A major work by this prominent Caribbean author and philosopher, available for the first time in English

‘We cry our cry of poetry. Our boats are open, and we sail them for everyone.’ In Poetics of Relation, his most celebrated philosophical work, Édouard Glissant turns the Caribbean reality of his life into a complex, energetic vision of a world in transformation. We come to see that relation in all its senses – telling, listening, connecting, and the parallel consciousness of self and surroundings – is the key to revolutionising mentalities and reshaping societies. We are not rooted, but ever-changing; we have a right to opacity and to difference, wherever we are. Told in scintillating prose, this unique exploration of language, slavery, and poetic freedom narrates an Antillean identity, but also that of the whole world.

This marks the publication of the first English-language translation of Poetic Intention, Glissant’s classic meditation on poetry and art. In this wide-ranging book, Glissant discusses poets, including Stéphane Mallarmé and Saint-John Perse, and visual artists, such as the Surrealist painters Matta and Wilfredo Lam, arguing for the importance of the global position of art. He states that a poem, in its intention, must never deny the “way of the world.” Capacious, inventive, and unique, Glissant’s Poetic Intention creates a new landscape for understanding the relationship between aesthetics and politics.

This book consists of four lectures and six interviews; it covers a wide range of topics central to Glissant's thought - such as creolization, langage, culture and identity, 'atavistic' versus 'composite cultures' - presented in a particularly accessible form because here Glissant interacts with the views of other people.

Selected essays from the rich and complex collection of Edouard Glissant, one of the most prominent writers and intellectuals of the Caribbean, examine the psychological, sociological, and philosophical implications of cultural dependency.

In Black Aliveness, or A Poetics of Being, Kevin Quashie imagines a Black world in which one encounters Black being as it is rather than only as it exists in the shadow of anti-Black violence. As such, he makes a case for Black aliveness even in the face of the persistence of death in Black life and Black study. Centrally, Quashie theorizes aliveness through the aesthetics of poetry, reading poetic inhabitance in Black feminist literary texts by Lucille Clifton, Audre Lorde, June Jordan, Toni Morrison, and Evie Shockley, among others, showing how their philosophical and creative thinking constitutes worldmaking. This worldmaking conceptualizes Blackness as capacious, relational beyond the normative terms of recognition—Blackness as a condition of oneness. Reading for poetic aliveness, then, becomes a means of exploring Black being rather than nonbeing and animates the ethical question “how to be.” In this way, Quashie offers a Black feminist philosophy of being, which is nothing less than a philosophy of the becoming of the Black world.

The Fourth Century tells of the quest by young Mathieu Bäluse to discover the lost history of his country, Martinique. Aware that the officially recorded version he learned in school omits and distorts, he turns to a quimboiseur named Papa Longouä. This old man of the forest, a healer, seer, and storyteller, knows the oral tradition and its relation to the powers of the land and the forces of nature. He tells of the love-hate relationship between the Longouä and Bäluse families, whose ancestors were brought as slaves to Martinique. Upon arrival, Longouä immediately escaped and went to live in the hills as a maroon. Bäluse remained in slavery. The intense relationship that had formed between the two men in Africa continued and came to encompass the relations between their masters, or, in the case of Longouä, his would-be master, and their descendants. The Fourth Century closes the gap between the families as Papa Longouä, last of his line, conveys the history to Mathieu Bäluse, who becomes his heir.

As well as producing one of the finest of all poetic traditions, ancient Greek culture produced a major tradition of poetic theory and criticism. Halliwell's volume offers a series of detailed and challenging interpretations of some of the defining authors and texts in the history of ancient Greek poetics: the Homeric epics, Aristophanes' Frogs, Plato's Republic, Aristotle's Poetics, Gorgias's Helen, Isocrates' treatises, Philodemus' On Poems, and Longinus On the Sublime. The volume's fundamental concern is with how the Greeks conceptualized the experience of poetry and debated the values of that experience. The book's organizing theme is a recurrent Greek dialectic between ideas of poetry as, on the one hand, a powerfully enthralling experience in its own right (a kind of 'ecstasy') and, on the other, a medium for the expression of truths which can exercise lasting influence on its audiences' views of the world. Citing a wide range of modern scholarship, and making frequent connections with later periods of literary theory and aesthetics, Halliwell questions many orthodoxies and received opinions about the texts analysed. The resulting perspective casts new light on ways in which the Greeks attempted to make sense of the psychology of poetic experience - including the roles of emotion, ethics, imagination, and knowledge - in the life of their culture.