Kirjahaku

For Thomas,`folklore' is an all-encompassing term that incorporates the sum total of the rituals, practices, and behavior of the black community. . . . Although some readers will quarrel with the elasticity of Thomas's theoretical framework, this study nevertheless offers a useful overview of the various ways in which Afro-American writers have drawn upon a common cultural heritage. ChoiceThis study focuses on the transposition of Afro-American folk heroes and rituals from folklore to literature. Thomas shows how black American novelists perceive the heroes and rituals of their community, and the challenge these writers face in making oral forms serve the needs of their writing. The evolution of folklore in black fiction is clearly demonstrated. Works of writers from Charles Chesnutt and Paul Dunbar to recent ones such as Paule Marshall and Toni Morrison are analyzed to reveal both the writers' ability to convert folklore into fiction and to dramatize the ontological value of the lore to Afro-American society. From Folklore to Fiction joins in the ever enlarging dialectic for studying and understanding the black American reality.The introduction to this book presents a review of scholarship on Afro-American folklore and fiction. The origins and functions of Afro-American folk forms are covered next. Major folk heroes are introduced, including the John Henry and black Moses, defiant heroes, and the trickster. The techniques and reasons for incorporating Afro-American rituals are the folk sermon, singing of spirituals, and ecstasy of the black church, the blues, the dozens, and jive.

Will their lifelong secret love outlast their insular, homophobic island’s rancour?Gordon and Allan, boys from a peasant background, grow up in neighbouring villages in tiny, violently homophobic Saint Vincent, and vow to be lifelong lovers in a secret relationship. Both complete their university studies in Montreal and London, respectively, where LGBTQ folk are tolerated. But their secret lives come at the expense of others — notably Gordon’s wife, Maureen, who is the first one to be irreparably harmed. Maureen has confided her painful secrets to an accusatory diary, and it is now up to Gordon to keep that diary from local media, and the unforgiving eyes of the authorities, or he and Allan will be the next victims of this beautiful and hidebound island.

Featuring an introduction by Kaie Kellough and a new afterword by the author. First published in Canada in 1993, Spirits in the Dark is a pioneering intersectional novel of the LGBTQ+ and Caribbean-Canadian experience that was far ahead of its times. In his powerful debut novel, H. Nigel Thomas writes with compelling honesty about the confusing maze of societal pressures that paralyze Jerome Quashee while growing up in the Caribbean, and later on in his adult life. Jerome’s intelligence at first promises him a gateway out of the poverty his parents have known, but he must compete with privileged White boys for scholarships in a racist, classist culture. He represses his emerging homosexuality, fearing that it will bring his family disgrace, as he wrestles with the guilt of knowing so little about his African heritage and the pressure to let go his ties to Black culture. Under the spiritual guidance of Pointer Francis, he undergoes a religious ritual to block all sensory links to the outside world in order to see clearly into his past and face his demons.

No Safeguards, the first in a trilogy, follows Jay and his brother Paul from childhood to young adulthood. We witness the destructive impact of fundamentalist Christian beliefs on their mother and father, opposition to those beliefs by the boys' grandmother and each boy's very different response to their parents' religiosity. This becomes even more poignant after they leave their grandmother's comfortable home in St. Vincent to join their mother in Montreal. The revelation that both boys are gay adds to their sense of oppression and divides them from their mother, whose views are shaped by the church and the theology of the Torah.

In Fate's Instruments, picking up the story from where Paul's brother Jay left it in No Safeguards, Paul, an aspiring writer, marries Carlos, with whom he lived in Guatemala, and brings him to Montreal. Things go wrong from the beginning, and they break up. Then fate, in the form of a brain tumour, strikes Paul. He receives support from Jay, Lionel (himself a brain tumour survivor), friends, and the enigmatic Professor Bram. But it is Paul's exploration of his Vincentian childhood and new-found love that restores his equilibrium.

Less than an hour after Millington receives his permanent resident visa, he wonders if his husband Jay would now end their marriage. And Jay has multiple reasons to. Millington is an ex-Methodist minister, who once believed he could be celibate. When he fled Caribbean Methodism and came to Montreal, he thought he'd resolved the issues that made him leave, but he comes to understand that psychological trauma, childhood conditioning, parental and community expectations and his own need for community and family valorization are not easily exorcised. The third installment in the No Safeguards quartet of novels.

Millington and Jay, two very discreet, middle-aged men living in Montreal, are in the fourth year of a marriage that seems idyllic to their friends. But the marriage is hidden from their parents, who live in St Vincent, and it is fraught with Millington's problems from untreated trauma and his former career as a Methodist minister. And Then Again Begin (volume 4 of The No Safeguards Quartet) reveals their surprising discoveries as they attempt to resolve these problems.