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Showing 1 - 7 of
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Blood flows thicker than water. Family feuds, gory accidents,
storms, wildlife and an unexplained force haunt three hunters while
marooned on an island in an Alaskan lake after a tragic hunting
incident. This fast paced novella takes horror to the family tree
and chops it down with a bloody axe.
The Monster Hunters of America: The Mulberry Street Division. When
monsters, creeps, ghouls, vampires and other creepy-crawlies
infiltrate America's neighborhoods, it's up to a group of kids to
keep them at bay and protect the innocent. Join Tommy, Bill, Cory
and Sean, along with their friend Kara, as they thwart the attempts
by beasts of all sorts to take over the world, in this hilarious
new series by Dillon Brown.
This edited collection challenges a long sacrosanct paradigm. Since
the establishment of Caribbean literary studies, scholars have
exalted an elite cohort of emigre novelists based in postwar
London, a group often referred to as ""the Windrush writers"" in
tribute to the SS Empire Windrush, whose 1948 voyage from Jamaica
inaugurated large-scale Caribbean migration to London. In critical
accounts this group is typically reduced to the canonical troika of
V. S. Naipaul, George Lamming, and Sam Selvon, effectively treating
these three authors as the tradition's founding fathers. These
""founders"" have been properly celebrated for producing a complex,
anticolonial, nationalist literature. However, their canonization
has obscured the great diversity of postwar Caribbean writers,
producing an enduring but narrow definition of West Indian
literature. Beyond Windrush stands out as the first book to
reexamine and redefine the writing of this crucial era. Its
fourteen original essays make clear that in the 1950s there was
already a wide spectrum of West Indian men and
women--Afro-Caribbean, Indo-Caribbean, and white-creole--who were
writing, publishing, and even painting. Many lived in the Caribbean
and North America, rather than London. Moreover, these writers
addressed subjects overlooked in the more conventionally conceived
canon, including topics such as queer sexuality and the
environment. This collection offers new readings of canonical
authors (Lamming, Roger Mais, and Andrew Salkey); hitherto
marginalized authors (Ismith Khan, Elma Napier, and John Hearne);
and commonly ignored genres (memoir, short stories, and
journalism).
This edited collection challenges a long sacrosanct paradigm. Since
the establishment of Caribbean literary studies, scholars have
exalted an elite cohort of emigre novelists based in postwar
London, a group often referred to as "the Windrush writers" in
tribute to the SS Empire Windrush, whose 1948 voyage from Jamaica
inaugurated large-scale Caribbean migration to London. In critical
accounts this group is typically reduced to the canonical troika of
V. S. Naipaul, George Lamming, and Sam Selvon, effectively treating
these three authors as the tradition's founding fathers. These
"founders" have been properly celebrated for producing a complex,
anticolonial, nationalist literature. However, their canonization
has obscured the great diversity of postwar Caribbean writers,
producing an enduring but narrow definition of West Indian
literature. Beyond Windrush stands out as the first book to
reexamine and redefine the writing of this crucial era. Its
fourteen original essays make clear that in the 1950s there was
already a wide spectrum of West Indian men and
women-Afro-Caribbean, Indo-Caribbean, and white-creole-who were
writing, publishing, and even painting. Many lived in the Caribbean
and North America, rather than London. Moreover, these writers
addressed subjects overlooked in the more conventionally conceived
canon, including topics such as queer sexuality and the
environment. This collection offers new readings of canonical
authors (Lamming, Roger Mais, and Andrew Salkey); hitherto
marginalized authors (Ismith Khan, Elma Napier, and John Hearne);
and commonly ignored genres (memoir, short stories, and
journalism).
In "Migrant Modernism, " J. Dillon Brown examines the
intersection between British literary modernism and the
foundational West Indian novels that emerged in London after World
War II. By emphasizing the location in which anglophone Caribbean
writers such as George Lamming, V. S. Naipaul, and Samuel Selvon
produced and published their work, Brown reveals a dynamic
convergence between modernism and postcolonial literature that has
often been ignored. Modernist techniques not only provided a way
for these writers to mark their difference from the aggressively
English, literalist aesthetic that dominated postwar literature in
London but also served as a self-critical medium through which to
treat themes of nationalism, cultural inheritance, and
identity.
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