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Fortune / Smyth Amanda. - [miejsce nieznane] : Peepal Tree Press : Legimi, 2021.
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Eddie Wade has recently returned from the US oilfields. He is determined to sink his own well and make his fortune in the 1920s Trinidad oil-rush. His sights are set on Sonny Chatterjee's failing cocoa estate, Kushi, where the ground is so full of oil you can put a stick in the ground and see it bubble up. When a fortuitous meeting with businessman Tito Fernandez brings Eddie the investor he desperately needs, the three men enter into a partnership. A friendship between Tito and Eddie begins that will change their lives forever, not least when the oil starts gushing. But their partnership also brings Eddie into contact with Ada, Tito's beautiful wife, and as much as they try, they cannot avoid the attraction they feel for each other.Fortune, based on true events, catches Trinidad at a moment of historical change whose consequences reverberate down to present concerns with climate change and environmental destruction. As a story of love and ambition, its focus is on individuals so enmeshed in their desires that they blindly enter the territory of classic Greek tragedy where actions always have consequences.
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'A manifesto, a literary criticism, a personal chronicle of literary life, a book of days, a stage wherein famous writers such as Walcott, Thomas, Gunn, Espada, and others become actors, The Undiscovered Country discovers many things, but one thing for sure: Andre Bagoo is a fearless, brilliant mind. He can take us from the formal critical perspective to new futurist "visual essay", to verse essay, to sweeping historical account that is unafraid to go as far in time as Columbus and as urgently-of-our moment as Brexit—all of it with precision and attentiveness to detail that is as brilliant as it is startling. Bravo.' — Ilya Kaminsky, author of Deaf Republic and Dancing in OdessaAndre Bagoo is the real deal as an essayist in that he asks interesting questions (was there an alternative to the independence that Trinidad sought and gained in 1962?) and is open to seeing where his ideas take him – quite often to unexpected places. He displays an intense interest in the world around him – including literature, art, film, food, politics, even Snakes and Ladders – but is just as keen to share with the reader some sense of how his point of view has been constructed. He writes as a gay man who grew up in a country that still has colonial laws against gay sexuality, as a man whose ethnic heritage was both African and Indian in a country whose politics have been stymied by its ethnic divisions. And just what were the effects of repeat-watching a defective video of The Sound of Music, truncated at a crucial moment? There is an engaging personality present here, a sharp and enquiring mind, and ample evidence that he knows how to write shapely sentences and construct well-formed essays.Encyclopaedic knowledge is rarely the point of the essay, but few readers will leave this collection without feeling better informed and more curious about their worlds.
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'Tell me if I am mad,' Adam Avatar, a copper-skinned man with startling green eyes, asks Dr. Surendra Sankar, a psychiatrist in Trinidad. Aged forty-nine, there is some urgency in his request, since he fears that, very shortly, when he reaches his fiftieth birthday, he will die at the hands of his nemesis, the Shadowman. Adam believes he is nearly five hundred years old and has gone through nine previous incarnations, including living as a fifteenth century Amerindian, a Spanish conquistador, a Portuguese slaver and a Yoruba slave, a female pirate and a female stickfighter in nineteenth century Trinidad. Not unreasonably, Dr. Sankar reaches for his pad to prescribe drugs used to control delusional states. As the consultations continue, Dr. Sankar's professional expertise is tested to the full. On the one hand, his patient appears to behave with impeccable rationality, on the other, the accounts Avatar brings of his previous lives suggest buried traumas of the most worrying kind. And when Avatar's narratives of the experiences of his past selves are revealed to have an authenticity that cannot be explained away, Dr Sankar's perplexity grows. Kevin Baldeosingh brings a powerful narrative drive to this unfolding mystery, a Joycean variety of historical Englishes to the accounts of Avatar's lives and a vivid and persuasive grasp of each historical period. But the novel also asks uncomfortable questions about the nature of power, the relationship between abuser and abused and the malleability of the person in different social environments. Set in Haiti, Jamaica, Barbados, Guyana and Trinidad, "The Ten Incarnations of Adam Avatar" is an epic account of the New World experience and a provocative enquiry into the nature of history and what it means to be a Caribbean person.
