Pub Date : 2023-11-01DOI: 10.1353/wlt.2023.a910278
Nicole Yurcaba
Reviewed by: A Violin from the Other Riverside by Dmytro Kremin Nicole Yurcaba DMYTRO KREMIN A Violin from the Other Riverside Trans. Svetlana Lavochkina. Liberty Lake, Washington. Lost Horse Press. 2023. 215 pages. DMYTRO KREMIN'S A Violin from the Other Riverside arrives in a dual-language edition at a critical time in Ukrainian history and the Ukrainian language. Described as a "philosophical bow strung with a Ukrainian timeline arrow," its timeline spans some of the most forgotten eras in Ukrainian and European history. From the Pontic steppes to Scythia, ancient Greece, Rome, and into the modern era when Russian occupiers illegally enter Ukraine's territory, these passionate poems guide readers through epics and dramas both universal and personal with wise notes that illuminate Ukraine's current struggle for independence. "Elegy of the Years on Fire" alludes to the 2014 Maidan events that set the political stage for the 2022 invasion. Opening with the stark, prophetic line "When Kyiv is beset with guns and smoke," the poem segues into images rife with war. "Blood-spattered mists" hang heavily, and the poem's speaker stands in disbelief, weighed down by a soul "filled with longing." However, the Ukrainian resilience that, for nearly two years, has awed the globe is fully displayed in one of the poem's most memorable stanzas. In it, the concept of victory becomes a "last frontier," where pagan gods like Perun and Striborg abide among modern mortals. The mythical pagan gods are not the only Ukrainian historical figures invited into Kremin's verses. The famous outlaw Oleksa Dovbush, a folk hero often compared to Robin Hood, finds his place in "A Carpathian Souvenir." The speaker declares that Dovbush "is no more" and that "no one like him will ever live." Dovbush's passing, however, is more than the death of a revered folk hero. Kremin portrays it as a catalyst, one that spurs the irreversible trend of cultural erasure, particularly for the Hutsuls. Their cultural and artistic remnants become cheap commodities in a society which does not understand or appreciate the remnants' significance. The speaker laments: The eagles flew into all shops,perched on the shelves in every teahouse, every inn,They carried prison smells on their wings,Which stretched from hamlets to our metropolis.The whining of a two-man saw, the screeching of an axLived in the genes of pines and beeches.And those were trees without age rings . . . As the poem continues, the speaker captures other snippets of the persecution of Ukrainian culture and language. Other historical figures like bard Ihor Bilozir, a renowned Ukrainian singer and composer fatally wounded for singing in Ukrainian, also appear. The speaker portrays Bilozir's persecution bluntly: Blood circulates in names and words.Bard Ihor Bilozir was murderedFor singing in Ukrainian.The eagle squawks . . . It went as far as Lviv. For readers unfamiliar with Ukrainian geography and politics, Lviv—the largest city in weste
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Pub Date : 2023-11-01DOI: 10.1353/wlt.2023.a910292
Schneider K. Rancy
Reviewed by: The Corrected Version by Rosanna Young Oh Schneider K. Rancy Rosanna Young Oh The Corrected Version Richmond, Virginia. Diode Editions. 2023. 68 pages. ROSANNA YOUNG OH'S debut collection, The Corrected Version, is multiheaded in its origins and reflections. These poems descend with unflinching eye to feast on the personal and the vulnerable, and through this prism explore the wider contradictions with which a writer of diaspora must grapple. The poems of The Corrected Version are ones of departure and stranding, and consequent metaphysical longing. In a collection that abounds with transportations to faraway landscapes and with Korean mythos, the author's parents and familial figures are lodestones to understanding the frustrations of immigration. Tellingly, in "Erasures," she writes of her father: "his favorite story is the myth of Odysseus" and "Maybe he's erased too much of himself / in his pursuit of a 'life.'" These