The Door Of No Return

Zac lives with his grandfather, Pops. When Pops is killed by muggers, Zac is devastated. Dumped with foster parents, then in an orphanage, Zac stumbles from trouble to trouble, but the one thing he hangs on to is Pops' obsession with their family history and his ambition to go to Ghana in search of a ransom paid by a descendant 200 years earlier, to keep his son from slavery - a ransom stolen by British government agents at the time, which then disappeared. At least, Zac thinks, he can keep faith with Pops by continuing his quest. So Zac wangles his own way to Ghana. Alone and far from home, he discovers that Pops' death and everything since is part of a wider plan by some shadowy others, also connected to the lost ransom. In a web of intrigue, deception, betrayal, skulduggery and murder that reaches out of the past to entrap everyone in the present, Zac's quest culminates in a perilous voyage to the Door of No Return in the walls of the ancient slave fort - through which the slaves were once herded to the boats that would take them across the ocean, on a journey many of them would never survive.

An instant #1 New York Times Bestseller! From the Newbery Medal and Coretta Scott King Award winning author Kwame Alexander, comes the first book in a searing, breathtaking trilogy that tells the story of a boy, a village, and the epic odyssey of an African family. In his village in Upper Kwanta, 11-year-old Kofi loves his family, playing oware with his grandfather and swimming in the river Offin. He’s warned though, to never go to the river at night. His brother tells him ”There are things about the water you do not know. “ Like what? Kofi asks. “The beasts.” His brother answers. One fateful night, the unthinkable happens and in a flash, Kofi’s world turns upside down. Kofi soon ends up in a fight for his life and what happens next will send him on a harrowing journey across land and sea, and away from everything he loves. This spellbinding novel by the author of The Crossover and Booked will take you on an unforgettable adventure that will open your eyes and break your heart. The Door of No Return is an excellent choice for independent reading, sharing in the classroom, book groups, and homeschooling.

The #1 New York Times bestseller 'At once vivid and simple, lyrical and surgical, expressive and exacting' Lupita Nyong'o Dreams are today’s answers for tomorrow’s questions. Eleven-year-old Kofi Offin has dreams of water, of its urgent whisper that beckons with promises and secrets. He has heard the call on the banks of Upper Kwanta, West Africa, where he lives. He loves these things above all else: his family, the fireside tales of his father’s father, a girl named Ama, and, of course, swimming. But when the unthinkable – a sudden death – occurs during a festival between rival villages, Kofi ends up in a fight for his life. What happens next will send him on a harrowing journey across land and sea, and away from everything he loves. Yet Kofi’s dreams may be the key to his freedom...

A Map to the Door of No Return is a timely book that explores the relevance and nature of identity and belonging in a culturally diverse and rapidly changing world. It is an insightful, sensitive and poetic book of discovery. Drawing on cartography, travels, narratives of childhood in the Caribbean, journeys across the Canadian landscape, African ancestry, histories, politics, philosophies and literature, Dionne Brand sketches the shifting borders of home and nation, the connection to place in Canada and the world beyond. The title, A Map to the Door of No Return, refers to both a place in imagination and a point in history—the Middle Passage. The quest for identity and place has profound meaning and resonance in an age of heterogenous identities. In this exquisitely written and thought-provoking new work, Dionne Brand creates a map of her own art.

From the author of the International Booker Prize-winning At Night All Blood is Black: a moving and immersive adventure story set in eighteenth century Senegal __________ 'I read Beyond the Door of No Return with pleasure and admiration. David Diop has opened up a new way of thinking about the eighteenth century and its hideous cruelties' Abdulrazak Gurnah, winner of the Nobel Prize in Literature and author of Afterlives 'Stunningly realized and written in exquisite prose, Beyond the Door of No Return is a love story, an adventure tale, and an unflinching examination of the unexpected ways that colonialism and greed ravaged everyone it touched, European and African. It is above all else, a spellbinding novel about the high price of betrayal-of others, and oneself' Maaza Mengiste, Booker Prize–shortlisted author of The Shadow King 'At once melancholy and luminous' Le Monde __________ Paris, 1806. Michel Adanson is dying. The last word to escape his lips is a woman's name: Maram. Who was she? Why, in the course of his long life, has he never spoken of her before? As Adanson's daughter sorts through his things, she discovers a notebook. It reveals a secret history both fantastical and terrible, of his time as a young botanist travelling in Senegal. How Adanson first heard of the 'revenant': a young woman of noble birth, abducted and sold into slavery across the seas, who then did the impossible-she came back, to live in hiding. How he became obsessed with finding her, embarking on an odyssey that would lead to danger and destruction. How a man who longed to solve the mysteries of nature instead found himself faced with the uncontrollable impulses of the human heart. Tragic and tender, alive with feeling, this is a story of adventure, revenge and impossible desires, one which subverts our every expectation about who we are and who we love. __________ Praise for At Night All Blood is Black 'So incantatory and visceral I don't think I'll ever forget it' - Ali Smith, Guardian 'More than a century after World War I, a great new African writer [has written] a spare yet extraordinary novel about this bloody stain on human history' - Chigozie Obioma, New York Times Book Review 'An extraordinary novel, full of sadness, rage and beauty' Sarah Waters

