From a young age, Samantha Richards knew things that others didnt, saw things that others couldnt, and said things that others simply couldnt understand. She had the sight, the ability to see beyond and deliver messages. This ability, which some might consider a gift, was the source of great stress and pain for the young woman. After an out-of-body experience in her teens, she stopped the spirits from speaking to her through their usual routes, and life became quieter. In 2000, at the age of thirty-one, tragedy struck when her first child died during delivery. In her grief and her anger at God, she shut her gifts down for good, vowing never to give another person a message from beyond. She excommunicated herself from the Catholic faith and from God, furious that such a pure, innocent soul had been taken. For nine years, her heart was filled with hatredand then a miracle happened: after her guardian angel healed her heart, Samantha didnt know how to hate anymore. A year later, she witnessed angels protecting her plane. With these invitations, she welcomed the spirits back into her life, with joy and hope. In Touched by Divine Love, Samantha shares the astonishing details of her path back to her true spiritual self. Now a personal and spiritual development leader, psychic medium, and healer, she hopes that others will see themselves as beings of raw potentialand reach for their true selves in the process.
In this comparative study of contemporary Black Atlantic women writers, Samantha Pinto demonstrates the crucial role of aesthetics in defining the relationship between race, gender, and location. Thinking beyond national identity to include African, African American, Afro-Caribbean, and Black British literature, Difficult Diasporas brings together an innovative archive of twentieth-century texts marked by their break with conventional literary structures. These understudied resources mix genres, as in the memoir/ethnography/travel narrative Tell My Horse by Zora Neale Hurston, and eschew linear narratives, as illustrated in the book-length, non-narrative poem by M. Nourbese Philip, She Tries Her Tongue, Her Silence Softly Breaks. Such an aesthetics, which protests against stable categories and fixed divisions, both reveals and obscures that which it seeks to represent: the experiences of Black women writers in the African Diaspora. Drawing on postcolonial and feminist scholarship in her study of authors such as Jackie Kay, Elizabeth Alexander, Erna Brodber, Ama Ata Aidoo, among others, Pinto argues for the critical importance of cultural form and demands that we resist the impulse to prioritize traditional notions of geographic boundaries. Locating correspondences between seemingly disparate times and places, and across genres, Pinto fully engages the unique possibilities of literature and culture to redefine race and gender studies. Samantha Pinto is Assistant Professor of Feminist Literary and Cultural Studies in the English Department at Georgetown University. In the American Literatures Initiative
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