tensions between the folklore of homeland—a heroic mythos of cultural identity—and the disillusionment of American reality, weighed down by working-class industrialism, are palpable. In "Chrysanthemums," Chŏngju's reverent appraising of the flower is robbed of its beauty in its American context at a respected elder's funeral: "Around them, / the chrysanthemums / waxed for the man / who sold them / door-to-door for more / than half his life." Likewise, in "Picking Blueberries," the manual and existential labor of sorting rotten from salvageable blueberries for reselling at the family store is coolly summarized: "How, how to price them? $3.99 per pint." The reader, however, is left with the undeniable impression of how incalculable it is the way the berries burst when squeezed between forefinger and thumb. Visceral imagery of fruits, plants, and grocery store items haunt the reader throughout this collection like ghosts of the author's childhood, brimming in the aisles of her parents' grocery store. The dripping cut watermelon in "Scene with Watermelon from Hokusai" is a reference to the still life by the Japanese painter, but this flora is also one of the many windows through which Oh understands the American landscape as shaped through the economic conditions of her upbringing. The visions are gripping: in "The Gift," the father, hunched wet-eyed and wet-mouthed over the garbage can eating "a Haitian mango: / all muscle brindled with black and bruises," or the vision of impaled oranges and smashed cantaloupes; the dutiful immigrant daughter "clacking at the register, / the tips of [her] latex gloves black / from rubbing coins and dollar bills"; or the exhilarating and freeing litany of "Creation Narrative," naming the very inventory of fruits, vegetables, and plants that constructs the speaker's recent past and identity. But Oh makes it clear: the grocery store is at once childhood paradise and purgatory. Glimpses of punitive xenophobic disparagements run as a whispered undercurrent, the way a child hiding under the
校阅人:更正版由罗珊娜杨Oh施耐德K.兰西罗珊娜杨Oh更正版里士满，弗吉尼亚州。二极管版。2023。68页。ROSANNA YOUNG OH的首张系列《修正版》(The Corrected Version)在起源和反思上都是多方面的。这些诗歌以坚定的眼光展现了个人和脆弱的一面，并通过这个棱镜探索了散居海外的作家必须努力解决的更广泛的矛盾。《正译本》的诗歌是离境与搁浅的诗歌，以及由此产生的形而上的渴望。在这本充满了前往遥远风景的交通工具和韩国神话的书中，作者的父母和家庭人物是理解移民挫折的最重要的基石。在《擦除》(Erasures)一书中，她这样描写父亲:“他最喜欢的故事是奥德修斯(Odysseus)的神话”，“也许他在追求‘生活’的过程中抹去了太多自我。”’”故乡的民间传说——一种文化认同的英雄神话——与美国现实的幻灭之间的紧张关系，在工人阶级工业主义的重压下，是显而易见的。在《菊花》(chrysanthemum)中，Chŏngju对这种花的虔诚评价，在一位受人尊敬的长者的葬礼上，在美国语境中被剥夺了它的美:“在他们周围，/菊花/为卖菊花的人/挨家挨户地/打了一半以上的蜡。”同样，在《采摘蓝莓》(Picking berries)一书中，将腐烂的蓝莓从可回收的蓝莓中分拣出来，然后在家庭商店转售的手工劳动被冷静地总结为:“如何给它们定价?每品脱3.99美元。”然而，给读者留下的不可否认的印象是，浆果在食指和拇指之间挤压时爆裂的方式是多么不可估量。在这本书中，水果、植物和杂货店物品的直观意象像作者童年时代的幽灵一样萦绕在读者心头，充斥在她父母杂货店的过道里。《葛饰北斋的西瓜》(Scene with watermelon from north kusai)中滴落的切开西瓜是对这位日本画家静物画的参考，但这种植物也是吴秀珍理解美国风景的众多窗口之一，因为美国风景是由她成长过程中的经济条件塑造的。这些景象扣人心弦:在《礼物》中，父亲蜷缩在垃圾桶前，眼湿嘴湿，吃着“一个海地芒果:/全身肌肉布满了黑色和瘀伤”，或者是被刺穿的橙子和碎哈密瓜的景象;尽职的移民女儿“敲着收银台，/(她的)乳胶手套的尖端/因为摩擦硬币和美钞而变黑”;或者是令人振奋和自由的“创造叙事”，命名水果，蔬菜和植物的清单，这些清单构建了说话者最近的过去和身份。但吴珊卓说得很清楚:杂货店既是童年的天堂，也是童年的炼狱。惩罚性的仇外轻蔑就像暗流般悄悄流淌，就像一个躲在柜台下面的孩子可能无意中听到了争吵的成年人所说的话，但却听不清。那个在《家庭作业》中笑得“把她逗乐了”的男孩，在《礼物》中被顾客攻击:“把这些垃圾给你的孩子。”这些话所要引起的羞耻感在其他地方都很明显，无论是演讲者还是她的父母，他们都拒绝接受他们目前的美国环境，认为这反映了他们的真实出身。在《在澡堂里》中，说话者的母亲搓澡，“直到全身发炎/到处都是抓痕……/泄露了[她]/内心深处的愿望:[她]/光芒四射，没有人会知道/[她]是一个杂货店老板的女儿。”在采摘蓝莓的过程中，她父亲的声音“仿佛从远处传来:‘你不应该过这样的生活。“”《美杜莎》中的讲话者承认:……我解开我的卷发，在我母亲的沙龙的阿姨知道:我是我父亲的女儿。在“你孤独的梦”中，在一个充满折纸龙的梦境中，演讲者反思道:“在你的梦中，你是你想成为的艺术家……/你意识到你不必听我们的父亲/或他对精英主义和厌世的指责。”说话的人坚持说:“这个甜瓜来自加利福尼亚。/这个桃子是美国的。”这些诗的形象，困扰着……
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Pub Date : 2023-11-01DOI: 10.1353/wlt.2023.a910288
Andrew Martino
