Callaloo最新文献_第6页

Belly, 1998 Dir. Hype Williams, and: Deep cover, 1992 dir. Bill Duke, and: Us, 2019 Dir. Jordan Peele Belly》，1998 年，导演：Hype Williams：深度掩护》，1992 年，导演：比尔-杜克比尔-杜克，以及我们》，2019 年，导演：乔丹-皮尔乔丹-皮尔

Callaloo Pub Date : 2024-05-14 DOI: 10.1353/cal.2018.a927540

Robert Fernandez

{"title":"Belly, 1998 Dir. Hype Williams, and: Deep cover, 1992 dir. Bill Duke, and: Us, 2019 Dir. Jordan Peele","authors":"Robert Fernandez","doi":"10.1353/cal.2018.a927540","DOIUrl":"https://doi.org/10.1353/cal.2018.a927540","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Belly, 1998 Dir. Hype Williams, and: Deep cover, 1992 dir. Bill Duke, and: Us, 2019 Dir. Jordan Peele </li> <li> Robert Fernandez (bio) </li> </ul> A deal with the devil doesn’t go rite. A deal with the devil stipulates a child. A poem burns like a dollar bill held by a child over a pentagram and red candles. Smoke attracts the gods. The gods bleed money. A spell is a key, like a protein activates a gene, like money opens an age of ore. Like a poem is a door unlocked with a key held by a child in the belly of a dragon. Get back to what you war. Akin is a space; home is a family. The world is a margin; a dancehall is a universe. A poem stands out like coral against the dark. Run your fingers across it, wet as film, reel as a beginning. Red as a sunrise and start again. [End Page 21] <h2>DEEP COVER, 1992 DIR. BILL DUKE</h2> <h3>Robert Fernandez</h3> A blast of crack smoke pours from the throat. Christ is here. What is money? A pelican on a seven-dollar bill. Counterfeit possibility. Reality kills; I would master it. What am I? A strung-out father. A criminal son. I go down, go under; I come up, a master. I multiply the sacrament, break profane bread. Dirty flames streak meat with soot. A poem ends in money. Billions groan in the furnace. The walls of the house are poison. Addiction is idolatry, counterfeit prayer. Hypocrisy is the law; the living convict the dead. The world is addiction, life reduced to money. I search for a father, expose every corruption. Truth pours from me like smoke. Truth is impossible; reality intrudes. The world transforms; the impossible enters. The devil is a pattern, a roving flame. [End Page 22] <h2>US, 2019 DIR. JORDAN PEELE</h2> <h3>Robert Fernandez</h3> Do you answer to the past? Are you master of the past? Does the past master you? The possibility of recreation, like a stroll edging everything from its path, is the possibility of seeing you and forgetting what brought you here. Here you are. You are you. You are here. You are a family—in it together. Where colonialism produces the bourgeois family, you carry others with you like a shadow. A shadow knots a mirror. A mirror, a tissue, the stencil of a family. A voice cries from the depths: WHAT IS NOT ME IS ME. A zombie Seurat paints the picture of an afternoon in the park with five billion screaming dots of roe. A debt comes due. You to you. Me to me. Us. Look in the mirror. Grab yourself by the throat and make a choice. [End Page 23] Robert Fernandez Robert Fernandez is the author of Scarecrow (Wesleyan University Press, 2016), as well as Pink Reef (2013) and We Are Pharaoh (2011), both published by Canarium Books. He is also co-translator of Azure (Wesleyan University Pre","PeriodicalId":501435,"journal":{"name":"Callaloo","volume":"42 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141060928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Imagining Colonial Motherhood: Métissage, Mother Nation, and Marian(ne): Apparitions in Houat's Les Marrons (1844) 想象中的殖民地母亲：Métissage、母国和 Marian（ne）：华特的《马龙》（1844 年）中的显现