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In the discovery of a fossilized tree stump deep off the coast of Bermuda, Angela Barry finds a potent metaphor of long-term climate change against which to measure the alarms, resentments and hopes of future possibilities expressed by her characters as they respond to Bermuda's emergence from colonial status. Modernity brings challenges to the old racial, cultural and religious hierarchies that have dominated the island. Told through a group of characters brought together in shared responsibility for Genesis, a young Black adolescent on the verge of incarceration as a juvenile offender, and by Genesis herself, Barry explores a clashing of subcultures, each with the sense that their Bermuda is the one that possesses the island's virtues. There is Nina, from the respectable Black middle-class, with her own prickly uncertainties and moral hang-ups; Lizzie, fighting for her own space in a Portuguese family railing against changing times; Tess, battling with guilt over her white privilege and her reluctance to lose its benefits; and Hugh, a young Welshman who has come to the island to find himself. Above all, in the character of Genesis, Barry creates a dynamic and winning portrayal of the energies, hopes, conscience and vulnerabilities of youth. Beyond the human world with all its divisions, there are the little-known islands of Bermuda, for whose stunning beauties and sometimes urban ugliness Barry has a vividly descriptive eye.
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This debut collection promises to be a series of politically-charged snapshots of Trinidadian life.Rhoda Bharath's stories bring a very contemporary Trinidad of the internet and social media into an urgent but complex focus. Told through a distinctive range of individual voices, they visit the domestic and public spaces of a country moving too fast between the knowing innocence of its past and the experience of a globalised present where the words "shipping and transportation" have quite a different meaning in the thesaurus of the street corner.Caught in the antagonisms of race, class and gender; the violence that comes with the trade in cocaine; and an Anancy politics where government power is the means to personal wealth made secure by favours to one's ethnic supporters, Bharath's characters are often engaged in a struggle to balance a desire for meaning and self-worth with the temptations of survival by any means.What Bharath brings to these narratives is an elliptical economy of suggestion that invites the reader to make connections; a bold, prophetic voice of alarm over a world that seems to have lost its moral compass; and subtly empathetic insights into the inner lives of her vividly drawn characters, but also a witty eye for the absurdity of their pretensions.Rhoda Bharath was born and lives in Trinidad. A writer, lecturer and blogger, she teaches at the University of the West Indies, St Augustine.
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The stories in this collection move around in time and place, but linked by the experiences of the descendants of a Jamaican family of mixed Indian and African heritage. From Roaring River in rural Jamaica in 1908 where the descendants of African slaves make connections with new arrivals from Calcutta to work in the sugar cane fields, to Southall in 2013, where the Millers live alongside newer migrants from India, The Ice Migration is a poetic exploration of movement as central to the human condition, from the ancestors of the vanished Tainos in Jamaica who crossed the Behring Straits 40,000 years ago, who linger in spirit, to Tutus who is driven to separation from her family, to the constancy of moving on and ultimately return to Roaring River. The people of Jacqueline Crooks' stories are deeply enmeshed in their African/Indian Jamaican world of dreams, visions, duppies and spiritual presences that connect them across time and place. What they discover beyond the strangeness of change of place and the hostilities they encounter is that life remains defined by its common crises – of birth, the complications of sexuality, sickness, old age, and death – and the comforts of food, stories and memory.
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Winner of the 2014 Guyana Prize for Fiction, Johnson's Dictionary is set variously in 18th century London and Demerara in British Guiana. It is a celebration of the skills of the enslaved as organisers, story-tellers, artists and mathematicians, hidden in the main from their white masters and mistresses, that is resonant with an undying human urge for freedom. Galley, gallery, gallimaufry: In a novel set in 18th century London and Demerara (in British Guiana), that might be dreamed or remembered by Manu, a revenant from Dabydeen's epic poem, "Turner", we meet slaves, lowly women on the make, lustful overseers, sodomites and pious Jews – characters who have somehow come alive from engravings by Hogarth and others. Hogarth himself turns up as a drunkard official artist in Demerara, from whom the slave Cato steals his skills and discovers a way of remaking his world. The transforming power of words is what enlightens Francis when his kindly (or possibly pederastic) master gifts him a copy of Johnson's Dictionary, whilst the idiot savant, known as Mmadboy, reveals the uncanny mathematical skills that enable him to beat Adam Smith to the discovery of the laws of capital accumulation – and teach his fellow slaves their true financial worth. From the dens of sexual specialities where the ex-slave Francis conducts a highly popular flagellant mission to cure his clients of their man-love (and preach abolition), to the sugar estates of Demerara, Dabydeen's novel revels in the connections of Empire, Art, Literature and human desire in ways that are comic, salutary and redemptive. David Dabydeen was born in Guyana in 1957. He is only the second West Indian writer, following VS Naipaul, to be named a fellow of the Royal Society of Literature. Turner: New and Selected Poems (Cape, 1994) was republished by Peepal Tree in 2002. His 1999 novel A Harlot's Progress was shortlisted for the James Tait Black Memorial Prize. His other novels include Disappearance (Peepal Tree, 2005) and Molly and the Muslim Stick (2008). He co-edited the Oxford Companion to Black British History (2007), and his documentaries on Guyana have appeared on BBC TV and radio. David is now Professor at the Centre for Caribbean Studies, University of Warwick.
