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Tropical Aesthetics of Black Modernism
In Tropical Aesthetics of Black Modernism, Samantha A. Noël investigates how Black Caribbean and American artists of the early twentieth century responded to and challenged colonial and other white-dominant regimes through tropicalist representation. With depictions of tropical scenery and landscapes situated throughout the African diaspora, performances staged in tropical settings, and bodily expressions of tropicality during Carnival, artists such as Aaron Douglas, Wifredo Lam, Josephine Baker, and Maya Angelou developed what Noël calls “tropical aesthetics”—using art to name and reclaim spaces of Black sovereignty. As a unifying element in the Caribbean modern art movement and the Harlem Renaissance, tropical aesthetics became a way for visual artists and performers to express their sense of belonging to and rootedness in a place. Tropical aesthetics, Noël contends, became central to these artists’ identities and creative processes while enabling them to craft alternative Black diasporic histories. In outlining the centrality of tropical aesthetics in the artistic and cultural practices of Black modernist art, Noël recasts understandings of African diasporic art.
Carefree God of War
His father disappeared; his brother committed suicide. Thomas Mayo, the God of War, returned, and he swore that he would take revenge…
Marrying Bonnie
He’s falling in love with the wrong person…his son’s nanny. Bonnie Tabor grew up in a wealthy family. For her, that meant emotional neglect and a healthy dose of pretense. Walking away from her inheritance was the best decision she ever made because she discovered her dream job working as a nanny. Too bad she had to fall in love with her handsome employer, a single dad who may be rich but is kind, caring, and loves his young son unconditionally. Should she quit before things get too complicated? Jace Echolls keeps his business and personal lives separate. That makes ignoring his growing feelings for Bonnie easier. But when he takes over his grandfather’s farm, everything changes. Now...
Cries of Battle
Princess Sierra Liandri joins the Raptor Battalion with her Royal squad to uncover the threat disrupting the human planetary trading routes. Stalled by their allies, the Viol Nations, Sierra helps discover a faction within the Viol preparing to wipe out humanity. Following Captain Jake Murose, leader of the Raptor Battalion, Sierra realizes her squad is not going to survive the war. With each loss of her sister soldiers, Sierra fights to focus on the war rather than become distracted by her personal struggles. Physically, mentally and emotionally, Sierra struggles amidst the cries of the war with humanity's survival, survivor's guilt and the interests of the heart.
Gendered Identity and the Lost Female
This book offers an exploration of the postcolonial hybrid experience in anglophone Caribbean plays and performance from a feminist perspective. In a hitherto unattempted consideration of Caribbean theatre and performance, this study of gendered identities chronicles the postcolonial hybrid experience – and how it varies in the context of questions of sex, performance and social designation. In the process, it examines the diverse performances of the anglophone Caribbean. The work includes works by Caribbean anglophone playwrights like Derek Walcott, Mustapha Matura, Michael Gikes, Dennis Scott, Trevor Rhone, Earl Lovelace and Errol John with more recent works of Pat Cumper, Rawle Gibbo...
Shifting the Meaning of Democracy
This book offers a historical analysis of one of the most striking and dramatic transformations to take place in Brazil and the United States during the twentieth century—the redefinition of the concepts of nation and democracy in racial terms. The multilateral political debates that occurred between 1930 and 1945 pushed and pulled both states towards more racially inclusive political ideals and nationalisms. Both countries utilized cultural production to transmit these racial political messages. At times working collaboratively, Brazilian and U.S. officials deployed the concept of “racial democracy” as a national security strategy, one meant to suppress the existential threats perceived to be posed by World War II and by the political agendas of communists, fascists, and blacks. Consequently, official racial democracy was limited in its ability to address racial inequities in the United States and Brazil. Shifting the Meaning of Democracy helps to explain the historical roots of a contemporary phenomenon: the coexistence of widespread antiracist ideals with enduring racial inequality.
The Secular Care of the Self
The modern desire to care for our health, so obvious to its proponents, has its discontents. Secular medicine denounces the work of those who claim the protective powers of spirits or the Holy Spirit. In this contestation over what it means to care for oneself, Ian Whitmarsh offers an unorthodox thesis: the modern secular desire toward health is founded in a Protestant congregationalism that shapes its refusal of spirit manifestation, revelation, and the power of deities to shape the world. This proper healthy ethics and aesthetics is then taught to those who lack choice in their continuing to live through these ontologies. Whitmarsh explores these dynamics of power and spirit as they move across the Atlantic, from northern Europe to North America to the country of Trinidad and Tobago. Trinidad offers a broken mirror to the ostensibly secular global endeavor of the desire to be healthy. This mirror shows that the threat found in the spirits and practitioners of other religions, such as Pentecostal healing and orisha manifestation, reveals racialized Protestant commitments masked within a modern global "secular" care of the self.
