Bøker av 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.

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.

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.