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A man lies in a newspaper-lined room dreaming an other life. Bob Marley's spirit flew into him at the moment of the singer's death. A woman detaches herself from her perfunctory husband and finds the erotic foreplay she longs for in journeying round the island. A man climbs Blue Mountain Peak to fly and hear the voice of God. Sonia paints her new friend Joan and hopes that this will be the beginning of a sexual adventure. Dawes's characters are driven by their need for intimate contact with people and with God, and their need to construct personal myths powerful enough to live by. In a host of distinctive and persuasive voices they tell stories that reveal their inner lives and give an incisive portrayal of contemporary Jamaican society that is unsparing in confronting its elements of misogyny and nihilistic violence. Indeed several stories question how this disorder can be meaningfully told without either sensationalism or despair. For Dawes, the answer is found in the creative energies that lie just the other side of chaos. In particular, in the dub vershan episodes, which intercut the stories, there are intense and moving celebrations of moments of reggae creation in the studio and in performance. Dawes has established a growing international reputation as a poet and these are stories that combine a poetic imagination with narrative drive, an acute social awareness and a deep inwardness in the treatment of character. In the penultimate story, 'Marley's Ghost', Dawes's imagination soars to towering myth. Kwame Dawes is the author of over thirty five books, and is widely recognized as one of the Caribbean's leading writers. He is Glenna Luschei Editor of Prairie Schooner and a Chancellor's Professor of English at the University of Nebraska. His next book of poetry from Peepal Tree Press will be 'A New Beginning', a cycle of poems written with John Kinsella. He has been elected as a Chancellor of the Academy of American Poets.
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The novel returns to the aftermath of the trial of Beatrice Salandy and the villagers of Rosehill on the island of Santabella first met in Flanagan's novel You Alone Are Dancing. Though Beatrice is acquitted to the joy of the village, it is clear that nothing has changed. Though Santabella has been independent for several decades, only the new Black ruling class has benefited. Most Santabellans struggle to scratch a living, find adequate schools, healthcare or even reliable basic services. Cynical corruption flourishes and the queues to get visas to escape to America grow ever longer and more desperate. For Beatrice there is the recognition that Sonny, the man she loved, has wholly abandoned her, settled in the USA with a white American wife. But there is one new element: a rapidly growing radical Muslim movement with a growing appeal to the poor Black people of Santabella with their welfare schemes, grass-roots campaigning and air of incorruptibility. And there is the Haji, the charismatic leader of movement who combines a media-savvy native wit, a well-developed mystique and a steely control over his group. Even Beatrice is impressed. Between the Mosque, regularly raided for arms by the police and army and Rosehill is Abdul, whose aunt lives in the village and who is the Haji's second in command. It is Abdul, decent serious Abdul, who is one of the main narrative voices in the novel. But does his sincerity go with honesty about the violent coup that the Haji plans? Abdul's becomes a fascinatingly unreliable voice, part revealer, part concealer of the truth. Trinidad born Brenda Flanagan teaches creative writing, Caribbean and African American Literatures at Davidson College, North Carolina. She is also a United States cultural ambassador, and has served in Kazakstan, Chad and Panama.
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Ghosts / Curdella Forbes. - [miejsce nieznane] : Peepal Tree Press : Legimi, 2020.
