Winston, a young American boy who lives in New York City, eats all the callaloo prepared by his aunt. He is then sent to the store to buy more ingredients and on the train he is magically transported to Tobago where he visits his grandmother. During the trip, Winston learns about folkloric figures such as Papa Bois and La Diablesse.

Mixing—whether referred to as mestizaje, callaloo, hybridity, creolization, or multiculturalism—is a foundational cultural trope in Caribbean and Latin American societies. Historically entwined with colonial, anticolonial, and democratic ideologies, ideas about mixing are powerful forces in the ways identities are interpreted and evaluated. As Aisha Khan shows in this ethnography, they reveal the tension that exists between identity as a source of equality and identity as an instrument through which social and cultural hierarchies are reinforced. Focusing on the Indian diaspora in the Caribbean, Khan examines this paradox as it is expressed in key dimensions of Hindu and Muslim cultural history and social relationships in southern Trinidad. In vivid detail, she describes how disempowered communities create livable conditions for themselves while participating in a broader culture that both celebrates and denies difference. Khan combines ethnographic research she conducted in Trinidad over the course of a decade with extensive archival research to explore how Hindu and Muslim Indo-Trinidadians interpret authority, generational tensions, and the transformations of Indian culture in the Caribbean through metaphors of mixing. She demonstrates how ambivalence about the desirability of a callaloo nation—a multicultural society—is manifest around practices and issues, including rituals, labor, intermarriage, and class mobility. Khan maintains that metaphors of mixing are pervasive and worth paying attention to: the assumptions and concerns they communicate are key to unraveling who Indo-Trinidadians imagine themselves to be and how identities such as race and religion shape and are shaped by the politics of multiculturalism.

Callaloo: The Legend of the Golden CoquI is the second installment in the Callaloo book series from author Marjuan Canady and illustrator, Nabeeh Bilal. This story follows Winston and his best friend Marisol as they adventure from New York City to Puerto Rico to free the legendary golden coqui frog trapped in El Yunque Rainforest. Using clues left by the Taino Indians and the guidance of the coquis, the children navigate their way through the enchanted forest in hopes to complete their mission. In a race against time, Winston and Marisol must avoid the evil Chupacabra, solve the mystery and make it back home for Abuela's Nochebuena dinner. (Ages 3-7)

This important book collects a wide range of fiction and poetry that first appeared in the pages of Callaloo, the premier literary journal devoted to African-diaspora literature and to Black literary and cultural studies. Founded in 1976-and still edited-by Charles Henry Rowell (Texas A&M University, College Station), Callaloo is both national and international in terms of scope and readership. It is also, as Henry Louis Gates, Jr., observed, "without doubt, the most elegantly edited journal of African and African-American literature [of] today." Making Callaloo, an anthology ideally suited for all readers studying modern Black literature, includes the work of Ralph Ellison, Alice Walker, Rita Dove, Yusef Komunyakaa, Lucille Clifton, Terry McMillan, Ai, Nathaniel Mackey, John Edgar Wideman, Michael S. Harper, Charles Johnson, Thylias Moss, and many other distinguished authors.

An innovative look at the dynamic role of sound in the culture of the African Diaspora as found in poetry, film, travel narratives, and popular music. Black Soundscapes White Stages explores the role of sound in understanding the African Diaspora on both sides of the Atlantic, from the City of Light to the islands of the French Antilles. From the writings of European travelers in the seventeenth century to short-wave radio transmissions in the early twentieth century, Edwin C. Hill Jr. uses music, folk song, film, and poetry to listen for the tragic cri nègre. Building a conceptualization of black Atlantic sound inspired by Frantz Fanon's pioneering work on colonial speech and desire, Hill contends that sound constitutes a terrain of contestation, both violent and pleasurable, where colonial and anti-colonial ideas about race and gender are critically imagined, inscribed, explored, and resisted. In the process, this book explores the dreams and realizations of black diasporic mobility and separation as represented by some of its most powerful soundtexts and cultural practitioners, and it poses questions about their legacies for us today. In the process, thee dreams and realities of Black Atlantic mobility and separation as represented by some of its most powerful soundtexts and cultural practitioners, such as the poetry of Léon-Gontran Damas—a founder of the Négritude movement—and Josephine Baker’s performance in the 1935 film Princesse Tam Tam. As the first in Johns Hopkins’s new series on the African Diaspora, this book offers new insight into the legacies of these exceptional artists and their global influence.

Stories about black lesbians, past and present. They range from Miss Hannah's Lesson, on a relationship between a slave and her mistress, to Losing Sight of Lavender, in which the protagonist contracts HIV.

Winner of the 2018 New Academy Prize in Literature In this collection of autobiographical essays, Maryse Condé vividly evokes the relationships and events that gave her childhood meaning: discovering her parents’ feelings of alienation; her first crush; a falling out with her best friend; the death of her beloved grandmother; her first encounter with racism. These gemlike vignettes capture the spirit of Condé’s fiction: haunting, powerful, poignant, and leavened with a streak of humor.

?Realizing that globalization and foreign influences could dilute her countrys local cuisine, Wendys latest culinary offering, Curry, Callaloo & Calypso: The Real Taste of Trinidad & Tobago, showcases her countrys indigenous foods by way of old and new recipes for present and future generations. In her introduction to the gastronomic delights in the pages that follow, Wendy includes a fascinating brief culinary history showing how Trinidad and Tobagos Indian, African, European and Chinese population come to be reflected in a cuisine that is bold, explosive in flavor, eclectic and addictive. Wendy Rahamut is a cookbook author, freelance food consultant and food stylist. She is also the weekly food writer for the Trinidad Guardian and is the Editor-in-Chief of Caribbean Gourmet magazine. She owns and operates the Wendy Rahamut School of Cooking, and since 1998 has hosted the long-standing weekly television cooking show, Caribbean Flavors.

"In Freedom Time, Anthony Reed reclaims the power of black experimental poetry and prose by arguing that if literature fundamentally serves the human need for freedom in expression, then readers and critics must see it as something other than a reflection of the politics of social protest and identity formation. Prior to the successful campaigns against Jim Crow segregation in the U.S. and colonization in the Caribbean, literary politics seemed much more obviously interventionist. As more African Americans and Afro-Caribbean writers gained access to formal political power, more writing emerged whose political concerns went beyond improving racial representation, appealing for social recognition, raising consciousness, or commenting on the political disillusion and fragmentation of the post-segregation and post-colonial moments. Through formal innovation and abstraction, writers increasingly pushed the limits of representation and expression in order to extend the limits of thought and literary possibility. Reed offers a theoretical account of this new "black experimental writing," which is at once a literary historical development, and a concept with which to analyze the ways writing engages race and the possibilities of expression. One of his key interventions is arguing that form drives the politics literature, not vice-versa. Through extended analyses of works by N. H. Pritchard, NourbeSe Philip, Kamau Brathwaite, Claudia Rankine, Douglas Kearney, Harryette Mullen, Suzan-Lori Parks and Nathaniel Mackey, Freedom Time draws out the political implication of their innovative approaches to literary aesthetics"--