The Other Hybrid Archipelago presents the postcolonial literatures of the Francophone Indian Ocean islands to an Anglophone audience. The islands of Madagascar, Mauritius, Reunion, the Comoros, and the Seychelles form a region that has a particular cultural identity because of the varied mixture of populations that have settled there and the dominant influence of French colonialism. This survey concentrates on the period since the Second World War, when most of the islands achieved independence, except for Reunion and Mayotte, which maintain a regional status within the French Republic. The postcolonial approach suggests certain recurrent themes and preoccupations of the islands' cultures and an appropriate way to define their recent cultural production, while taking account of the burden of their colonial past. The rich cocktail of cultural and linguistic influences surveyed is situated in relation to the contemporary political and social context of the islands and their marginal status within the global economy.

Throughout history cities have been locations of human encounter. Equally they have been contexts for the trade of goods and services, for the evolution of various forms of urban space, and for the production, development, and enrichment of culture and technology. Many cities grew up along shorelines, which themselves constitute some of the globe’s most important cultural boundaries. For above all else, it is water that has separated but also connected different communities, races, religions and nations, down through recorded time. With the rapid advance in technologies of communication, encounters between cultures have multiplied at a rate that no individual can follow or control. The present book constitutes a space of “memory” in its own right, one of its chief raisons d’être being that a group of diverse scholars herein maps certain key encounters between peoples, past as well as present, and the urgent issues generated in consequence. No one person could have traced such diversity and made sense of it, whereas a scholarly grouping of persons reporting on phenomena from around the world, such as is provided here, offers its readers a vision of global change and development. With the twentieth and twenty-first centuries a new set of mega-cities in Asia, Africa, and Latin America has emerged to challenge the primacy of European and North American metropolitan centres. This expanded landscape is here interpreted with special attention, as already mentioned, to cities located at coastlines, hence (generally speaking) more exposed to globalizing trends. Migrants, exiles and refugees, ethnic and racial minorities, as well as alternative or countercultural groupings continue to complicate the ways in which cities articulate their now pluralized identities, in terms of (and by means of) literature, history, architecture, social events, and other forms of artistic and cultural production. The international scholars whose work is assembled in these pages are well placed to engage with the intersecting themes and issues of the volume. Contributors have mapped different examples from Homeric narrative, through Renaissance drama and its representation of crossways of culture such as Rhodes and Malta, to an earlier time in the development of a New World city such as Boston: others look at the twentieth and twenty-first centuries’ complexity of great world cities and of oceanic migration or trade between them. Shanghai, Singapore, London, Detroit, Shantou, Macau, and Saigon are some that are dealt with in detail. Emphasis falls on both the historical reality of those contexts as well as how they have been culturally represented.

From its early focus on documentary film and nation building to its more recent spotlight on contemporary culture and feature filmmaking, Moroccan cinema has undergone tremendous change since the country's independence in 1956. In What Moroccan Cinema? A Historical and Critical Study, 1956-2006, Sandra Gayle Carter chronicles the changes in Moroccan laws, institutions, ancillary influences, individuals active in the field, representative films, and film culture during this fifty-year span. Focusing on Moroccan history and institutions relative to the cinema industry such as television, newspaper criticism, and Berber videomaking, What Moroccan Cinema? is an intriguing study of the ways in which three historical periods shaped the Moroccan cinema industry. Carter provides an insightful and thorough treatment of the cinema institution, discussing exhibition and distribution, censorship, and cinema clubs and caravans. Carter grounds her analysis by exploring representative films of each respective era. The groundbreaking analysis offered in What Moroccan Cinema? will prove especially valuable to those in film and Middle Eastern studies.

Two Novellas by YAE comprises two works by Youssouf Amine Elalamy, also known as YAE, translated from French into English for the first time. A Moroccan in New York tells the tale of a young man seeking to make sense of two cultures which seemingly could not be more opposite, yet, are on many levels, so much the same. Autobiographical, YAE's story is the compilation of the musings of a young man on a Fulbright grant in New York in the early 1990s. In particular, the work reveals multiple misconceptions and misunderstandings Americans have about Moroccans and, other foreigners. Sea Drinkers is a compelling story that reveals the hurdles faced by Moroccan emigrants who illegally try to cross the slim stretch of water in small boats between Morocco and Spain. The hundreds who attempt the dangerous crossing every year are known as the harraga, which in Arabic means 'the burners.' The Moroccans who embark must literally 'burn' the bridges of their lives (their identity papers and passports), in order to clandestinely infiltrate into the countries across the water. These characters tell the tales of those who become stateless and who, more often than not, die untimely deaths in the waters between two continents (a distance of less than fifteen miles).

Fictions of Childhood analyzes identity from the perspective of child/adolescent narrators and protagonists using the works of Nina Bouraoui, Linda Lê, and Gisèle Pineau. This theme is studied in French narratives that bring to the fore questions of the power imbalances in both the sociological context of the family and the larger geopolitical context of French colonialism.

This book provides a comprehensive view of the origin and evolution of the plants of an entire oceanic archipelago.

Writing from the Hearth probes the relationship of gender to space in close readings of texts of Francophone women writers of Africa: Aoua Kéita, Mariama Bâ, Calixthe Beyala, and Aminata Sow Fall, and the Caribbean: Marie Chauvet, Simon Schwarz-Bart, Maryse Condé, and Edwidge Danticat. It explores the hypothesis that the female protagonist moves toward empowerment by appropriating public space and transforming domestic space into alternative space.

This book analyses how the idea – or the problem - of belonging is articulated in a range of contemporary francophone Mauritian novels. Waters explores how forms of affective belonging intersect with the exclusionary ‘politics of belonging’ in novels by Nathacha Appanah, Ananda Devi, Shenaz Patel, Bertrand de Robillard, Amal Sewtohul and Carl de Souza.

'Rewriting' in the context of critical work on Caribbean literature has tended to be used to discuss revisionism from a variety of postcolonial perspectives, such as 'rewriting history' or 'rewriting canonical texts.' By shifting the focus to how Caribbean writers return to their own works in order to rework them, this book offers theoretical considerations to postcolonial studies on 'literariness' in relation to the near-obsessive degree of rewriting to which Caribbean writers have subjected their own literary texts. Focusing specifically on FrankZtienne, this book offers an overview of how the defining aesthetic and thematic components of FrankZtienne's major works have emerged over the course of his forty-year writing career. It reveals the marked development of key notions guiding his literary creation since the 1960s, and demonstrates that rewriting illustrates the central aesthetic of the Spiral which has always shaped his Iuvre. It is, the book argues, the constantly moving form of the Spiral which FrankZtienne explores through his constant reworking of his previously written texts. FrankZtienne and Rewriting negotiates between the literary and material ends of the burgeoning field of postcolonial studies, arguing that literary characteristics in FrankZtienne connect with changing political, social, economic, and cultural circumstances in the Haiti he rewrites.

Vol. 1- , spring 1970- , include "A Bibliography of American doctoral dissertations on African literature," compiled by Nancy J. Schmidt.