The Author As Cannibal

In the first decades after the end of French rule, Francophone authors engaged in an exercise of rewriting narratives from the colonial literary canon. In The Author as Cannibal, Felisa Vergara Reynolds presents these textual revisions as figurative acts of cannibalism and examines how these literary cannibalizations critique colonialism and its legacy in each author’s homeland. Reynolds focuses on four representative texts: Une tempête (1969) by Aimé Césaire, Le temps de Tamango (1981) by Boubacar Boris Diop, L’amour, la fantasia (1985) by Assia Djebar, and La migration des coeurs (1995) by Maryse Condé. Though written independently in Africa and the Caribbean, these texts all combine critical adaptation with creative destruction in an attempt to eradicate the social, political, cultural, and linguistic remnants of colonization long after independence. The Author as Cannibal situates these works within Francophone studies, showing that the extent of their postcolonial critique is better understood when they are considered collectively. Crucial to the book are two interviews with Maryse Condé, which provide great insight on literary cannibalism. By foregrounding thematic concerns and writing strategies in these texts, Reynolds shows how these rewritings are an underappreciated collective form of protest and resistance for Francophone authors.

After French colonial rule ended, Francophone authors began rewriting narratives from the colonial literary canon. Felisa Vergara Reynolds presents these textual revisions as figurative acts of cannibalism and examines how these literary cannibalizations critique colonialism and its legacy in each author’s homeland.

It's the stuff of nightmares, the dark inspiration for literature and film. But astonishingly, cannibalism does exist, and in Among the Cannibals travel writer Paul Raffaele journeys to the far corners of the globe to discover participants in this mysterious and disturbing practice. From an obscure New Guinea river village, where Raffaele went in search of one of the last practicing cannibal cultures on Earth; to India, where the Aghori sect still ritualistically eat their dead; to North America, where evidence exists that the Aztecs ate sacrificed victims; to Tonga, where the descendants of fierce warriors still remember how their predecessors preyed upon their foes; and to Uganda, where the unfortunate victims of the Lord's Resistance Army struggle to reenter a society from which they have been violently torn, Raffaele brings this baffling cultural ritual to light in a combination of Indiana Jones-type adventure and gonzo journalism. Illustrated with photographs Raffaele took during his travels, Among the Cannibals is a gripping look at some of the more unsavory aspects of human civilization, guaranteed to satisfy every reader's morbid curiosity.

Colliding with and confronting The Tempest and postcolonial identity, the poems in Safiya Sinclair's Cannibal explore Jamaican childhood and history, race relations in America, womanhood, otherness, and exile. She evokes a home no longer accessible and a body at times uninhabitable, often mirrored by a hybrid Eve/Caliban figure. Blooming with intense lyricism and fertile imagery, these full-blooded poems are elegant, mythic, and intricately woven. Here the female body is a dark landscape; the female body is cannibal. Sinclair shocks and delights her readers with her willingness to disorient and provoke, creating a multitextured collage of beautiful and explosive poems.

The Cannibal was John Hawkes's first novel, published in 1949. The Cannibal was John Hawkes's first novel, published in 1949.

A comprehensive study of cannibalism in literature and film, spanning colonial fiction, Gothic texts and contemporary American horror. Amidst the sharp teeth and horrific appetite of the cannibal, this book examines real fears of over-consumerism and consumption that trouble an ever-growing modern world.

The Cannibal Within offers an evolutionary account of the propensity of human beings, in extreme circumstances to eat other human beings, despite the strong Western taboo against such practices. What sets this volume apart from the large body of literature on cannibalism, both popular and anthropological, is the underlying premise: cannibalism as an alternative to starvation is tacitly condoned by the same biological morality that would condemn cannibalism of other sorts in non-threatening situations. Deep as the taboos may be, the survival instinct runs even deeper. The title of the book reflects the author's belief that cannibalism is not a pathology that erupts in psychotic individuals, but is a universal adaptive strategy that is evolutionarily sound. The cannibal is within all of us, and cannibals are within all cultures, should the circumstances demand cannibalism's appearance and usage. Petrinovich's work is rich in historical detail, and rises to a level of theoretical sophistication in addressing a subject too often dealt with in sensationalist terms. The major instances in which survival cannibalism has occurred convinced the author that there is a consistent pattern and a uniform regularity of order in which different kinds of individuals are consumed. In considering who eats whom, when, and under what circumstances, this regularity appears, and it is consistent with what would be expected on the basis of evolutionary or Darwinian theory. In short, he concludes that starvation cannibalism is not a manifestation of the chaotic, psychotic behavior of individuals who are driven to madness, but reveals underlying characteristics of evolved human beings. Lewis Petrinovich is professor emeritus in the Department of Psychology of the University of California, Riverside and is currently a resident of Berkeley, California.

Objects of fear and fascination, cannibals have long signified an elemental "otherness," an existence outside the bounds of normalcy. In the American imagination, the figure of the cannibal has evolved tellingly over time, as Jeff Berglund shows in this study encompassing a strikingly eclectic collection of cultural, literary, and cinematic texts. Cannibal Fictions brings together two discrete periods in U.S. history: the years between the Civil War and World War I, the high-water mark in America's imperial presence, and the post-Vietnam era, when the nation was beginning to seriously question its own global agenda. Berglund shows how P. T. Barnum, in a traveling exhibit featuring so-called "Fiji cannibals," served up an alien "other" for popular consumption, while Edgar Rice Burroughs in his Tarzan of the Apes series tapped into similar anxieties about the eruption of foreign elements into a homogeneous culture. Turning to the last decades of the twentieth century, Berglund considers how treatments of cannibalism variously perpetuated or subverted racist, sexist, and homophobic ideologies rooted in earlier times. Fannie Flagg's novel Fried Green Tomatoes invokes cannibalism to new effect, offering an explicit critique of racial, gender, and sexual politics (an element to a large extent suppressed in the movie adaptation). Recurring motifs in contemporary Native American writing suggest how Western expansion has, cannibalistically, laid the seeds of its own destruction. And James Dobson's recent efforts to link the pro-life agenda to allegations of cannibalism in China testify still further to the currency and pervasiveness of this powerful trope. By highlighting practices that preclude the many from becoming one, these representations of cannibalism, Berglund argues, call into question the comforting national narrative of e pluribus unum.