Reviewed by: Retrospective: A Novel by Juan Gabriel Vásquez Andrew Martino JUAN GABRIEL VÁSQUEZ Retrospective: A Novel Trans. Anne McLean. New York. Riverhead Books. 2023. 436 pages. ANNE MCLEAN'S ENGLISH translation of Retrospective, by Juan Gabriel Vásquez, is a masterpiece in literary translation. Not only should we be thankful for McLean's ability, which seems supernatural, to bring this remarkable novel across the linguistic frontier, we should also be thankful for her careful attention to the linguistic sensibilities of the original. McLean's relationship with Vásquez and his work is one that has helped us understand Vásquez's entire literary project in English. I suspect that with the English translation of Retrospective, Vásquez's reputation as one of our greatest living writers is firmly established. He may very well be the heir to the great Javier Marías. Retrospective is a fictional biography of Colombian filmmaker Sergio Cabrera. Cabrera and Vásquez enjoy a friendship that goes back years, and this book is the culmination of a seven-year conversation. Told in three parts, the novel begins with the death of Cabrera's father, Fausto, an actor, at the age of ninety-two while Sergio is in Lisbon getting ready to leave for Barcelona to attend a retrospective of his own films. Organized by Filmoteca de Catalunya, the retrospective will be the first of its kind for Cabrera. Accompanying Sergio is his son, Raúl. As the book opens, Sergio's marriage is failing, and he and his wife are living separate lives. Sergio's daughter stays behind in Lisbon with her mother, setting up a narrative that anticipates a father-son bonding experience. This is explored in part, but Retrospective turns out to be so much more that a father telling his son the history of their family. The first part, "Encounter in Barcelona," mostly depicts Fausto's life, his marriage, and the birth of his two children. Fausto's early experience in reciting poems paves the way for his acting life. But more [End Page 72] than that, it paves the way for Fausto to "act" in several parts throughout his life, such as husband, father, actor, and rebel, thus forming and manipulating the lives of his children. The second part covers the lives of Sergio and his sister in China, slowly being indoctrinated by Mao's revolution. It's in the second part where the bulk of the story takes place. There is a transient aspect to both siblings' lives. Both are cut off from their parents as well as set apart from those who live with and around them. The third part tells of the family's efforts in Colombia as revolutionaries. There is a section in the third part that could very well sum up the entire narrative: "So this was also one of the war zones, he thought. Bogotá was like that: a person walked along distracted, thinking their own thoughts, and on any corner the violent history of the country could jump out and hit them in the face." What Retrospective tells us is that life is a war zone, simulta
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Pub Date : 2023-11-01DOI: 10.1353/wlt.2023.a910283
Tess O'Dwyer
Reviewed by: Daughters of Latin America: An International Anthology of Writing by Latine Women ed. by Sandra Guzmán Tess O'Dwyer Daughters of Latin America: An International Anthology of Writing by Latine Women Ed. Sandra Guzmán New York. HarperCollins. 2023. 559 pages. Words are medicine. Medicine is breath. I cure with language, nothing more. —María Sabina AMBITIOUS, AUDACIOUS, and teeming with talent, Daughters of Latin America highlights the vast and varied collective genius of women writers from Latin America, the Caribbean, and the diaspora. The collection spans five hundred years of literature by more than one hundred women from thirty-four nations. There are spirited translations from twenty-one languages, including seventeen mother tongues of the Americas such as Mazatec, Kʼicheʼ, and Kaqchikel. In a lively introduction about the powers of ancestral traditions and the promise of matriarchy, Sandra Guzmán graciously tips her hat to other groundbreaking anthologies that shaped her editorial strategies: This Bridge Called My Back: Writings by Radical Women of Color (1981), edited by Cherríe Moraga and Gloria Anzaldúa; New Daughters of Africa: An International Anthology of Writing by Women of African Descent (2019), edited by Margaret Busby; and When the Light of the World Was Subdued, Our Songs Came Through: A Norton Anthology of Native Nations Poetry (2020), edited by Joy Harjo. What these books have in common is how tenacious, radical, and successful they are in their drive to