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The circumstances of their brother's violent death inflicts such a wound on his family that its four oldest sisters feel compelled to come together to write, tell or imagine what led up to it, to unravel conflicting versions for the benefit of the younger generation of the huge Pointy-Morris clan. From the richly distinctive voices of the writer Micheline (Mitch), who could never tell a straight truth, the self-contained and sceptical Beatrice (B), the visionary and prophetic Evangeline (Vangie), and the severely practical Cynthia (Peaches), the novel builds a haunting sequence of narratives around the obsessive love of their brother, Pete, for his dazzling cousin, Tramadol, and its tragic aftermath. Set on the Caribbean island of Jacaranda at different points in a disturbing future, Ghosts weaves a counterpoint between the family wound and a world caught between amazing technological progress and the wounds global warming inflicts on an agitated planet. In a lyrical flow between English and Jamaican Creole, Ghosts catches the ear and gently invades the heart. Love enriches and heals, but its thwarting is revealed as the most painful of emotions. Yet if deep sadness is at the core of the novel, there are also moments of exuberant humour. Curdella Forbes is the critically-acclaimed Jamaican author of Songs of Silence (2002); a collection for younger readers, Flying with Icarus and Other Stories (2003); and more recently A Permanent Freedom (Peepal Tree, 2008). She is currently Professor of Caribbean Literature at Howard University, and lives in Takoma Park, Maryland.
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Selected by Bernardine Evaristo as an Observer Best Books 2021Green Unpleasant Land explores the repressed history of rural England's links to transatlantic enslavement and the East India Company.Combining essays, poems and stories, it details the colonial links of country houses, moorlands, woodlands, village pubs and graveyards. It also explores the links between rural poverty, particularly enclosure, and colonial figures, such as plantation-owners and East India Company nabobs. Fowler, who herself comes from a family of slave-owners, argues that Britain's cultural and economic legacy is not simply expressed by chinoiserie, statues, monuments, galleries, warehouses and stately homes. This is a shared history: Britons' ancestors either profited from empire or were impoverished by it. Green Unpleasant Land argues that, in response to recent advances in British imperial history, contemporary authors have reshaped the pastoral writing to break the powerful association between the countryside and Englishness.
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Wandeka Gayle's mostly young black women protagonists win our hearts as risk-taking, adventurous explorers of the white world, away from home, which at some point has been Jamaica. They include Roxanne who starts work in a care home in London, who strikes up a rapport with a depressed old man who used to be a writer; Ayo who heads to college in Louisiana, and fights off the internalised voice of her godly, tambourine-beating aunt to begin an affair with an engaging, slightly older white man; there's Sophia who comes to work in Georgia, who struggles to know whether her inability to engage more deeply with other people is really about racism or, rather, a more personally embedded reluctance. What characterises these women is a readiness to encounter, an attempt to get to grips with the oddities and strangeness of the white world, and like Ayo to engage with it, whilst being pretty sure that Forrest "could never understand her world". They take risks and are sometimes forced to pay for their courage.Other characters have to confront situations of their own making, like Angela returning from the USA for her mother's funeral, trying to find some point of contact with the now almost grown children she abandoned, or Melba who, after her husband dies, must confront the silence she has permitted in their marriage.The situations that Wandeka Gayle writes about are in the main the stuff of everyday life, but she writes with such an empathy, grace and acute psychological understanding that one cannot but engage with her characters. There's an easy democracy of inwardness with them, too; she is as much at home with the ill-educated, apparently ambitionless and illiterate, as with a sophisticated lecturer like Michel meeting up with an old flame at a literary conference.
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'I am Margaret Saunders... call me the eavesdropper...' No-one tells Margaret anything openly - what has happened to her father, the cancer taking over her mother's body and why her grandmother starts seeing faces pressing through invisible cracks in her bedroom wall. So, with an intuitive sense that uncovering the truth will free the household from its bondage, Margaret starts hiding in cupboards and under beds. But as an 'over-imaginative' 14 year old who is, in her family's view, refusing to grow up, she is acutely vulnerable to feeling that she is in some way responsible for what she uncovers. Set in Guyana in midst of the 1960s racial disturbances, Web of Secrets makes suggestive connections between divisions in the family and the nation. It embroiders a dazzling fabric of whispered family conversations, fantasy and Guyanese folklore. It warns of the psychic hazards of trying to suppress the past and proclaims the redemptive power of truth in the process of healing. Denise Harris was born in Guyana, the daughter of the novelist Wilson Harris. She works for UNICEF in New York. She is also a photographer.
