..., along with alternative oral and visual sources, as strategies for navigating elisions and biases in the written records of the past. She also argues for the present as justification for working with incomplete and biased archives. The essay draws parallels between African storytelling in the Americas...

...Vincent Brown This response to commentaries by Trevor Burnard, Colin Dayan, and Verene Shepherd on The Reaper's Garden recalls some of the inspirations that motivated research for the book, the assumptions that framed its analysis, and the aims of its storytelling. The book begins where most...

... Césaire explicitly builds her novel from the tales she has collected in her professional ethnographic research, the art of storytelling is only referred to indirectly and is built into a larger structure based on environment, music, rhythm, dance, and movement. These alliances between literature...

... be carried from one relationship experience to others. The importance of bricolage with respect to interpersonal relationships and hegemonic control is particularly relevant to the role of the Creole storyteller. On the plantation, the storyteller was a kind of bricoleur, who reused the narrative...

... and recovery emerges in especially cogent ways in Patrick Chamoiseau's 1988 novel Solibo Magnifique . The story opens with the sudden and surreal death of the eponymous storyteller, Solibo—“throat snickt by the word.” 18 As a result of this death, the novel's narrator, the ethnographer “Patrick Chamoiseau...

... these texts: songs, proverbs, riddles, dia- logues, and refrains. On the tension between the written and the oral, which I also broached, Glover cites the explorations in Frankétienne and Rewriting of Frankétienne’s refusal of the folklorization of the oral and storytelling figures à la Papa Doc...

... in the Haitian tradition of the storyteller’s calling out “Krik followed by a well-disposed audience’s gathering around and answering “Krak!”5 Along with material from Haitian folk wisdom, Danticat’s stories vividly portray the tortured history of her native country, the horror of living...

... of this episode are also worthy of being heard” ( AS , 460). Confiant goes on to indicate what these other versions could be, but it is enough for our purposes to observe that he carefully explains how a creole method of approaching storytelling might reshape what we can refer to as a literary Cartesian geometry...

... generous close reading of Imperial Intimacies , Marc Matera points to the importance of form, of finding “more intimate and contingent modes of storytelling than academic history writing,” forms of writing that can reach into “those intimate spaces and practices of empire and racialization” inaccessible...

... of creative work—in the language. For my part, I am less interested in literacy than in recovering my native voice, finding form for fiction that is (more) informed by Jamaican storytelling and popular music than the conventions of the US market and the MFA novel. But while Cooper’s patoisphone analysis...

..., is already many voices. Embroidered with dreams, the words were passed on by storytellers, one and one and one, until they landed here in Mahagony , where they enter the Whole-World envisioned by Glissant, where every voice has equal weight. It is interesting to think of them in that way—as voices...

... and nonhistories, the thing is to create work out of aesthetics that have already been pronounced. In my old paintings I referred to two key characters from the bestiary of the Creole folk tale: “Konpè Krapo” and “Konpè Lapin.” I worked as a kind of storyteller. Today, I am real- izing that the language...

... continues the use of montage, layering, and multiple media (ambient sound, animation, imagery, writing, music, and voice) associated with my work.2 I extend documentary photographs through the addition of imag- ined interventions. A series of present-day storytellers perform...

... of Erotic Cartographies: Decolonization and the Queer Caribbean Imagination (2022), which focuses on the subjectivities and decolonial praxis of same-sex desiring Trinidadian women. N jelle H amilton is a Jamaican songwriter, storyteller, and scholar. As an associate professor at the University...

..., and our notions of belonging. Stoddart has published two books, Seamless Spaces (2000) and The Storyteller (2007). She has produced five solo exhibitions and has participated in important local, regional, and international group shows. She is the recipient of a Peoples' Choice prize in France and has...

... amilton is a Jamaican songwriter, storyteller, and scholar. As a literary scholar and associate professor at the University of Virginia, she specializes in narrative innovations in the contemporary Caribbean novel. She is the author of Phonographic Memories: Popular Music and the Contemporary Caribbean...

... stories as vehicles of social organization. 8 Anthropologists have long argued for the power of storytelling as a genre, although Bronislaw Malinowski parsed legends and myths from stories and cast only the former as the stuff of history making. 9 And Michael Jackson has called for reframing life...

... the Black Diaspora through Folk Culture and Religion (Westpoint, CT: Preager, 2006), 215–68. In his chapter on Hurston, Houston A. Baker calls the propensity of Afro-Americans to embellish their storytelling “spirit work,” since he identifies a resemblance between the performative nature...

...), editor of sx salon: a small axe literary platform , and manager of The Caribbean Commons website. Her current project, “Caribbean Articulations: Storytelling in a Digital Age,” explores the intersections between new technologies and Caribbean cultural production. D aisy H older L afond was born...

... of Washington. She is author of the award-winning book Silencing Race: Disentangling Race, Colonialism, and National Identities in Puerto Rico (1850–1920) (2012) and coeditor, with Laurie Sears, of “The Politics of Storytelling in Island Imperial Formations,” a special issue of Positions (2021). M...