Showing 51 - 60 of 122 annotations tagged with the keyword "Colonialism"
In this poem, the speaker’s mother has lupus [systemic lupus erythematosis], a "disease / of self-attack" where, for example, when the police arrive at a mugging, "they beat up on you / instead of on your attackers." The speaker goes on to reflect on the logic of such an illness residing in the body of "A halfbreed woman" who, for historical reasons, "can hardly do anything else / but attack herself." Being Indian and white, the speaker says, "cancel each other out. / Leaving no one in the place," which would be fine except that, being a woman, she must perform caring duties regardless of her circumstance. The speaker describes her mother’s physical pain, her ". . . eyes burn, / they tear themselves apart . . . / her joints swell to the point / of explosion, eruption," concluding with the observation that "when volatile substances are intertwined, / when irreconcilable opposites meet, / the crucible and its contents vaporize."
With some 70 characters and a wide array of events spanning 500 years and several continents, the plot of this novel is less a linear plot than an elaborate web of events. Peopled with addicts, alcoholics, corrupt judges and politicians, unscrupulous and greedy land speculators, and a host of other unsavory characters, the novel also tells the story of resistance to Euro-American oppression and a growing effort of indigenous people and their allies to retake the land and ultimately to become agents of its healing. Woven throughout the novel are folk stories of the past, pronouncements on the present and predictions of a dire future for the offspring of the European conquerors.
Spatially, Tucson, Arizona functions as a focal point, with much of the action radiating away from, or towards, the city. Arizona is about to go belly-up from the effects of a declining economy and devastating drought and growing civil unrest in Mexico. As the prophecies have foretold, the narrator reminds readers, the inexorable movement of the people is North, and while it may take 500 or 5000 years, the indigenous and their allies will reclaim the diseased and corrupted land (and presumably become instruments of its healing).
Into this milieu Silko inserts a host of characters who work as part of the resistance. Among them are twin sisters Lecha (a demerol-addicted psychic who helps police locate the bodies of murder victims and has a lucrative profession as a talk show guest) and Zeta (who has made a fortune running drugs and guns across the North and South American borders with the help of Lecha’s son and his sometime lover Paulie); twin brothers, Tacho (a chauffeur for the wealthy Menardo who also functions as a spy for the indigenous resistance movement), and El Feo (who heads that movement in the far South of Mexico). Both brothers commune with spirit macaws for advice.
There is an "army of the Homeless" who plan to retake "stolen" goods and land from the wealthy. The Barefoot Hopi organizes incarcerated prisoners for an uprising against the U.S. Government. Many of these and other characters converge at novel’s end at the International Holistic Healer’s Convention where "German root doctors" and "Celtic leech handlers" join with "new-age spiritualists" and the Green Vengeance eco-warriors.
A middle class African-American widow, Avey Marshall, has set off on a cruise with two of her friends from work on the "Bianca Pride," and becomes ill shortly after they have set sail. Avey disembarks in Grenada after experiencing disequilibrium, nausea, disturbing nightmares, and a feeling of being "clogged and swollen." Thus begins a journey of reclamation and healing of a past that has been largely forgotten or erased in her efforts to escape the poverty of her younger years and obtain the American dream of financial security and a white-defined respectability.
The novel is divided into four parts: Avey's growing distress on board the cruise ship, the intensification of nightmares and "visits" from her long-dead and very Afro-centric Great Aunt Cuney, and her decision to leave the cruise ship. The second section takes place in her hotel room where Avey confronts her rage and grief, not only over the death of her husband, but the utter waste in his drive for material success and the ensuing loss of their joy in each other and their heritage.
In the third section, Avey, getting lost on a walk, meets Lebert Joseph who convinces her to accompany him on the "Carriacou Excursion," an annual island festival honoring the long-time ancestors. Avey travels by small boat to Carriacou, becoming violently ill, and is cared for by a group of women on the boat, encouraging her in this "cleansing." This journey and her illness prompt Avey to think about the middle passage of slaves and the horrors they endured in countless journeys much worse than hers.
