Tous droits réservés. Republié avec l'autorisation du·de la détenteur·rice du droit d'auteur et de l'éditeur·rice, CRESFED.

Tous droits réservés. Republié avec l'autorisation du·de la détenteur·rice du droit d'auteur et de l'éditeur·rice, CRESFED.

The past few decades have seen an explosion of writing by women from the Caribbean. From Antigua, Barbados, Belize, Dominica, Grenada, Guyana, Haiti, Trinidad - women of African, European, and mixed ancestry have explored and manipulated their complex matrix: of languages and subtle linguistic codes; of folk traditions and formal English schooling; of vital politics and tormented histories; of intoxicating natural beauty and devastating poverty. They have written of mothertongues and motherlands, of exile, of the boundaries of bodies, of the politics of owning and not owning themselves.

Sovereignty. Sugar. Revolution. These are the three axes this book uses to link the works of contemporary women artists from Haiti—a country excluded in contemporary Latin American and Caribbean literary studies—the Dominican Republic, and Cuba. In From Sugar to Revolution: Women’s Visions of Haiti, Cuba, and the Dominican Republic, Myriam Chancy aims to show that Haiti’s exclusion is grounded in its historical role as a site of ontological defiance.

At the end of a long, sweltering day, on January 12, 2010, as markets and businesses attempt to close for the day, an earthquake of 7.0 magnitude, shook the capital of Haiti, Port-au-Prince, leaving over 250,000 dead, over 1.3 million injured and another 1.5 million homeless. The earthquake itself lasted for only 45 seconds, but nothing would be the same again for anyone on the ground, for any Haitian watching monuments fall to the ground from afar, on television screens, for anyone with a personal tie to its land.

Tous droits réservés. Republié avec l'autorisation du·de la détenteur·rice du droit d'auteur et de l'éditeur·rice, CRESFED.