Bøger af George Elliott Clarke

In Zanzibar, in 2008, George Elliott Clarke began to write his "Canticles," an epic poem treating the Transatlantic Slave Trade, Imperial and colonial conquest, and the resistance to all these evils. That is the subject of Canticles I (MMXVI) and (MMXVII). In Canticles II (MMXIX) and (MMXX), Clarke rewrites significant scriptures from an oral and "African" or "Africadian" perspective. Now, in Canticles III (MMXXII) and (MMXXIII), Clarke shifts focus--from world history and theology -- to the specific history and bios associated with the creation of the African ("Africadian") Baptist Association of Nova Scotia. By so doing, he concludes the most remarkable epic ever essayed in Canadian letters -- an amalgam of Pound and Walcott -- but entirely and inimitably his own.

In Whiteout: How Canada Cancels Blackness, his new and essential collection of essays, George Elliott Clarke exposes the various ways in which the Canadian imagination demonizes, excludes, and oppresses Blackness. Clarke's range is extraordinary: he canvasses African-Canadian writers who have tracked Black invisibility, highlights the racist bias of our true crime writing, reveals the whitewashing of African-Canadian perspectives in universities, and excoriates the political failure to reckon with the tragedy of Africville, the once-thriving, "Africadian" community whose last home was razed in 1970. For Clarke, Canada's relentless celebration of itself as a site of "multicultural humanitarianism" has blinded White leaders and citizens to the country's many crimes, at home and abroad, thus blacking out the historical record. These essays yield an alternate history of Canada, a corrective revision that Clarke describes as "inking words on snow, evanescent and ephemeral."

"In Zanzibar, in 2008, George Elliott Clarke began to write his "Canticles," an epic poem treating the Transatlantic Slave Trade, Imperial and colonial conquest, and the resistance to all these evils. That is the subject of Canticles I (MMXVI) and (MMXVII). In Canticles II (MMXIX) and (MMXX), Clarke rewrites significant scriptures from an oral and "African" or "Africadian" perspective. Now, in Canticles III (MMXXII) and (MMXXIII), Clarke shifts focus-from world history and theology - to the specific history and bios associated with the creation of the African ("Africadian") Baptist Association of Nova Scotia. By so doing he concludes the most remarkable epic ever essayed in Canadian letters - an amalgam of Pound and Walcott - but entirely and inimitably his own"--

The legend of Beatrice Cenci has intrigued writers such as Antonin Artaud, Stendhal, Mary Shelley, Alexandre Dumas, Percy Bysshe Shelley, Robert Browning, and Kathy Acker. In Beatrice Chancy, a verse play set in Nova Scotia in 1819, Clarke boldly reimagines Beatrice as the daughter of a white master and a black slave.

In a time of malevolent righteousness, often described as Cancel Culture, J'Accuse is an essay-in-poetry by Canada's Parliamentarian Poet Laureate emeritus that responds to the impacts of being 'cancelled'.

George Elliott Clark draws from this disturbing chapter in Canadian history in his first novel, brilliantly reimagining the lives - and deaths - of the two brothers.

Governor General's Award-winning author George Elliott Clarke identifies African-Canadian literature's distinguishing characteristics, argues its relevance to both African Diasporic and Canadian Studies and critiques several of its key creators and texts.

Directions Home explores the trajectories and tendencies of African-Canadian literature within the Canadian canon and the socio-cultural traditions of the African Diaspora.

Blues singer, preacher, cultural critic, exile, Africadian, high modernist, spoken word artist, Canadian poetthese are but some of the voices of George Elliott Clarke. In a selection of Clarkes best work from his early poetry to his most recent, Blues and Bliss: The Poetry of George Elliott Clarke offers readers an impressive cross-section of those voices. Jon Paul Fiorentinos introduction focuses on this polyphony, his influencesDerek Walcott, Amiri Baraka, and the canon of literary English from Shakespeare to Yeatsand his voice throwing, and shows how the intersections here produce a troubling of language. He sketches Clarkes primary interest in the negotiation of cultural space through adherence to and revision of tradition and on the finding of a vernacular that begins in exile, especially exile in relation to African-Canadian communities. In the afterword, Clarke, in an interesting re-spin of Fiorentinos introduction, writes with patented gusto about how his experiences have contributed to multiple sounds and forms in his work. Decrying any grandiose notions of theory, he presents himself as primarily a songwriter.