The Black Pacific

Offers a fresh understanding of the global connectivity of struggles against colonial rule.

Set between the rise of the U.S. and Japan as Pacific imperial powers in the 1890s and the aftermath of the latter’s defeat in World War II, Strange Fruit of the Black Pacific traces the interrelated migrations of African Americans, Japanese Americans, and Filipinos across U.S. domains. Offering readings in literature, blues and jazz culture, film,theatre, journalism, and private correspondence, Vince Schleitwiler considers how the collective yearnings and speculative destinies of these groups were bound together along what W.E.B. Du Bois called the world-belting color line. The links were forged by the paradoxical practices of race-making in an aspiring empire—benevolent uplift through tutelage, alongside overwhelming sexualized violence—which together comprise what Schleitwiler calls “imperialism’s racial justice.” This process could only be sustained through an ongoing training of perception in an aesthetics of racial terror, through rituals of racial and colonial violence that also provide the conditions for an elusive countertraining. With an innovative prose style, Strange Fruit of the Black Pacific pursues the poetic and ethical challenge of reading, or learning how to read, the black and Asian literatures that take form and flight within the fissures of imperialism’s racial justice. Through startling reinterpretations of such canonical writers as James Weldon Johnson, Nella Larsen, Toshio Mori, and Carlos Bulosan, alongside considerations of unexpected figures such as the musician Robert Johnson and the playwright Eulalie Spence, Schleitwiler seeks to reactivate the radical potential of the Afro-Asian imagination through graceful meditations on its representations of failure, loss, and overwhelming violence.

The Black Pacific Narrative: Geographic Imaginings of Race and Empire between the World Wars chronicles the profound shift in geographic imaginings that occurred in African American culture as the United States evolved into a bioceanic global power. The author examines the narrative of the Òblack PacificÓ_the literary and cultural production of African American narratives in the face of AmericaÕs efforts to internationalize the Pacific and to institute a ÒPacific Community,Ó reflecting a vision of a hemispheric regional order initiated and led by the United States. The black Pacific was imagined in counterpoint to this regional order in the making, which would ultimately be challenged by the Pacific War. The principal subjects of study include such literary and cultural figures as James Weldon Johnson, George S. Schuyler, artists of the black Federal Theatre Project, Langston Hughes, W. E. B. Du Bois, and Walter White, all of whom afford significant points of entry to a critical understanding of the stakes of the black Pacific narrative. Adopting an approach that mixes the archival and the interpretive, the author seeks to recover the black Pacific produced by African American narratives, narratives that were significant enough in their time to warrant surveillance and suspicion, and hence are significant enough in our time to warrant scholarly attention and reappraisal. A compelling study that will appeal to a broad, international audience of students and scholars of American studies, African American studies, American literature, and imperialism and colonialism.

"[Book title] ranges over the broad expanse of Oceania to reconstruct the history of "blackbirding" (slave trading) in the region. It examines the role of U.S. citizens (many of them ex-slaveholders and ex-confederates) in the trade and its roots in Civil War dislocations. What unfolds is a dramatic tale of unfree labor, conflicts between formal and informal empire, white supremacy, threats to sovereignty in Hawaii, the origins of a White Australian policy, and the rise of Japan as a Pacific power and putative protector."--Back cover.

How Afro-Peruvian music was forgotten and recreated in Peru.

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Why have the struggles of the African Diaspora so resonated with South Pacific people? How have Maori, Pasifika and Pakeha activists incorporated the ideologies of the African diaspora into their struggle against colonial rule and racism, and their pursuit of social justice? This book challenges predominant understandings of the historical linkages that make up the (post-)colonial world. The author goes beyond both the domination of the Atlantic viewpoint, and the correctives now being offered by South Pacific and Indian Ocean studies, to look at how the Atlantic ecumene is refracted in and has influenced the Pacific ecumene. The book is empirically rich, using extensive interviews, participation and archival work and focusing on the politics of Black Power and the Rastafari faith. It is also theoretically sophisticated, offering an innovative hermeneutical critique of post-colonial and subaltern studies. The Black Pacific is essential reading for students and scholars of Politics, International Relations, History and Anthropology interested in anti-colonial struggles, anti-racism and the quests for equality, justice, freedom and self-determination.

The Black Pacific Narrative: Geographic Imaginings of Race and Empire between the World Wars chronicles the profound shift in geographic imaginings that occurred in African American culture as the United States evolved into a bioceanic global power. The author examines the narrative of the Òblack PacificÓ_the literary and cultural production of African American narratives in the face of AmericaÕs efforts to internationalize the Pacific and to institute a ÒPacific Community,Ó reflecting a vision of a hemispheric regional order initiated and led by the United States. The black Pacific was imagined in counterpoint to this regional order in the making, which would ultimately be challenged by the Pacific War. The principal subjects of study include such literary and cultural figures as James Weldon Johnson, George S. Schuyler, artists of the black Federal Theatre Project, Langston Hughes, W. E. B. Du Bois, and Walter White, all of whom afford significant points of entry to a critical understanding of the stakes of the black Pacific narrative. Adopting an approach that mixes the archival and the interpretive, the author seeks to recover the black Pacific produced by African American narratives, narratives that were significant enough in their time to warrant surveillance and suspicion, and hence are significant enough in our time to warrant scholarly attention and reappraisal. A compelling study that will appeal to a broad, international audience of students and scholars of American studies, African American studies, American literature, and imperialism and colonialism.

Hawaiʻi Is My Haven maps the context and contours of Black life in the Hawaiian Islands. This ethnography emerges from a decade of fieldwork with both Hawaiʻi-raised Black locals and Black transplants who moved to the Islands from North America, Africa, and the Caribbean. Nitasha Tamar Sharma highlights the paradox of Hawaiʻi as a multiracial paradise and site of unacknowledged antiBlack racism. While Black culture is ubiquitous here, African-descended people seem invisible. In this formerly sovereign nation structured neither by the US Black/White binary nor the one-drop rule, nonWhite multiracials, including Black Hawaiians and Black Koreans, illustrate the coarticulation and limits of race and the native/settler divide. Despite erasure and racism, nonmilitary Black residents consider Hawaiʻi their haven, describing it as a place to “breathe” that offers the possibility of becoming local. Sharma's analysis of race, indigeneity, and Asian settler colonialism shifts North American debates in Black and Native studies to the Black Pacific. Hawaiʻi Is My Haven illustrates what the Pacific offers members of the African diaspora and how they in turn illuminate race and racism in “paradise.”