Trinidad Force Warriors Of God

This work analyses: (1) the discursive terrain of the Muslim community/Ummah of Trinidad and Tobago from the Jihad of the Jamaat al Muslimeen on July 27th, 1990 to 2015 with emphasis on the evolution of militant Islam in this period. (2) It deconstructs the discourse of the Islamic State constructed to motivate Muslims of the world, especially of the West to migrate/to undertake Hijrah to the Islamic State with emphasis on the discursive concepts of the Islamic Apocalypse, the Malahim, Hijrah and Jihad is War. (3) It deconstructs the specific discourse of the Islamic State constituted for the Muslims of Trinidad and Tobago which reveals the importance of the Trinidad and Tobago contingent to the propaganda machinery of the Islamic State. (4) It deconstructs the discourse of the survivors which reveals the complex motivational structure that drove Muslims of Trinidad and Tobago to journey to the Islamic State. What is revealed is a power relation between the Muslims of Trinidad and Tobago who are a minority group of the population of Trinidad and Tobago, the kufr State of Trinidad and Tobago and the discourse of the Islamic State. The reality that the Trinidad and Tobago contingent to Islamic State was the largest per capita amongst Muslims that undertook Hijrah to the Islamic State speaks volumes to the susceptibility of the Muslim community to the call of the Islamic State. This work deconstructs the underlying reality that ensured the virulence of the discourse of the Islamic State in its impact on Muslims of Trinidad and Tobago.

This work explodes myths on the decolonization process in former British colonies of Trinidad and Tobago and Ghana. Myths that masked the fact that the British colonial overlord with the full support of their local lackeys stage managed the process to ensure that compliant regimes were put in place as the inheritors of Independence from the British. Tubal Uriah Butler was systematically destroyed as a political leader to end his threat to the political order as he was not of the required material to be an inheritor of Independence. Kwame Nkrumah was fit to rule Ghana but he was subsequently removed in 1966. The social orders of Trinidad and Tobago and Ghana have been deeply impacted by British machinations on the road to Independence to this day.

Ramleela is the story or Leela ('play') of the legend of Prince Rām of Ayodhya, India, battling demi gods, demons and king Rawan to rescue beautiful Princess Sita from Lanka. This ancient, epic story of the Ramayana; later narrated in Tulsidas's Ramcharitmanas, and introduced to the Caribbean by Indian, indentured workers, it has been flourishing as Ramleela, folk theatre, in Trinidad for over 130 years. It is performed continuously in the village, now town, of Felicity for over 100 years. The residents of Felicity-a village carved out of former sugarcane lands, at the edge of the Caribbean Sea-have been performing their Ramleela annually for eleven consecutive days with the grandeur and panache of village pageantry. This particular production has been mentioned by two Nobel laureates; Sir Vidya Naipaul and Derek Walcott. Part I of the book deals with the issues that the immigrant East Indian community grapples with, in establishing their space and identity within the new landscape. Part II is centered in Felicity with its unique history, geography and demography. Part III documents the story, as dramatised; the circumstances of Rām's birth, his education and training, marriage, exile, trials and tribulations, battles, overcoming magic and illusion, his victory over king Rāwan and his triumphant return to rule the Kingdom of Ayodhya The story is presented through a combination of acting, vocal and instrumental music, supporting props, décor, lighting and costuming. Its multi-layered meanings have been explained through the use of masks and forms of masking, guise and disguise, at the physical and metaphysical levels. The pageant incorporates burlesque, humour, satire, village commerce and entertainment on the fringe, a complete mela, attracting young and old, the religious and the secular. These multiple features have expanded the annual audiences of the Leela while enhancing the rich, diverse heritage of Trinidad and Tobago's cultural landscape in the 21st century.

Desert God has descriptive copy which is not yet available from the Publisher.

Using the historical principles of the Oxford English Dictionary, Lise Winer presents the first scholarly dictionary of this unique language. The dictionary comprises over 12,200 entries, including over 4500 for flora and fauna alone, with numerous cross-references. Entries include definitions, alternative spellings, pronunciations, etymologies, grammatical information, and illustrative citations of usage. Winer draws from a wide range of sources - newspapers, literature, scientific reports, sound recordings of songs and interviews, spoken language - to provide a wealth and depth of language, clearly situated within a historical, cultural, and social context.

Sander . . . presents a definitive, thoroughly researched, gracefully expressed study of literary activity in Trinidad in the 1930s, and its literary/cultural implications for West Indian literature in general. . . . In Caribbean literary studies, Sander's work is pioneering in its drawing of successful links between cultural productions and historical realities. The book's organization is clear and logical; its accessibility enhanced by a well-documented index. Choice This is the first comprehensive history of the Trinidadian literature that paved the way for the emergence over the past forty years of many major West Indian literary works. Sander contends that the sporadic nature of literary output in the island before the late 1920s can be explained in part as the consequence of Trinidad's linguistic diversity and its rapidly changing patterns of settlement. Until 1797 Trinidad had been a Spanish colony, with a large proportion of French-speaking inhabitants, and it was not until the end of the nineteenth century that English became more widely spoken. The burst of creative activity in the late 1920s was related to the new ascendancy of English and the fact that the society had begun to resolve itself into well-defined racial, social, and economic groupings.