Paper presented at the Regional Conference on Institutionalising Best Practice in Higher Educatio... more Paper presented at the Regional Conference on Institutionalising Best Practice in Higher Education, UWI, St. Augustine, Trinidad and Tobago, 24-26 June, 2015.
It is evident that Gracia is writing as a Cuban-American from a North American perspective. In co... more It is evident that Gracia is writing as a Cuban-American from a North American perspective. In contrast to his rejection of the label Hispanic, in the Caribbean today the term is largely accepted. In this area blacks have been marginalized more severely than members of ...
... Nicole Roberts is a lecturer of Hispanic literature and Spanish at the University of the West... more ... Nicole Roberts is a lecturer of Hispanic literature and Spanish at the University of the West Indies, St. ... 11. Sherezade (Chiqui) Vicioso, "Haiti," in Sin Otro Profeta que su canto: Antología de poesía escrita por dominicanas, ed. Daisy Cocco de Filippis (Santo Domingo: Taller, 1988 ...
It is evident that Gracia is writing as a Cuban-American from a North American perspective. In co... more It is evident that Gracia is writing as a Cuban-American from a North American perspective. In contrast to his rejection of the label Hispanic, in the Caribbean today the term is largely accepted. In this area blacks have been marginalized more severely than members of ...
Much critical attention has been paid to the debate surrounding identity in the Caribbean and ind... more Much critical attention has been paid to the debate surrounding identity in the Caribbean and indeed it must be noted that Caribbean Cultural Studies is today an area which seeks to legitimise the narration of experiences by those who have lived such. My interest in this paper lies specifically with the representation of identity in the Hispanic Caribbean and on the ways in which contemporary Hispanic Caribbean narrative is a site in which constructions of alterity highlight the re-imaginations of identity. In Consuming the Caribbean, Mimi Sheller argues that the Caribbean is constantly caught up in a “politics of the picturesque.” Arguably then, how the Caribbean frames itself is of paramount importance.
In this paper, I make a close critical reading of the novel Cualquier miércoles soy tuya [Any Wednesday I’m yours] by the Afro-Puerto Rican writer Mayra Santos Febres. Set in contemporary Puerto Rico, the novel is a sort of fiction noir which recounts the transient life of the urban underworld in San Juan and in which two murders take place. My analysis centres on Santos Febres’ mis- and disembodied representations of black masculinity, as well as the ways in which she suggests that racial authenticity is mediated by consumption. Throughout the novel, Santos Febres chronicles the experiences of trauma of the Caribbean people and in a sense, it is in the de-centring of blackness in the novel that Santos Febres makes her most telling statement on Caribbean identity; one that must be seen through a lens of defiant and at times compromising acts.
Paper presented at the Regional Conference on Institutionalising Best Practice in Higher Educatio... more Paper presented at the Regional Conference on Institutionalising Best Practice in Higher Education, UWI, St. Augustine, Trinidad and Tobago, 24-26 June, 2015.
It is evident that Gracia is writing as a Cuban-American from a North American perspective. In co... more It is evident that Gracia is writing as a Cuban-American from a North American perspective. In contrast to his rejection of the label Hispanic, in the Caribbean today the term is largely accepted. In this area blacks have been marginalized more severely than members of ...
... Nicole Roberts is a lecturer of Hispanic literature and Spanish at the University of the West... more ... Nicole Roberts is a lecturer of Hispanic literature and Spanish at the University of the West Indies, St. ... 11. Sherezade (Chiqui) Vicioso, "Haiti," in Sin Otro Profeta que su canto: Antología de poesía escrita por dominicanas, ed. Daisy Cocco de Filippis (Santo Domingo: Taller, 1988 ...
It is evident that Gracia is writing as a Cuban-American from a North American perspective. In co... more It is evident that Gracia is writing as a Cuban-American from a North American perspective. In contrast to his rejection of the label Hispanic, in the Caribbean today the term is largely accepted. In this area blacks have been marginalized more severely than members of ...
Much critical attention has been paid to the debate surrounding identity in the Caribbean and ind... more Much critical attention has been paid to the debate surrounding identity in the Caribbean and indeed it must be noted that Caribbean Cultural Studies is today an area which seeks to legitimise the narration of experiences by those who have lived such. My interest in this paper lies specifically with the representation of identity in the Hispanic Caribbean and on the ways in which contemporary Hispanic Caribbean narrative is a site in which constructions of alterity highlight the re-imaginations of identity. In Consuming the Caribbean, Mimi Sheller argues that the Caribbean is constantly caught up in a “politics of the picturesque.” Arguably then, how the Caribbean frames itself is of paramount importance.
In this paper, I make a close critical reading of the novel Cualquier miércoles soy tuya [Any Wednesday I’m yours] by the Afro-Puerto Rican writer Mayra Santos Febres. Set in contemporary Puerto Rico, the novel is a sort of fiction noir which recounts the transient life of the urban underworld in San Juan and in which two murders take place. My analysis centres on Santos Febres’ mis- and disembodied representations of black masculinity, as well as the ways in which she suggests that racial authenticity is mediated by consumption. Throughout the novel, Santos Febres chronicles the experiences of trauma of the Caribbean people and in a sense, it is in the de-centring of blackness in the novel that Santos Febres makes her most telling statement on Caribbean identity; one that must be seen through a lens of defiant and at times compromising acts.
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In this paper, I make a close critical reading of the novel Cualquier miércoles soy tuya [Any Wednesday I’m yours] by the Afro-Puerto Rican writer Mayra Santos Febres. Set in contemporary Puerto Rico, the novel is a sort of fiction noir which recounts the transient life of the urban underworld in San Juan and in which two murders take place. My analysis centres on Santos Febres’ mis- and disembodied representations of black masculinity, as well as the ways in which she suggests that racial authenticity is mediated by consumption. Throughout the novel, Santos Febres chronicles the experiences of trauma of the Caribbean people and in a sense, it is in the de-centring of blackness in the novel that Santos Febres makes her most telling statement on Caribbean identity; one that must be seen through a lens of defiant and at times compromising acts.
Nicole Roberts (Dr.)
Tel: 1-868-730-8107 (cell)
E-mail: Nicole.Roberts@sta.uwi.edu
In this paper, I make a close critical reading of the novel Cualquier miércoles soy tuya [Any Wednesday I’m yours] by the Afro-Puerto Rican writer Mayra Santos Febres. Set in contemporary Puerto Rico, the novel is a sort of fiction noir which recounts the transient life of the urban underworld in San Juan and in which two murders take place. My analysis centres on Santos Febres’ mis- and disembodied representations of black masculinity, as well as the ways in which she suggests that racial authenticity is mediated by consumption. Throughout the novel, Santos Febres chronicles the experiences of trauma of the Caribbean people and in a sense, it is in the de-centring of blackness in the novel that Santos Febres makes her most telling statement on Caribbean identity; one that must be seen through a lens of defiant and at times compromising acts.
Nicole Roberts (Dr.)
Tel: 1-868-730-8107 (cell)
E-mail: Nicole.Roberts@sta.uwi.edu