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Merle Hodge's rare achievement is to create a dynamic portrait of the life of an unquestionably good woman: Gwynneth Cuffie, teacher, lover of children and music, and pillar of her community. Though devastated by tragedy in her politically militant youth, Gwynneth never gives up the struggle against colonialism on the Caribbean island of Cayeri. Her triumph is to find a way between the aspirations of her wounded father, whom colonial education has taught racial self-hatred, and the world of her Mumma's Spiritual Baptist community where, though the church is banned, Africa remains a real, enlivening presence. It is from the rhythms of Africa that the local youth, whom Teacher Gwynnie supports, develop the iron bands that grow into the national culture of steelband. If the class and racial tensions within the Cuffie family continue through the generations, Merle Hodge offers another vision of family that has little to do with biology, and everything to do with love. This is the family that gathers on the Cuffies' gallery: the two men with whom the sisters have deep friendships, but from whom they maintain their independence; their neighbours – and Sonny, the child of Mumma's carer who has left him in the sisters' capable hands. It is Sonny, the pinnacle of Gwynneth's life work, who promises to hold the future to account. This richly womanist novel shows the constant interpenetration of past, present and future. Its subject is life – tragic and comic – but moved onward by people who believe that through struggle better must come. It has much to say, by implication, about the present.
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When the infant Jordan Sant is taken to the St Asteria Home for Children after the murder of his parents, he sets out on a journey that is a constant struggle between his best and worst selves. One relationship, with the young nun the children call Mouse, awakens the possibilities of love and hope, but when Mouse abandons her calling and leaves the home, the world thereafter becomes a darker place. When, barely a teenager, he runs away from the home to scuffle for a living in the frightening underbelly of Port of Spain, Jordan reaches the lower depths of both Trinidadian society and himself. In Jordan Sant, Kevin Jared Hussein creates a narrator who gets under your skin. He takes us into the most dreadful places of human experience, confesses doing seemingly unforgivable things. But though Jordan knows how inescapable circumstance can be, he never denies responsibility for his actions. But can this Dostoyevskian figure save himself? The Repenters takes us to places in Trinidad readers will have never been before. In Kevin Hosein the Caribbean announces a writer whose work is poetic, Gothic, and deeply transgressive, whose creation of a voice for Jordan Sant is troubling, engrossing and not to be forgotten.
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Burrow / Manzu Islam. - [miejsce nieznane] : Peepal Tree Press : Legimi, 2020.
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Tapan Ali falls in love with England and a student life of pot-smoking and philosophy. When the money to keep him runs out there seems no option but to return to Bangladesh until Adela, a fellow student, offers to marry him. But this marriage of convenience collapses and Tapan finds himself thrust into another England, the East London of Bangladeshi settlement and National Front violence. Now an 'illegal', Tapan becomes a deshi bhai, supported by a network of friends like Sundar Mia, who becomes his guide, anti-Nazi warrior Masuk Ali, wise Brother Josef K, and, sharing the centre of the novel, his lover, Nilufar Mia, a community activist who has broken with her family to live out her alternative destiny. Tapan has to become a mole, able to smell danger and feel his way through the dark passageways and safe houses where the Bangladeshi community has mapped its own secret city. He must evade the informers like Poltu Khan, the 'rat' who sells illegals to the Immigration. But being a mole has its costs, and Tapan cannot burrow forever, at some moment he must emerge into the light. But how can a mole fly? Manzu Islam has important things to say about immigration and race, but his instincts are always those of a storyteller. Using edgy realism, fantasy and humour to compulsively readable effect, he tells a warm and enduring tale of journeys and secrets, of love, family, memory, fear and betrayal. Syed Manzurul (Manzu) Islam was born in 1953 in a small northeastern town in East Pakistan (later Bangladesh). He has a doctorate and was Reader in English at the University of Gloucestershire, specialising in postcolonial literature and creative writing
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Breanne Mc Ivor is a bold new voice in Caribbean fiction. The Trinidad of her stories is utterly contemporary but also a place defined by its folk mythologies and its cultural creations, its traditions of masking and disguises. Her stories confront the increasing economic and cultural divisions between rich and poor, the alarming rise in crime, murders and an alternative economy based on drug trafficking. Their daring is that they look both within the human psyche and back in time to make sense of this reality. The figure of the loup-garou, the violent rhetoric of the Midnight Robber – or even cannibalism lurking far off the beaten track – have become almost comic tropes of a dusty folklore. In Mc Ivor's stories they become real and terrifying daylight presences, monsters who pass among us.Her great gift as a writer is to take us to unexpected places, both to seduce us into a kind of sympathy for her monsters of greater and lesser kinds, and sometimes to reveal a capacity for redemption amongst characters we are tempted to dismiss as shallow, unlikable human beings. The problem, in a world of masks and disguises, is how to tell the difference.In these carefully crafted stories, with room for humour, though of a distinctly gothic kind, Breanne Mc Ivor reaches deep into the roots of Trinidad folk narratives to present us with very modern versions of our troubled selves.
