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"Middle Passage"
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Muddy people : a Muslim coming of age
\"A quick, clever, warm-hearted debut about growing up in an Egyptian-Muslim family. Sara is growing up in a family with a lot of rules. Her mother tells her she's not allowed to wear a bikini, her father tells her she's not allowed to drink alcohol, and her grandmother tells her to never trust a man with her money. After leaving Egypt when Sara was only six years old, her family slowly learns how to navigate the social dynamics of their new home. Sara feels out of place in her new school. Her father refuses to buy his coworkers a ginger beer, thinking it contains alcohol. Her mother refuses to wear a hijab, even if it would help them connect with other local Muslims. And Sara learns what it feels like to have a crush on a boy, that some classmates are better friends than others, and that her parents are loving, but flawed people who don't always know what's best for her, despite being her strongest defenders. For readers of Patricia Lockwood's Priestdaddy and Michelle Zauner's Crying in H Mart, this heartwarming book about family and identity introduces a compelling new voice, with a coming-of-age story that will speak to everyone who's ever struggled to figure out where they belong.\"-- Provided by publisher.
Book
Many middle passages
This groundbreaking book presents a global perspective on the history of forced migration over three centuries and illuminates the centrality of these vast movements of people in the making of the modern world. Highly original essays from renowned international scholars trace the history of slaves, indentured servants, transported convicts, bonded soldiers, trafficked women, and coolie and Kanaka labor across the Pacific, Indian, and Atlantic Oceans. They depict the cruelty of the captivity, torture, terror, and death involved in the shipping of human cargo over the waterways of the world, which continues unabated to this day. At the same time, these essays highlight the forms of resistance and cultural creativity that have emerged from this violent history. Together, the essays accomplish what no single author could provide: a truly global context for understanding the experience of men, women, and children forced into the violent and alienating experience of bonded labor in a strange new world. This pioneering volume also begins to chart a new role of the sea as a key site where history is made.
eBook
A first time for everything : a true story
\"A middle grade graphic memoir based on bestselling author and Caldecott Medalist Dan Santat's awkward middle school years and the trip to Europe that changed his life. Dan's always been a good kid. The kind of kid who listens to his teachers, helps his mom with grocery shopping, and stays out of trouble. But being a good kid doesn't stop him from being bullied and feeling like he's invisible, which is why Dan has low expectations when his parents send him on a class trip to Europe. At first, he's right. He's stuck with the same girls from his middle school who love to make fun of him, and he doesn't know why his teacher insisted he come on this trip. But as he travels through France, Germany, Switzerland, and England, a series of first experiences begin to change him--first Fanta, first fondue, first time stealing a bike from German punk rockers... and first love. Funny, heartwarming, and poignant, A First Time for Everything is a feel-good coming-of-age memoir based on New York Times bestselling author and Caldecott Medal winner Dan Santat's awkward middle school years. It celebrates a time that is universally challenging for many of us, but also life-changing as well.\"-- Publisher marketing.
Book
“Carib Being Water”: On the Lyrical Intertextuality of the Sea-Space in Afro-Caribbean, Indo-Caribbean, and Afro-Central American Women Poets
The ensuing discussion focuses on mobility enabled by large bodies of water departing from the premise that the sea is History. The essay argues that the lyrical representation of the sea-space in Afro- Caribbean, Indo-Caribbean, and Afro-Central American poetry stands as an intertextual trope by which the “repeating island” can be traced along a palimpsestic overlapping of historical occurrences. Focusing on the correlation between mobility and power geometries in lyrical narratives concerning the middle passage, the kala pani, and the conformation of Afro-Central America, the repeating island is sketched along the mobile metaphors of un/arrival, im/mortality, uproutings and transrootings.
Journal Article
Genomes trace origins of enslaved people who died on remote island
Former slaves left on St Helena were probably taken from west-central Africa, finds genome study.
Former slaves left on St Helena were probably taken from west-central Africa, finds genome study.