Callaloo Pub Date : 2024-05-14 DOI: 10.1353/cal.2018.a927544

Axelle Toussaint

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引用次数: 0

Interview with Toni Ann Johnson 采访托尼-安-约翰逊

Callaloo Pub Date : 2024-05-14 DOI: 10.1353/cal.2018.a927538

Marame Gueye, Toni Ann Johnson

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Regime 制度

Callaloo Pub Date : 2024-05-14 DOI: 10.1353/cal.2018.a927543

Malik Thompson

{"title":"Regime","authors":"Malik Thompson","doi":"10.1353/cal.2018.a927543","DOIUrl":"https://doi.org/10.1353/cal.2018.a927543","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Regime </li> <li> Malik Thompson (bio) </li> </ul> & the gods bring leaflets of nightshade to the slaughter.The virgins disrobe & huddle. Crests of ocean tremble& rise behind them—one expanse of blue beggingto reach another. Blade of obsidian, pommelof petrified wood. Our dawn prayers chantedin concentric rings of sand. The moon drawsclose & grazes its lips against the tide. An incurvedrib-cage shudders beneath the knife.Crimson lilies open where the bodies lie,the tenderness of one priest as he sets them down.These flowers dissolve upon the white foam’sarrival, deep red brightening into brief coral.Sea birds call to one another as they wadeacross the warming sky. Pelican.Opportunistic & beady-eyed gull. Will youbecome my angel for these grisly hours?Will you grant me wings as pure & featheredas your own? The priests crush the nightshadein blood & seawater. The gods pour the potionin their mouths & eyes. The gods sing withthe eyes of mothering does. A committeeof vultures will arrive here soon. & the boneswill sparkle—sun-bleached & stripped of flesh. [End Page 45] Malik Thompson Malik Thompson is a Black queer man from Washington, D.C. His work is featured or forthcoming in The Cincinnati Review, Denver Quarterly, Sundog Lit, Diode, MQR Mix-tape, Oroboro, Poet Lore, and other places. He has received support from Lambda Literary, Obsidian Foundation, Brooklyn Poets, Cave Canem, and other organizations. Copyright © 2024 Johns Hopkins University Press ... ","PeriodicalId":501435,"journal":{"name":"Callaloo","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141060934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Contributors 贡献者

Callaloo Pub Date : 2021-12-30 DOI: 10.1353/cal.2018.0047

{"title":"Contributors","authors":"","doi":"10.1353/cal.2018.0047","DOIUrl":"https://doi.org/10.1353/cal.2018.0047","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Contributors </li> </ul> JOSHUA BENNETT is a Professor of English and Creative Writing at Dartmouth College. He is the author of four books of poetry and criticism: The Sobbing School (Penguin, 2016)—winner of the National Poetry Series and a finalist for an NAACP Image Award—as well as Being Property Once Myself (Harvard University Press, 2020), Owed (Penguin, 2020), and The Study of Human Life (Penguin, 2022). In 2021, he received a Guggenheim Fellowship and a Whiting Award for Poetry and Nonfiction. MARQUIS BEY is Assistant Professor of African American Studies and English, and core faculty of Critical Theory, at Northwestern University. Their work concerns black feminist theorizing, transgender studies, abolition, and critical theory. The author of The Problem of the Negro as a Problem for Gender (Minnesota, 2020) and the forthcoming Black Trans Feminism (Duke, 2022), Bey is currently working on a collection of autotheory essays meditating on the relationship between blackness and cisgender. ELIJAH BEAN is a poet and storyteller from Huntsville, Alabama. He teaches creative writing and public speaking workshops at various artists communities and universities in the South. OLIVIA MILROY EVANS is a PhD candidate in English at Cornell University, where she holds the Shin Yong-Jin Fellowship for excellence in teaching and scholarship, and a former high school literature and rhetoric teacher. Her research focuses on fragmented and serial forms, from long poems and television shows to archipelagoes. In her dissertation, \"Contemporary Documentary Poetry: Rhetoric, Poetics, Form,\" she explores how the documentary mode transforms both legal texts and poetic forms. Her work is forthcoming in Word & Image and Contemporary Literature. JULIA MICHIKO HORI is a Fletcher Jones Foundation Postdoctoral Instructor in Contemporary Literature at the California Institute of Technology. She is a scholar of African diaspora literature and visual culture, Caribbean literature, postcolonial studies, and critical race studies, with strong overlapping interests in architecture, style, and design. Hori holds a Ph.D. in English from Princeton University with a Doctoral Certificate in African American Studies. Her current book project, Restoring Empire, explores the intersections of built space, violence, and narrative in the living legacies of British imperial rule and Caribbean plantation slavery. The book traces the enduring powers of colonial planning, plantation aesthetics, and imperial nostalgia from Empire's postwar decline into presentday battlegrounds of architectural restoration and cultural memory. Her scholarly writing has appeared in American Quarterly JOVONNA JONES is a cultural historian and writer. She is","PeriodicalId":501435,"journal":{"name":"Callaloo","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138534761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0