The collected manifestos of Édouard Glissant and Patrick Chamoiseau: for a postcolonial response to planetary crisis. Manifestos brings together for the first time in English the manifestos written by Édouard Glissant and Patrick Chamoiseau between 2000 and 2009. Composed in part in the aftermath of Barack Obama’s election in 2008, the texts resonate with the current context of divided identities and criticisms of multiculturalism. The individual texts grapple with concrete historical and political moments in France, the Caribbean, and North America. Across the manifestos, as well as two collectively signed op-eds, the authors engage with socio-political aspects of climate catastrophe, resource extraction, toxicity, and neocolonialism. Throughout the collection, Glissant and Chamoiseau engage with key themes articulated through their poetic vocabulary, including Relation, globalization, globality (mondialité), anti-universalism, métissage, the tout-monde (“whole-world”) and the tout-vivant (“all-living,” including the relationship of humans to each other and “nature”), créolité and the creolization of the world, and the liberation from community assignations in response to individualism and neoliberal societies. Translated as the first volume in the Planetarities series with Goldsmiths Press, the themes of Manifestos resonate with the planetary as they work in response to contemporary forms of (economic) globalization, western capitalism, identity politics, and urban, digital and cosmic ecosystems, as well as the role of the poet-writer. A distinguishing feature of this publication is its interventional aspect, which prioritizes engaged scholarship and practice while demonstrating the relevance of the poetic in response to the urgencies of planetary crisis.
In 1989, the Caribbean writer Edouard Glissant visited Rowan Oak, William Faulkner's home in Oxford, Mississippi. His visit spurred him to write a revelatory book about the work of one of our greatest but still least-understood American writers. "A fascinating way to read Faulkner. . . .[Glissant's] case is nothing less than that, no matter how Faulkner's personal Furies twisted his public speech, Faulkner was a great, world-beating multiculturalist."—Jonathan Levi, Los Angeles Times Book Review "A sharp, challenging, and wholly unique tour of Yoknapatawpha County." —Kirkus Reviews "Passionate. . . . Glissant's prose sometimes vies with Faulkner's for intricacy and evocative nuance." —Scott McLemee, Newsday "Glissant tries to engage Faulkner on many fronts simultaneously, positioning himself as a critic, a fellow artist and as a descendant of slaves. . . He makes a convincing case that Faulkner is not just another 'dead white male author.'"—Scott Yarbrough, Raleigh News & Observer "[An] ambitious and, at times, rambunctious expedition into Yoknapatawpha County." —Christine Schwartz Hartley, New York Times Book Review
In 1989, the Caribbean writer Edouard Glissant visited Rowan Oak, William Faulkner's home in Oxford, Mississippi. His visit spurred him to write a revelatory book about the work of one of our greatest but still least-understood American writers. "A fascinating way to read Faulkner. . . .[Glissant's] case is nothing less than that, no matter how Faulkner's personal Furies twisted his public speech, Faulkner was a great, world-beating multiculturalist."—Jonathan Levi, Los Angeles Times Book Review "A sharp, challenging, and wholly unique tour of Yoknapatawpha County." —Kirkus Reviews "Passionate. . . . Glissant's prose sometimes vies with Faulkner's for intricacy and evocative nuance." —Scott McLemee, Newsday "Glissant tries to engage Faulkner on many fronts simultaneously, positioning himself as a critic, a fellow artist and as a descendant of slaves. . . He makes a convincing case that Faulkner is not just another 'dead white male author.'"—Scott Yarbrough, Raleigh News & Observer "[An] ambitious and, at times, rambunctious expedition into Yoknapatawpha County." —Christine Schwartz Hartley, New York Times Book Review
The collected manifestos of Édouard Glissant and Patrick Chamoiseau: for a postcolonial response to planetary crisis. Manifestos brings together for the first time in English the manifestos written by Édouard Glissant and Patrick Chamoiseau between 2000 and 2009. Composed in part in the aftermath of Barack Obama’s election in 2008, the texts resonate with the current context of divided identities and criticisms of multiculturalism. The individual texts grapple with concrete historical and political moments in France, the Caribbean, and North America. Across the manifestos, as well as two collectively signed op-eds, the authors engage with socio-political aspects of climate catastrophe, resource extraction, toxicity, and neocolonialism. Throughout the collection, Glissant and Chamoiseau engage with key themes articulated through their poetic vocabulary, including Relation, globalization, globality (mondialité), anti-universalism, métissage, the tout-monde (“whole-world”) and the tout-vivant (“all-living,” including the relationship of humans to each other and “nature”), créolité and the creolization of the world, and the liberation from community assignations in response to individualism and neoliberal societies. Translated as the first volume in the Planetarities series with Goldsmiths Press, the themes of Manifestos resonate with the planetary as they work in response to contemporary forms of (economic) globalization, western capitalism, identity politics, and urban, digital and cosmic ecosystems, as well as the role of the poet-writer. A distinguishing feature of this publication is its interventional aspect, which prioritizes engaged scholarship and practice while demonstrating the relevance of the poetic in response to the urgencies of planetary crisis.
Par une froide et humide matinŽe de novembre, une pauvre femme, misŽrablement v�tue, Žtait assise aupr�s du lit de son enfant malade. On Žtait en 1818; l'annŽe avait ŽtŽ rude, la guerre civile avait ensanglantŽ les rues de Paris: Georges, le mari de Madeleine (c'Žtait le nom de la pauvre femme), avait ŽtŽ tuŽ derri�re une barricade, o� il dŽfendait l'Žmeute en croyant dŽfendre ses droits. Depuis cette mort fatale, la mis�re et l'abandon Žtaient entrŽs dans une famille que soutenait jusque-lˆ le travail de son chef; c'Žtait ˆ grand'peine que Madeleine avait pu louer une chambre au sixi�me Žtage dans une maison de la rue du Helder. Elle Žtait blanchisseuse en dentelles; pour garder ses pratiques, il lui fallait habiter un quartier o� tout Žtait cher; elle s'Žtait donc rŽsignŽe ˆ quitter le faubourg o� on l'avait mariŽe, o� elle avait perdu son cher Georges. En temps de rŽvolution, par malheur, on ne fait gu�re de toilette; l'ouvrage Žtait rare, dŽjˆ Madeleine Žtait en arri�re avec tous ses fournisseurs. Le boulanger avait annoncŽ qu'il arr�tait son crŽdit. Madeleine touchait au moment fatal qui perd les malheureux et fait d'une ouvri�re honn�te une mendiante, que dŽgraderont bient™t la faim et le dŽsespoir. Elle Žtait lˆ, les yeux rougis par les veilles et les larmes, regardant sa fille rongŽe par la fi�vre, cherchant en vain dans sa pensŽe comment elle trouverait pour le lendemain du travail et du pain, quand une main hardie tourna la clef de la porte et fit tressaillir la m�re et l'enfant.
Manet, a founding father of modernism, is one of the towering figures of 19th-century art. In this volume, Carol Armstrong looks closely at Manet's works to uncover a view not only of the artist but also of modernity itself. As she places his art within frameworks of colour, the feminine Other (the Manette in Manet), and consumerism, Armstrong seeks to expand and revise our understanding of this artist as a painter of modern life.
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