Once on the island, in the fourth section of the book, Avey is bathed and nursed back to health by Lebert Joseph's daughter, Rosalie Parvay. Finally, Avey joins the celebration (the "Big Drum"), witnessing and finally joining the important "Beg Pardon" and nation dances. This section brings the novel full circle as Avey experiences reconciliation with her past, her heritage, and herself.
South African lawyer and leading member of the ANC (African National Congress) during the tumultuous 70s and 80s, lost an arm, sight in one eye, and suffered hearing loss and diminished use of his legs when the bomb planted in his car exploded on April 7, 1988. This book chronicles the accident, his long recovery in a hospital and rehabilitation unit, and the process of re-entering life and politics after such a harrowing experience.
Sachs connects his personal recovery with the emergence of an apartheid-free South Africa and tells his individual story within the context of political struggle. The 2000 edition includes a forward by Desmond Tutu, an introduction by Nancy Scheper-Hughes, and a new epilogue by Sachs.
Summary:In these selected works of the Afro-Cuban poet Nicolas Guillen--ranging from his early sound experiments through his more overtly political poetry to his final works--the Afro-Cuban experience of everyday life and its socio-historical and contemporary political underpinnings are constants. From slavery on to the natural and urban settings of Cuba, to the international places and communities of poets, politicians and activists shaping contemporary Cuban life, to the twinned invasions of Cuba by soldiers and tourists, and to the triumph of the Cuban Revolution, Guillen portrays a life where everything, including love, is colored by suffering and rebellion.
Summary:Chamoiseau, a graduate student, arrives in Texaco, the illegal settlement above Fort-de-France, and is knocked unconscious by a rock. One volatile inhabitant has responded viscerally to the city official come to order the razing of his home. Others notice the coincidence between Chamoiseau's arrival and more positive events. Thus, in hope, and fear of police reprisal, they revive this "Christ," and bring him to Marie-Sophie Laborieux. In "the battle of her life" Texaco's founder begins to persuade the "Bird of Cham" to preserve her story and that of her people, to spare her town.
A stray dog bites the left ankle of 12-year-old Sierva Maria de Todos los Angeles. She and her peculiar parents live in a country near the Caribbean Sea during colonial times. Her father belongs to the class of decaying nobility. He is a weak man with poor judgment. Her scheming mother is a nymphomaniac who abuses cacao tablets and fermented honey. Sierva Maria is more or less raised by the family's slaves whose culture she assimilates. The youngster has luxuriant copper-colored hair and a penchant for lying--"she wouldn't tell the truth even by mistake" according to her mother. (p. 16)
Before long, the dog dies of rabies. When Sierva Maria begins exhibiting bizarre behavior, no one is quite sure of the cause even though everyone seems to have his or her own theory. Is the girl displaying signs of rabies? Is she possessed by a demon? The physician Abrenuncio doubts either diagnosis. The powerful Bishop believes the girl may require an exorcism. Perhaps Sierva Maria is simply eccentric or maybe even crazy. Ninety-three days after being bitten by the dog, she is locked in a cell in the Convent of Santa Clara.
The Bishop appoints his protégé, 36-year-old Father Cayetano Delaura, to investigate the matter. The priest is immediately infatuated with the girl. When the Bishop learns of Cayetano Delaura's love for Sierva Maria and his unacceptable actions, the priest is disciplined and then relegated to caring for lepers at the hospital. The Bishop next takes matters into his own hands by performing the rite of exorcism on Sierva Maria. After five sessions, she is found in bed "dead of love." (p. 147)
This short novel is based on the student-led Mexican uprising of 1968. The reader discovers that the protagonist, Nestor, is in a hospital bed one year after the government's brutal suppression of the rebellion, recovering from a stabbing at the hands of a "prostitute-assassin" he had confronted in his post-rebellion duties as a "yellow journalist." With plenty of time to think about the failures of the previous year, Nestor decides to finish off the revolution from his sick bed, and elicits the help of his heroes, both actual and fictional, to carry out his plan.