After sixty years, Dr. Roy G. Phillips, retired founding campus president at Miami-Dade College, Homestead Campus, returned to his native home in rural Webster Parish outside of Minden, Louisiana. It took him almost forty years to fulfill a dream, a journey that began as a conversation with renowned author Alex Haley culminated with the collection of fascinating stories, and then finished in a poignant book that tells the story of his ancestors in their trajectory from Africa to America. When he retired in December 2001, Phillips turned to writing, piecing together years worth of research. The final product, Exodus from the Door of No Return: Journey of an American Family (AuthorHouse) was published in September 2006 and revised in October 2008. Phillips family saga mirrors the lives of what arguably could be the tale of most African Americans. In the book, family is the glue that binds Phillips ancestors from Slavery to Reconstruction, Jim Crow Segregation, the World Wars, the Great Migration of black families out of the South, the tumultuous civil rights period of the sixties, to the present day. Phillips might never have started on the journey of family discovery if it had not been for a chance meeting with Haley, who had come to speak at the University of Michigan. At that time, Haley was in the midst of researching his book Roots, and Phillips was completing his doctoral dissertation in urban secondary administration. I spent half of the night talking to him about what to do, he recalls. He said, Go and talk to the old folks in your family. Get their stories. Phillips painstaking tracked down the descendants of the plantation owners James Germany McDade II who owned his great grandfather and other relatives. Phillips continues to meet and correspond with the McDades in Shreveport and East Texas. He also underwent DNA testing which helped him track both his paternal ancestry to the Mbute people in the Central African Republic and his maternal ancestry to the Mende people in Sierra Leone West Africa.

The Doors of No Return is Boris A Novak’s magnum opus, a verse epic consisting of three books – Maps of Nostalgia, The Time of the Fathers, and The Dwelling Places of Souls, comprising 45,000 verses on 2,300 pages of the original edition. Each book is a world of its own and can be read separately, but they are connected by the same protagonists and stories, shown from three different perspectives; together they form a higher and broader totality. This edition contains selected fragments of the epic, translated by the author with Michael Biggins. Maps of Nostalgia is an atlas of memory, a gigantic geography of the places where the poet or his ancestors have lived, that they have touched, and that they have abandoned and lost. The Time of the Fathers is the epic core of Novak’s “poetic madness” telling the tragic stories of his ancestors. The narrative framework of The Dwelling Places of Souls is tan ocean voyage to the North; where the ship’s cargo turns out to be Souls, Memory, History and its essence – a Story ...

Publisher description

Publisher description

Analysing a variety of tourist productions, ranging from dance dramas in Bali to an Abraham Lincoln heritage site in Illinois, Bruner considers the diverse perspectives of various actors, including the tourists, the producers, the natives & the anthropologist himself.

Lesser-known tales of anticolonial defiance in artworks and marginal histories worldwide The artists featured in this book create compelling narratives that shed light on the entangled colonial histories that connect Europe, Africa, the Caribbean and the Americas. Collectively, these artists provide crucial insight into some of the lesser-known aspects of colonial history, such as Norwegian involvement in the transatlantic slave trade. They describe the lives of freedom fighters such as Venus Johannes, Mary Thomas, Olaudah Equiano and Anna Heegaard. By highlighting the stories of those who have been historically silenced, we encounter a more nuanced understanding of colonial history and the factors that have contributed to the continued effects of colonialism today, most evidently witnessed in the prevalence of institutional, systemic and everyday racism, poverty and forced migration. Artists include: John Akomfrah, La Vaughn Belle, Manthia Diawara, Jeannette Ehlers, Michelle Eistrup, Sasha Huber, Oceana James, Patricia Kaersenhout, Grada Kilomba, Suchitra Mattai and Alberta Whittle.

