and struggle against colonialism.