revolutionize literary canons in celebration of extraordinary virtuosity and diversity. They offer mind-expanding material and create greater opportunities not only for those featured within the covers but for countless other writers of the traditions and perspectives that they champion. Daughters of Latin America is comprised of thirteen sections, signifying the thirteen Mayan moons. This poetic structure allows Guzmán to bypass the usual organizing principles of an anthology (i.e., chronology, geography, literary movement, language, or genre) and to create, instead, one surprising and delightful juxtaposition after another. There are shaman chants, breezy wishes, ethereal blessings, acerbic song lyrics, and desperate supplications. There are wrenching accounts of abduction, torture, indoctrination, rape, domestic violence, and murder. There are fascinating letters, starting with the famous "Respuesta a Sor Filotea de la Cruz," by the master of irony Sor Juana Inés de la Cruz, as well as an intimate love letter from Gabriela Mistral to her partner Doris Dana, and a chatty life update from Julia de Burgos to her sister Consuelo. There are fiery political pieces, including a scathing speech against misogyny by Alexandria Ocasio-Cortez and a jolting political farce about the inanities of the Trump era by Giannina Braschi. [End Page 68] There are beautifully written odes to everyday things, such as "Ode to the Hair Clip," by Ada Limón; "Umbilicus," by Nelly Rosario; an
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Pub Date : 2023-11-01DOI: 10.1353/wlt.2023.a910257
Rob Roensch
Hanging between Two Different WorldsA Conversation with Ahmed Naji Rob Roensch (bio) Click for larger view View full resolution In February 2016, after the publication of his energetic, imaginative, Cairoset novel, Using Life, Ahmed Naji became the first writer in Egyptian history to be imprisoned for "offending public morality," for erotic scenes in Using Life. Then he found himself in prison, sharing cells with high-profile political activists, and the experience deepened his commitment to literature. In 2016 he received the PEN/Barbey Freedom to Write Award. His new book, Rotten Evidence (McSweeney's, 2023), translated by Katharine Halls, is a chronicle of his incarceration that confounds the expectations of a prison memoir. In this interview, Naji discusses Rotten Evidence, the responsibility of writers to defend free expression, and the roles of dreams and humor in prison life. Rob Roensch: Could you talk a bit about the genesis of Rotten Evidence? Ahmed Naji: In the beginning, I didn't want to write about it. In general, I'm not a big fan of prison literature. I have a lot of moral and artistic questions about the meaning of writing about experience in a prison. But at the same time I was looking around, and I was surprised to not find any books written about the situation of current prisons in Egypt, which was very odd because in the last century in Egyptian history, prison literature was a big part of the map of Arab and Egyptian literature. However, in the last decade or two, because of the effect of social media, a lot of people who leave prison, rather than writing a book, they will write a synopsis, update their Facebook status, and just end there because you will take this emotional charge from inside them and that's it. The second thing I noticed is how human rights organizations are pushing toward testimony. So, rather than prison literature or writing about prison, we end up with all these human rights testimonies. The problem with human rights testimony is that it's dealing with you as a victim. It doesn't care about any other aspect of life like family life or love. Love is not human rights, as we all know, so you aren't allowed to speak about that. In your human rights testimony you are just a fact talking about suffering, and I thought the experience is more complicated and harder than that. Roensch: You've noted that many prison stories seem to be mainly about suffering [End Page 33] and human rights testimony. But your book is very funny. So I wonder if you could talk a bit more why humor is important for you as a writer, and the relationship of humor to solemn subjects like prison. Naji: I believe the highest literature is if I'm reading a book and it makes me laugh, not smile, but laugh. I believe this is a hard thing to achieve through writing. Making the reader cry, or feel sympathy, it's easy. It would be easy for me to write such a book in a melodramatic tone, and suck up to the reader's empathy. Like, "Oh! I have been