The various heroes Nestor calls upon include "the hound" from Hound of the Baskervilles and Sherlock Holmes; the Earp brothers and their companion, Doc Holliday; the four Musketeers; the Light Brigade; and various other anti-colonialists and anti-imperialists, including Norman Bethune (see film annotation, Bethune: The Making of a Hero), the Tigers of Malaysia, and the Mau-Mau. These characters are summoned by Nestor (and Taibo) as a means to revivify the "Movement of '68" that ended in the massacre of 49 students, the wounding of 500 others, and the detention of 1500 persons on October 2nd of that year.
Jorge Castaneda notes in the preface to this novel, "only fairy tales or adventure stories could heal the wounds and keep the promises of the streets . . . "(p.vii). It is the imagined hero's power to reconfigure events to which the desperate Nestor turned in his attempt to heal the past.
David Lurie is a scholar of the English Romantic poets, now professor of communications in Cape Town in newly post-apartheid South Africa. He is fired in disgrace for sexual harassment after having an affair with one of his students, Melanie Isaacs, or raping her (our definition of the act is deliberately blurred until later). He goes to stay with his daughter, Lucy, who kennels dogs and grows flowers on a smallholding in the Eastern Cape, and he passes his time helping Lucy's friend, Bev, in the euthanasia and disposal of sick and unwanted dogs.
Then he and Lucy are attacked by three black men who arrive at the farm. They pour lighter fluid over him and set him on fire, and they gang-rape Lucy. One of the attackers is a relative of Lucy's neighbour, a black man named Petrus, and protected by him. Lucy refuses to press charges or to leave, but Lurie drives back to Cape Town.
On the way, he stops at the home of Melanie Isaacs and meets her father, who invites him to stay for dinner. He apologizes to her father, who asks him some difficult questions about forgiveness and about being in disgrace. There are parallels between him and Mr. Isaacs in relation to their respective raped daughters. In Cape Town Lurie finds that his house has been broken into and everything stolen.
When Bev calls him to say that Lucy is not well he goes back to the farm, where he discovers that she is pregnant as a result of the rape, has decided to keep the child, and intends to agree to Petrus's offer of marriage: if she becomes one of his wives, in name only, she will be allowed to stay on the farm (which he will now own) under his protection.
She resists all her father's objections. He finds a room in the town near her farm, continues to help Bev killing the dogs, and, while he awaits the birth of his grandchild, works on an opera he is writing, about the abandoned mistress of the poet Byron, who yearns for a time that is past.
Southern Baptist missionary Nathan Price brings his wife Orleanna and his four young daughters to the Belgian Congo in 1959, just before its turbulent passage into independence as the state of Zaire. The Prices’ stay in the tiny village of Kilanga occasions escalating conflicts of cultures and values. The differences between the social, religious, and political habits of the United States and Africa are a source of both wonder and strife.
Orleanna and most of her daughters develop bonds with the people of Kilanga whose dimensions are much deeper than they first realize. At the same time, the family finds itself increasingly at odds with each other. All the women are engaged in a passage to personal identity and independence from Nathan: Orleanna, the dutiful minister’s wife; materialistic teenager Rachel; fervent, idealistic Leah, who emulates her father until it’s impossible to continue; her brilliant twin sister Adah, who walks with a limp and perceives the world in palindromes; and adventurous five-year-old Ruth May.
While all the women are changed by Africa, Nathan becomes more and more zealous in his refusal to change. The novel draws Nathan as a man whose identity has been definitively shaped by a World War II trauma that launches him on a downward psychological spiral from which there is no exit.
The novel is broken into seven books, all but the seventh bearing the titles and epigraphs from books of the Hebrew Bible and Apocrypha. Within the sections, the story is told as a round robin, with the Price women contributing alternating first-person narrative.
The daughters’ stories begin in 1959 in Africa and record events as they happen, gradually working their way forward to the 1990s. Their mother, in contrast, tells her story retrospectively, writing from Sanderling Island, Georgia, long after her return from Africa. Nathan is the only family member who never narrates.