Humor In The Caribbean Literary Canon

Humor in the Caribbean Literary Canon intimately examines Caribbean writers who engage canonical Western texts and forms, while using humor to challenge Western representations of people of African descent.

During and after the two World Wars, a cohort of Caribbean authors migrated to the UK and France. Dissecting writers like Lamming, Césaire, and Glissant, McIntosh reveals how these Caribbean writers were pushed to represent themselves as authentic spokesmen for their people, coming to represent the concerns of the emigrant intellectual community.

Relations between women - like the branches and roots of the mangrove - twist around, across, and within others as they pervade Caribbean letters. Desire between Women in Caribbean Literature elucidates the place of desire between women in Caribbean letters, compelling readers to rethink how to read the structures and practices of sexuality.

From 30 Americans to Angry White Boy, from Bamboozled to The Boondocks, from Chappelle's Show to The Colored Museum, this collection of twenty-one essays takes an interdisciplinary look at the flowering of satire and its influence in defining new roles in black identity. As a mode of expression for a generation of writers, comedians, cartoonists, musicians, filmmakers, and visual/conceptual artists, satire enables collective questioning of many of the fundamental presumptions about black identity in the wake of the civil rights movement. Whether taking place in popular and controversial television shows, in a provocative series of short internet films, in prize-winning novels and plays, in comic strips, or in conceptual hip-hop albums, this satirical impulse has found a receptive audience both within and outside the black community. Such works have been variously called “post-black,” “post-soul,” and examples of a “New Black Aesthetic.” Whatever the label, this collection bears witness to a noteworthy shift regarding the ways in which African American satirists feel constrained by conventional obligations when treating issues of racial identity, historical memory, and material representation of blackness. Among the artists examined in this collection are Paul Beatty, Dave Chappelle, Trey Ellis, Percival Everett, Donald Glover (a.k.a. Childish Gambino), Spike Lee, Aaron McGruder, Lynn Nottage, ZZ Packer, Suzan Lori-Parks, Mickalene Thomas, Touré, Kara Walker, and George C. Wolfe. The essays intentionally seek out interconnections among various forms of artistic expression. Contributors look at the ways in which contemporary African American satire engages in a broad ranging critique that exposes fraudulent, outdated, absurd, or otherwise damaging mindsets and behaviors both within and outside the African American community.

In the wake of the Charlie Hebdo attacks, this collection - which gathers scholars in the fields of race, ethnicity, and humor - seems especially urgent. Inspired by Denmark's Muhammad cartoons controversy, the contributors inquire into the role that racial and ethnic stereotypes play in visual humor and the thin line that separates broad characterization as a source of humor from its power to shock or exploit. The authors investigate the ways in which humor is used to demean or give identity to racial, national, or ethnic groups and explore how humor works differently in different media, such as cartoons, photographs, film, video, television, and physical performance. This is a timely and necessary study that will appeal to scholars across disciplines.

In most Caribbean countries homosexuality is still illegal and many outside of the region are unaware of how difficult life can be for gay men and lesbians. This book collects interviews with queer Caribbean writers, activists, and citizens and challenges the dominance of Euro-American theories in understanding global queerness.

The Grenada Revolution in the Caribbean Present: Operation Urgent Memory is the first scholarly book from the humanities on the subject of the Grenada Revolution and the US intervention. It is simultaneously a critique, tribute, and memorial. It argues that in both its making and its fall, the 1979-1983 Revolution was a transnational event that deeply impacted politics and culture across the Caribbean and its diaspora during its life and in the decades since its fall. Drawing together studies of landscape, memorials, literature, music, painting, photographs, film and TV, cartoons, memorabilia traded on e-bay, interviews, everyday life, and government, journalistic, and scholarly accounts, the book assembles and analyzes an archive of divergent memories. In an analysis that is relevant to all micro-states, the book reflects on how Grenada's small size shapes memory, political and poetic practice, and efforts at reconciliation.

Focusing on piracy in the seventeenth century, filibustering in the nineteenth century, intracolonial migrations in the 1930s, metropolitan racializations in the 1950s and 1960s, and feminist redefinitions of creolization and sexile from the 1940s to the 1990s, this book redefines the Caribbean beyond the postcolonial debate.