The papers presented here offer a major challenge to previously conceived ideas about issues like slavery, racism, ethnic relations, nationalism, and cultural identity generating responses, critiques, revisions, counterarguments, and new perspectives. This volume is not only meant to address important matters of the past but also of the present and future as racism, ethnic relations, and cultural identity - with the attendant issues of human rights, freedom, and emancipation - will assume an ever-increasing significance in our globalised but ethically, socially, and culturally divided world. The volume is subdivided into three sections: «Racism and Nationalism» containing papers dealing with issues of racism and nationalism in a broader context, «Slavery: From Past to Present» exploring the concept of slavery in different literary genres and historical periods, «Cultural Identity and Ethnic Relations» dealing with cultural memory, nationalism, and relations between cultural and ethnic groups.

In Dear Science and Other Stories Katherine McKittrick presents a creative and rigorous study of black and anticolonial methodologies. Drawing on black studies, studies of race, cultural geography, and black feminism as well as a mix of methods, citational practices, and theoretical frameworks, she positions black storytelling and stories as strategies of invention and collaboration. She analyzes a number of texts from intellectuals and artists ranging from Sylvia Wynter to the electronica band Drexciya to explore how narratives of imprecision and relationality interrupt knowledge systems that seek to observe, index, know, and discipline blackness. Throughout, McKittrick offers curiosity, wonder, citations, numbers, playlists, friendship, poetry, inquiry, song, grooves, and anticolonial chronologies as interdisciplinary codes that entwine with the academic form. Suggesting that black life and black livingness are, in themselves, rebellious methodologies, McKittrick imagines without totally disclosing the ways in which black intellectuals invent ways of living outside prevailing knowledge systems.

Arguing that the fundamental, familiar, sexual violence of slavery and racialized subjugation have continued to shape black and white subjectivities into the present, Christina Sharpe interprets African diasporic and Black Atlantic visual and literary texts that address those “monstrous intimacies” and their repetition as constitutive of post-slavery subjectivity. Her illuminating readings juxtapose Frederick Douglass’s narrative of witnessing the brutal beating of his Aunt Hester with Essie Mae Washington-Williams’s declaration of freedom in Dear Senator: A Memoir by the Daughter of Strom Thurmond, as well as the “generational genital fantasies” depicted in Gayl Jones’s novel Corregidora with a firsthand account of such “monstrous intimacies” in the journals of an antebellum South Carolina senator, slaveholder, and vocal critic of miscegenation. Sharpe explores the South African–born writer Bessie Head’s novel Maru—about race, power, and liberation in Botswana—in light of the history of the KhoiSan woman Saartje Baartman, who was displayed in Europe as the “Hottentot Venus” in the nineteenth century. Reading Isaac Julien’s film The Attendant, Sharpe takes up issues of representation, slavery, and the sadomasochism of everyday black life. Her powerful meditation on intimacy, subjection, and subjectivity culminates in an analysis of Kara Walker’s black silhouettes, and the critiques leveled against both the silhouettes and the artist.

This book brings together a complete set of approaches to works by female authors that articulate the black Atlantic in relation to the interplay of race, class, and gender. The chapters provide the grounds to (en)gender a more complex understanding of the scattered geographies of the African diaspora in the Atlantic basin. The variety of approaches displayed bears witness to the vitality of a field that, over the years, has become a diasporic formation itself as it incorporates critical insights and theoretical frameworks from multiple disciplines in the social sciences and the humanities, thus exposing the manifold character of (black) diasporic interconnections within and beyond the Atlantic. Focusing on a wide array of contemporary literary and performance texts by women writers and performers from diverse locations including the Caribbean, Canada, Africa, the US, and the UK, chapters visit genres such as performance art, the novel, science fiction, short stories, and music. For these purposes, the volume is organized around two significant dimensions of diasporas: on the one hand, the material—corporeal and spatial—locations where those displacements associated with travel and exile occur, and, on the other, the fluid environments and networks that connect distant places, cultures, and times. This collection explores the ways in which women of African descent shape the cultures and histories in the modern, colonial, and postcolonial Atlantic worlds.