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Pub Date : 2023-11-01DOI: 10.1353/wlt.2023.a910251
Shakir Mustafa
Artists of Iraqi Descent Celebrate Roots and Global Belonging Shakir Mustafa (bio) Click for larger view View full resolution Maysaloun Faraj, HOME 10, acrylic on paper, 24 x 18cm, London, 27 March 2020 [End Page 15] Four artists of Iraqi descent are achieving global recognition for their paintings and handbag design. Both proud of their culture of origin and open to resources beyond national designations, these four artists are reckoning with vibrant identity issues. The careers of four artists of Iraqi descent recently witnessed significant events. One American, Maysaloun Faraj, and three Europeans see these events as defining moments to reflect on roots and belonging to a global culture. Two of the artists are British painters, Suad Al-Attar and Athier Mousawi, and one is Italian, Hussain Harba, a world-class designer of women's handbags and novelty furniture items. All four are well established, with works and products in world museums and in private collections. Faraj had a solo exhibition in Paris in 2022, and Al-Attar's granddaughter, Nesma Shubber, published a book on her grandmother's life and art, Suad Al-Attar (Heni, 2022). In April 2023 Harba won the Industrial Compass Award, one of Europe's prestigious design prizes. The youngest of the group, Mousawi had a solo exhibit last June in the arts hub Cromwell Place in central London. With roots in the Middle East, Paris, Los Angeles, and London, these artists showcase facets of a fascinating global art scene. Undoubtedly, cultural interactions impact individual and collective identities, and that clearly shows in the artists' works. Achieving recognition in a global setting with intense professional and ideological contentions requires openness to influences. Although all four artists show pride in their culture of origin, they make their mark due to embracing artistic resources well beyond national designations. A closer look at Faraj's and Al-Attar's books, and Harba's and Mousawi's recent works, illustrates an intriguing reckoning with vibrant identity issues. Click for larger view View full resolution Maysaloun Faraj in her London studio. Maysaloun Faraj: Art and Social Media Faraj's solo exhibition in Paris in June 2022 was at the Mark Hachem Gallery, with a companion catalog. Maysaloun Faraj: HOME Lockdown, 2020–2022 is richly illustrated, and it comes in numbered copies signed by the artist. Based on works done during the sheltering in place due to Covid-19, the paintings appeared on a group Facebook site dedicated to making home a subject for drawings and paintings. For an international community facing a global pandemic, the social media platform turned home into a locale for scrutinizing issues of belonging to a certain place and the possibilities of creating communal connections beyond that space. Started by Faraj herself, the Facebook platform also demonstrates the effects of one artist's engagement with communal responsibilities. In dozens of small and large paintings, Faraj