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Indira Gabriel, recently abandoned by her lover, Solomon, embarks on a project to reinvigorate a dilapidated bar into something special. In this funny, sexy, sometimes painful and bittersweet novel, Barbara Jenkins draws together a richly-drawn cast of characters, like a Trinidadian Cheers. Meet Bostic, Solomon's boyhood friend, who is determined to keep the bar as a shrine; I Cynthia, the tale-telling Belmont maco ; KarlLee, the painter with a very complicated love-life; fatherless Jah-Son; and Fritzie, single mum and Indira's loyal right-hand woman. At the book's centre is the unforgettable Indira, with her ebullience and sadness, her sharpness and honesty, obsession with the daily horoscope and addiction to increasingly absurd self-help books. In this warm, funny, sexy, and bittersweet novel, Barbara Jenkins hears, like Sam Selvon, the melancholy behind "the kiff-kiff laughter", as darkness from Indira's past threatens her drive to make a new beginning.
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Forma i typ
Barbara Jenkins writes about the experiences of a personal and family-centred life in Trinidad with great psychological acuteness, expanding on the personal with a deep awareness of the economic, social and cultural contexts of that experience. She writes about a childhood and youth located in the colonial era and an adult life that began at the very point of Trinidad's independent nationhood, a life begun in poverty in a colonial city going through rapid change. It is about a life that expanded in possibility through an access to an education not usually available to girls from such an economic background. This schooling gave the young Barbara Jenkins the intense experience of being an outsider to Trinidad's hierarchies of race and class. She writes about a life that has gender conflict at its heart, a household where her mother was subject to beatings and misogynist control, but also about strong matriarchal women.As for so many Caribbean people, opportunity appeared to exist only via migration, in her case to Wales in the 1960s. But there was a catch in the arrangement that the years in Wales had put to the back of her mind: the legally enforceable promise to the Trinidadian government that in return for their scholarship, she had to return. She did, and has lived the rest of her life to date in Trinidad, an experience that gives her writing an insider/outsider sharpness of perception.'From her childhood in colonial Port of Spain, to becoming a migrant student and young mother in Wales and then returning to Trinidad post-Independence, Jenkins tells her own life story with the emotional sensitivity of a natural storyteller, the insight of a philosopher, the scope of a historian and the good humour of a Trini. This beautifully written and moving memoir will feel achingly familiar to anyone who knows what it is like to navigate race, class and girlhood while growing up in the West Indies, anyone who has ever felt like an outsider.' Ayanna Lloyd Banwo, author of When We Were Birds.
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Kitch / Anthony Joseph. - [miejsce nieznane] : Peepal Tree Press : Legimi, 2018.
Forma i typ
The poet and musician Anthony Joseph met and spoke to Lord Kitchener just once, in 1984, when he found the calypso icon standing alone for a moment in the heat of Port of Spain's Queen's Park Savannah, one Carnival Monday afternoon. It was a pivotal meeting in which the great calypsonian, outlined his musical vision, an event which forms a moving epilogue to Kitch, Joseph's unique biography of the Grandmaster.Lord Kitchener (1922 - 2000) was one of the most iconic and prolific calypso artists of the 20th century. He was one of calypso's most loved exponents, an always elegantly dressed troubadour with old time male charisma and the ability to tap into the musical and cultural consciousness of the Caribbean experience. Born into colonial Trinidad in 1922, he emerged in the 1950s, at the forefront of multicultural Britain, acting as an intermediary between the growing Caribbean community, the islands they had left behind, and the often hostile conditions of life in post War Britain. In the process Kitch, as he was affectionally called, single handedly popularised the calypso in Britain.Kitch represents the first biographical study of Aldwyn Roberts, according to calypso lore, christened Lord Kitchener, because of his stature and enthusiasm for the art form. Utilising an innovative, polyvocal style which combines life-writing with poetic prose, the narrative alternates between first person anecdotes by Kitchener's fellow calypsonians, musicians, lovers and rivals, and lyrically rich fictionalised passages. By focussing equally on Kitchener's music as on his hitherto undocumented private and political life, Joseph gets to the heart of the man behind the music and the myth, reaching behind the sobriquet, to present a holistic portrait of the calypso icon.
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