How an eighteenth-century engraving of a slave ship became a cultural icon of Black resistance, identity, and remembrance One of the most iconic images of slavery is a schematic wood engraving depicting the human cargo hold of a slave ship. First published by British abolitionists in 1788, it exposed this widespread commercial practice for what it really was—shocking, immoral, barbaric, unimaginable. Printed as handbills and broadsides, the image Cheryl Finley has termed the "slave ship icon" was easily reproduced, and by the end of the eighteenth century it was circulating by the tens of thousands around the Atlantic rim. Committed to Memory provides the first in-depth look at how this artifact of the fight against slavery became an enduring symbol of Black resistance, identity, and remembrance. Finley traces how the slave ship icon became a powerful tool in the hands of British and American abolitionists, and how its radical potential was rediscovered in the twentieth century by Black artists, activists, writers, filmmakers, and curators. Finley offers provocative new insights into the works of Amiri Baraka, Romare Bearden, Betye Saar, and many others. She demonstrates how the icon was transformed into poetry, literature, visual art, sculpture, performance, and film—and became a medium through which diasporic Africans have reasserted their common identity and memorialized their ancestors. Beautifully illustrated, Committed to Memory features works from around the world, taking readers from the United States and England to West Africa and the Caribbean. It shows how contemporary Black artists and their allies have used this iconic eighteenth-century engraving to reflect on the trauma of slavery and come to terms with its legacy.

African Americans and others in the African diaspora have increasingly “come home” to Africa to visit the sites at which their ancestors were enslaved and shipped. In this nuanced analysis of homecoming, Katharina Schramm analyzes how a shared rhetoric of the (Pan-)African family is produced among African hosts and Diasporan returnees and at the same time contested in practice. She examines the varying interpretations and appropriations of significant sites (e.g. the slave forts), events (e.g. Emancipation Day) and discourses (e.g. repatriation) in Ghana to highlight these dynamics. From this, she develops her notions of diaspora, home, homecoming, memory and identity that reflect the complexity and multiple reverberations of these cultural encounters beyond the sphere of roots tourism.

'Not only a dazzling analysis of the workings of sexism, but a balm for the soul. It will teach you how to survive and how to transform the world' Hannah Dawson We have to keep saying it because they keep doing it. Do colleagues roll their eyes in a meeting when you use words like sexism or racism? Do you refuse to laugh at jokes that aren't funny? Have you been called divisive for pointing out a division? Then you are a feminist killjoy, and this handbook is for you. The term killjoy has been used to dismiss feminism by claiming that it causes misery. But by naming ourselves feminist killjoys, we recover a feminist history, turning it into a source of strength as well as an inspiration. Drawing on her own stories and those of others, especially Black and brown feminists and queer thinkers, Sara Ahmed combines depth of thought with honesty and intimacy. The Feminist Killjoy Handbook unpicks the lies our culture tells us and provides a form of solidarity and companionship that can be returned to over a lifetime.

The first book on pan-Caribbean life writing, Dreams of Archives Unfolded reveals the innovative formal practices used to write about historical absences within contemporary personal narratives. Although the premier genres of writing postcoloniality in the Caribbean have been understood to be fiction and poetry, established figures such as Erna Brodber, Maryse Condé, Lorna Goodison, Edwidge Danticat, Saidiya Hartmann, Ruth Behar, and Dionne Brand and emerging writers such as Yvonne Shorter Brown, and Gaiutra Bahadur use life writing to question the relationship between the past and the present. Stitt theorizes that the remarkable flowering of life writing by Caribbean women since 2000 is not an imitation of the “memoir boom” in North America and Europe; instead, it marks a different use of the genre born out of encountering gendered absences in archives and ancestral memory that cannot be filled with more research. Dreams of Archives makes a significant contribution to studies of Caribbean literature by demonstrating that women’s autobiographical narratives published in the past twenty years are feminist epistemological projects that rework Caribbean studies’ longstanding commitment to creating counter-archives.

When God Lost Her Tongue explores historical consciousness as captured through the Black feminist imagination that re-centers the perspectives of Black women in the African Diaspora, and revisits how Black women’s transatlantic histories are re-imagined and politicized in our contemporary moment. Connecting select historical case studies – from the Caribbean, the African continent, North America, and Europe – while also examining the retelling of these histories in the work of present-day writers and artists, Janell Hobson utilizes a Black feminist lens to rescue the narratives of African-descended women, which have been marginalized, erased, forgotten, and/or mis-remembered. African goddesses crossing the Atlantic with captive Africans. Women leaders igniting the Haitian Revolution. Unnamed Black women in European paintings. African women on different sides of the "door of no return" during the era of the transatlantic slave trade. Even ubiquitous "Black queens" heralded and signified in a Beyoncé music video or a Janelle Monáe lyric. And then there are those whose names we will never forget, like the iconic Harriet Tubman. This critical interdisciplinary intervention will be key reading for students and researchers studying African American women, Black feminisms, feminist methodologies, Africana studies, and women and gender studies.