Journal Article
From the Abyss of the Middle Passage to the Currents of Hydrofeminism “Getting Wet” with the Ocean in Rivers Solomon’s The Deep
This article proposes a close reading of Rivers Solomon’s 2019 novella The Deep, a recent eco-story about water, memory, and survival. Solomon’s work is inspired by a song called “The Deep” from experimental hip-hop group clipping, a dark science fiction tale about the underwater-dwelling descendants of African women thrown off slave ships during the Middle Passage. This imaginative alternate history, or counter-mythology, was invented by the Detroit techno band Drexciya, which, in a series of releases between 1992 and 2002, tells us the story of an underwater realm in the mid-Atlantic, where merpeople and their descendants establish a utopian society in the sea, free from the war and racism on the surface. My analysis uses Saidiya Hartman’s “critical fabulation” to make productive sense of the gaps in the archive of trans-Atlantic slavery that silence the voices of enslaved women, listening to the voices of water to imagine not only what was but also what could be. Moreover, this article examines The Deep through a trajectory that moves from the ocean as a space that reproduces death only to the ocean as a generative force for posthuman and multispecies kinship. Using Black hydrocriticism, hydrofeminism, and econarratology, I will argue that this transition is made possible by the “despatialization” of the ocean—a concept introduced by Erin James—where the ocean is conceived not as a fixed or stable environment, but as a space in constant flux, defying stability, and the subsequent immersion in its waters.
Journal Article
The Decolonial Abyss
This book thematizes the mystical figure of the abyss by examining the abyss as the dialectical process of the self's reconstruction followed by its dispossession. It traces such process in Neoplatonic mysticism, German idealism, and Afro-Caribbean philosophy with the end of politicizing the mystical figure from the standpoint of coloniality.
eBook
From slave revolts to social death
In this article, I situate Orlando Patterson's magnum opus, Slavery and Social Death alongside his earlier writings on slavery and slave revolts in Jamaica. To appreciate fully Patterson's contributions to sociology, comparative historical sociology, and the wider literature on slavery, readers must engage with the fidi corpus of his scholarly production. By reading his body of work all together, as part of a much larger whole, social death may take on new angles, depths, and dimensions. Patterson's previous work on slavery and slave revolts in Jamaica, I suggest, invites novel ways to read his formulations of social death while opening other archives through which to study the (after)lives of slavery.
Journal Article
Heavy Waters: Waste and Atlantic Modernity
We cannot think of a time that is oceanless Or of an ocean not littered with wastage —T. S. Eliot, “The Dry Salvages” A Poem that Renders the Sea as Pedagogical History, Lorna Goodison's “Arctic, Antarctic, Atlantic, Pacific, Indian Ocean” depicts Caribbean schoolchildren learning “the world's waters rolled into a chant.” After shivering through the “cold” Arctic and Antarctic, the class “suffered [a] sea change” in the destabilizing Atlantic, abandoning the terrestrial stability of their benches to enter an ocean in which only their voices orient them in time and space as they “call out across / the currents of hot air.” In fathoming what Derek Walcott has called “the sea [as] history,” their “small bodies” are “borrowed / by the long drowned” (Goodison). While colonial narratives of maritime expansion have long depicted the ocean as blank space to be traversed, these students enter Atlantic stasis, a place occupied by the wasted lives of Middle Passage modernity. This Atlantic is not aqua nullius , circumscribed and mapped by the student oceanographer, but rather a place where the haunting of the past overtakes the present subject. Édouard Glissant has described the Atlantic as a “beginning” for modernity, a space “whose time is marked by … balls and chains gone green” ( Poetics 6): a sign of submarine history and its material decay. Thus, Atlantic modernity becomes legible through the sign of heavy water, an oceanic stasis that signals the dissolution of wasted lives. After the poem's irruptive consonance of the “bodies borrowed,” the vowels lengthen to mimic a “long drowned” history of the Atlantic, and the narrative is transformed. Reminding us that the Middle Passage “abyss is a tautology” that haunts ocean modernity (Glissant, Poetics 6), the poem traps the students (and readers) in the violent corporeal history of the Atlantic. Instead of moving on to the next ocean of the lesson, the class repeats the word “Atlantic, as if wooden pegs / were forced between our lips; Atlantic, as teacher's / strap whipped the rows on.” Only in the last two lines of the poem do we catch a glimpse of other oceans, trapped as we are in “learn[ing] this lesson: / Arctic, Antarctic, Atlantic, Pacific and then Indian.”
Journal Article