Maysaloun Faraj, HOME 10，纸上丙烯，24 x 18cm，伦敦，2020年3月27日[End Page 15]四位伊拉克裔艺术家的绘画和手袋设计正在获得全球认可。这四位艺术家都对自己的原籍文化感到自豪，并对超越国籍的资源持开放态度，他们正在思考充满活力的身份问题。四位伊拉克裔艺术家的职业生涯最近发生了重大事件。一个美国人，Maysaloun Faraj和三个欧洲人认为这些事件是反思根源和属于全球文化的决定性时刻。其中两位艺术家是英国画家苏阿德·阿塔尔(Suad Al-Attar)和阿蒂尔·穆萨维(Athier Mousawi)，另一位艺术家是意大利人侯赛因·哈尔巴(Hussain Harba)，他是世界级的女性手袋和新奇家具设计师。这四家公司都很成熟，其作品和产品在世界博物馆和私人收藏中都有展出。法拉吉于2022年在巴黎举办了个展，阿塔尔的孙女Nesma Shubber出版了一本关于她祖母的生活和艺术的书《Suad Al-Attar》(Heni, 2022)。2023年4月，哈尔巴获得了欧洲著名设计奖之一的工业指南针奖。作为这群人中最年轻的一个，穆萨维去年6月在伦敦市中心的艺术中心克伦威尔广场举办了一次个人展览。这些艺术家扎根于中东、巴黎、洛杉矶和伦敦，展示了一个迷人的全球艺术场景的各个方面。毫无疑问，文化互动影响着个人和集体的身份认同，这在艺术家的作品中表现得很明显。在激烈的专业和意识形态争论的全球环境中获得认可需要对影响持开放态度。虽然他们都对自己的文化感到自豪，但他们的成就是由于他们拥有超越国家的艺术资源。仔细看看法拉吉和阿尔-阿塔尔的书，以及哈尔巴和穆萨维最近的作品，就会发现他们对活跃的身份问题进行了有趣的反思。查看全分辨率Maysaloun Faraj在她伦敦的工作室。2022年6月，法拉吉在巴黎马克·哈赫姆画廊(Mark Hachem Gallery)举办了个展，并附带了一份目录。Maysaloun Faraj: HOME lock, 2020-2022插图丰富，并附有艺术家签名的编号副本。这些画是根据因Covid-19而在避难所完成的作品，出现在Facebook的一个小组网站上，致力于使家成为绘画和绘画的主题。对于面临全球大流行的国际社会来说，社交媒体平台把家变成了一个审视归属问题的场所，以及在这个空间之外建立公共联系的可能性。这个Facebook平台是由法拉吉自己创立的，它也展示了一位艺术家参与公共责任的效果。在几十幅大大小小的画作中，法拉吉提供了一个有趣的概念，即家是一个繁荣和舒适的环境。Facebook小组“呆在家里，画在家里”(Stay Home, Draw Home)的社区似乎参与了某种集体想象，即呆在家里意味着什么，以及重新启动与物理和隐喻空间的亲缘关系意味着什么。尽管那次大流行期间存在不确定性和动荡，但在面临巨大挑战的社区中，人们表现出了极大的团结。点击查看大图完整分辨率Maysaloun Faraj, The Orange, 2002。在紧张时期建立联系并不是什么新鲜事，但当家庭文化与全球背景相交融时，将家作为一个物理和隐喻空间的审视很容易转变为对根源和身份的审视。例如，在法拉吉的画作《10号家》中，这位艺术家明亮的公寓似乎延伸到了同样明亮的城市夜景中。法拉吉已经在伦敦生活了40年，她在那页的一条评论中写道，伦敦也有家的感觉。这幅画的桥梁也可能促使我们思考属于一个远离家乡文化的新地方的象征意义。阅读Nesma Shubber关于Suad Al-Attar的书，感觉就像被一股有趣的……
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Pub Date : 2023-11-01DOI: 10.1353/wlt.2023.a910271
Edward Ousselin
Reviewed by: Petit traité du racisme en Amérique by Dany Laferriére Edward Ousselin DANY LAFERRIÈRE Petit traité du racisme en Amérique Paris. Grasset. 2023. 256 pages. BORN IN HAITI in 1953, Dany Laferrière has been living abroad since 1976, mostly in Quebec, but also in Florida and in France. His first novel, How to Make Love to a Negro without Getting Tired (Laferrière favors provocative titles), was published in 1985. Some of his books, all written in French, have been translated into English (his personal account of the massive earthquake that struck Haiti in 2010 was reviewed in the May 2013 issue of WLT). Others have been adapted into films (e.g., Heading South, directed by Laurent Cantet in 2005). In 2013 Laferrière became a member of the Académie française. After fourteen novels, mainly addressing topics related to identity and exile, his Petit traité du racisme en Amérique (Short treatise on racism in America) is his first book on the issue of racism. Dedicated to Bessie Smith, it is obviously influenced by the recent series of documented cases of African Americans who were murdered by white police officers, of which the best-known case is Derek Chauvin suffocating George Floyd by kneeling on his neck for nearly ten minutes. Instead of a structured essay, this book offers a sort of kaleidoscopic arrangement of short texts, some in prose, some in a poetic format reminiscent of haikus (in 2008 Laferrière published a novel entitled I Am a Japanese Writer). Each section of the Petit traité, however short, has its own title. By way of illustration, here is a sampling of these titles: Le mot Nègre; La vie de l'autre; Blanc contre Noir; Le sentiment d'infériorité; La rage en Amérique; 9 min 29; La gloire d'Eleanor; L'afro d'Angela Davis; Langston Hughes à Port-au-Prince; Toni Morrison et Maya Angelou; Le Noir a peur du noir; Martin Luther King et René Lévesque. Laferrière's purpose in this book is not to provide a detailed accounting of all the recent deaths caused by racism. In a section entitled "L'esprit du livre," he explains that he seeks to bring out the human "flesh and pain" that lies within "the tragedy that is racism" and to point out that in each case, it is "a human being who was killed . . . and not a concept." His investigation of racism in America is more literary and psychological than historical or sociological. He points out that, due to his background as a Haitian exile living in Quebec and writing in French, his approach is somewhat different from that of other Black men and women who grew up in the United States. He also states that he is quite conscious of the levels of racism that exist in Canada or in France. He chose to write about America because of what he calls the "weight of numbers," or the fact that the number of African Americans is higher than the total population of Canada. In the United States, where the descendants of slaves live among the descendants of slave-owners, the historical legacy of slavery and the
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