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 [Description forthcoming]



Narrative and Narrative Analysis

  • "We are Ugly But We Are Here" by Edwidge Danticat

  • For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf by Ntozake Shange

  • The Women of Brewster Place by Gloria Naylor

  • The Color Purple by Alice Walker

  • Eartha Kitt on Relationships and Compromise 

  • A Tempest by Aime Cesaire; Richard Miller (Translator)

  • Zong! by M. NourbeSe Philip; Setaey Adamu Boateng (Other)

  • The Kingdom of This World by Alejo Carpentier

  • Small Place by Jamaica Kincaid

  • Discourse on Colonialism by Aimé Césaire

  • The Sobbing School by Joshua Bennett

  • Toni Morrison's "Recitatif" 

  • Playing in the Dark by Toni Morrison

Historical (Primary)

Historical (Secondary)


  • Audre Lorde: self-proclaimed lesbian, feminist, poet, warrior

  • Marsha P. Johnson: gay liberation/transgender rights activist/initiated stonewall riots

  • Pat Parker: lesbian feminist poet/activist

  • Cece McDonald: gay/transgender rights activist, prison abolitionist 

  • Laverne Cox: transgender rights activist/actress

  • Elaine Brown: singer, activist, former Black Panther Party chairwoman

  • Nina Simone: singer/civil rights activist

  • Claudia Jones: caribbean journalist/activist/Communist 

  • Alicia Garza: civil rights activist/BLM founder

  • Anna Julia Cooper: black liberation activist

  • Toni Cade Bambara: caribbean feminist activist/writer 

  • Critical Resistance

  • The Queer Detainee Empowerment Project

  • The Audre Lorde Project

  • Black Lives Matter

"In the face of environmental catastrophes, “unpayable debt” levied by a global north created out of plantation profits, police and military violence, and the continued predations of US empire, the Caribbean and its diaspora refuse death. Our women, children, and men rebuke the “bad press” spoken in their name by outsiders. Our artists refuse to be bound by the permutations of forced migration or nation-centric narratives of being, cleaving instead to affinities, networks, relations that cross islands and mainlands, race and empire. If this story of refusal seems timeless as well as deathless, or if in evoking a dense humanity and attention to spirit, the past, present, and future appear to cycle back through wind currents ridden by conquistadores in 1492 or the combustion of revolt that marked 1791, this, too, is part of the work. Which is to say, refusing linear historical accounts for multilayered and collagic narratives is accountable Caribbeanist scholarly praxis. Refusing material or empirical knowledges for the fractional and fractal, the hidden books, the hauntings at the crossroads, is diasporic and ancestral intellectual labor. If being deathless requires an art, a discipline, an ethic, a way of being, then the Caribbean has death mastered" (Jessica Marie Johnson, "We are Deathless (Slavery in the Machine)")

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