" The literature often considered the most American is rooted not only in European and Western culture but also in African and American Creole cultures. Keith Cartwright places the literary texts of such noted authors as George Washington Cable, W.E.B. DuBois, Alex Haley, Zora Neale Hurston, Ralph Ellison, William Faulkner, Joel Chandler Harris, Herman Melville, Toni Morrison, and many others in the context of the history, spiritual traditions, folklore, music, linguistics, and politics out of which they were written. Cartwright grounds his study of American writings in texts from the Senegambian/Old Mali region of Africa. Reading epics, fables, and gothic tales from the crossroads of this region and the American South, he reveals that America's foundational African presence, along with a complex set of reactions to it, is an integral but unacknowledged source of the national culture, identity, and literature.

"We're seeing people that we didn't know exist," the director of FEMA acknowledged in the wake of Hurricane Katrina. "Sacral Grooves, Limbo Gateways" offers a corrective to some of America's institutionalized invisibilities by delving into the submerged networks of ritual performance, writing, intercultural history, and migration that have linked the coastal U.S. South with the Caribbean and the wider Atlantic world. This interdisciplinary study slips beneath the bar of rigid national and literary periods, embarking upon deeper--more rhythmic and embodied--signatures of time. It swings low through ecologies and symbolic orders of creolized space. And it reappraises pluralistic modes of knowledge, kinship, and authority that have sustained vital forms of agency (such as jazz) amid abysses of racialized trauma.
Drawing from Haitian Vodou and New Orleanian Voudou and from Cuban and South Floridian Santeria, as well as from Afro-Baptist (Caribbean, Geechee, and Bahamian) models of encounters with otherness, this book reemplaces deep-southern texts within the counterclockwise ring-stepping of a long Afro-Atlantic modernity. Turning to an orphan girl's West African initiation tale to follow a remarkably traveled body of feminine rites and writing (in works by Paule Marshall, Zora Neale Hurston, Lydia Cabrera, William Faulkner, James Weldon Johnson, and LeAnne Howe, among others), Cartwright argues that only in holistic form, emergent from gulfs of cross-cultural witness, can literary and humanistic authority find legitimacy. Without such grounding, he contends, our educational institutions blind and even poison students, bringing them to "swallow lye," like the grandson of Phoenix Jackson in Eudora Welty's "A Worn Path." Here, literary study may open pathways to alternative medicines--fetched by tenacious avatars like Phoenix (or an orphan Kumba or a shell-shaking Turtle)--to remedy the lies our partial histories have made us swallow.

In this concise but hugely ambitious work, Keith Cartwright surveys the entire history of creation. He argues that the Big Bang concept and Darwinian theories of evolution, long regarded as a contradiction of Genesis, are in fact complementary to the biblical story of God's fashioning the universe - once the true significance of the 'six days' is understood. From this he develops a theological, philosophical and scientific overview of mankind's past and future history, encompassing the light spectrum, the structure of the family, the Holy Trinity, the works of Aristotle and Plato, Marxism, Machiavelli and music. Time, he says, consists of a succession of 360-decade 'menstrual cycles', renewing innocence to sustain eternal life in the soul. Humanity must turn to Christ - not Christianity - if resolution is to be achieved.

“We’re seeing people that we didn’t know exist,” the director of FEMA acknowledged in the wake of Hurricane Katrina. Sacral Grooves, Limbo Gateways offers a corrective to some of America’s institutionalised invisibilities by delving into the submerged networks of ritual performance, writing, intercultural history and migration that have linked the coastal U.S. South with the Caribbean and the wider Atlantic world. This interdisciplinary study slips beneath the bar of rigid national and literary periods, embarking upon deeper - more rhythmic and embodied - signatures of time. It swings low through ecologies and symbolic orders of creolised space. And it reappraises pluralistic modes of knowledge, kinship and authority that have sustained vital forms of agency (such as jazz) amid abysses of racialised trauma. Drawing from Haitian Vodou and New Orleanian Voudou and from Cuban and South Floridian Santería, as well as from Afro-Baptist (Caribbean, Geechee and Bahamian) models of encounters with otherness, this book reemplaces deep-southern texts within the counterclockwise ring-stepping of a long Afro-Atlantic modernity. Turning to an orphan girl’s West African initiation tale to follow a remarkably travelled body of feminine rites and writing (in works by Paule Marshall, Zora Neale Hurston, Lydia Cabrera, William Faulkner, James Weldon Johnson and LeAnne Howe, among others), Cartwright argues that only in holistic form, emergent from gulfs of cross-cultural witness, can literary and humanistic authority find legitimacy. Without such grounding, he contends, our educational institutions blind and even poison students, bringing them to “swallow lye,” like the grandson of Phoenix Jackson in Eudora Welty’s A Worn Path. Here, literary study may open pathways to alternative medicines - fetched by tenacious avatars like Phoenix (or an orphan Kumba or a shell-shaking Turtle) - to remedy the lies our partial histories have made us swallow.

Summoning Our Saints: The Poetry and Prose of Brenda Marie Osbey celebrates and illuminates the poetry and prose of one of the South’s and the nation’s most notable writers. A native of New Orleans and a former poet laureate of Louisiana who served magnificently in that function during the dark days after Hurricane Katrina, Osbey has summoned up a magical, beguiling, sometimes chilling and appalling portrait of the myriad chapters of New Orleans, Southern, and hemispheric history. Her dazzling narratives offer apertures into desire, death and remembrance, often through the voices of neglected and abused citizens. The essays in this collection examine Osbey’s essays and poetry collections, situating them within greater traditions of African American women’s writing, blues music, and West African religious traditions and Catholicism. The chapters are punctuated throughout with Osbey’s own reflections on her work and bring a long-needed and appreciative critical focus to a great artist, elucidating her contributions to our common cultural heritage. The book examines Osbey’s meditations on topics such as colonization, the African diaspora, the circumCaribbean, and contemporary parallels between Europe and the United States to showcase the ways in which they add valuable new insights to transnational studies.