“Rich in scope and audacious in its serious imaginative and prescient, Creole Renegades incisively advances debates approximately basic elements of our postcolonial and globalized reports similar to the enigmas of racial passing, creoleness, and returning and leaving ‘home.’”—Anny Dominique Curtius, writer of Symbiosis of a reminiscence
“An very important publication that tackles the phenomenon of exiled Caribbean authors from a brand new point of view, underscoring their contentious courting with the house island. Boisseron keeps the paintings of ‘decentering’ Caribbean experiences, relocating the locus of study from the Antilles or Europe to North America.”—Richard Watts, writer of Packaging Post/Coloniality
“This insightful process illuminates very important shifts in Caribbean literature and permits Boisseron to make new, crucial contributions into the articulation of subjectivities in twenty-first century literary criticism.”—Frieda Ekotto, writer of Race and intercourse around the French Atlantic
Exiled writers usually have tremendous complex relationships with their local lands. during this quantity, Bénédicte Boisseron examines the works of Caribbean-born writers who, from their new destinations in North the United States, query their cultural responsibilities of Caribbeanness, Creoleness, or even Blackness. She surveys the works of Edwidge Danticat, Jamaica Kincaid, V. S. Naipaul, Maryse Condé, Dany Laferrière, and others who every now and then were good bought of their followed nations yet who've been disregarded of their domestic islands as sell-outs, opportunists, or traitors.
These expatriate and second-generation authors refuse to be uncomplicated bearers of Caribbean tradition, usually dramatically distancing themselves from the postcolonial archipelago. Their writing is often infused with an attractive feel of cultural, sexual, or racial emancipation, yet their deviance isn't defiant. as an alternative, their emancipations are these of the nomad, whose real and descriptive travels among issues on a cultural compass aid to deconstruct the “sedentary ideology of Caribbeanness” and to reanimate it with new perspectives.
Underscoring the often-ignored contentious courting among glossy diaspora authors and the Caribbean, Boisseron finally argues that displacement and artistic autonomy are usually appear in guilt and betrayal, valuable topics that emerge many times within the paintings of those writers.