This book discusses an archival turn in the work of contemporary Caribbean writers and visual artists across linguistic locations and whose work engages critically with various historical narratives and colonial and postcolonial records. This refiguration opens a critical space and retells stories and histories previously occluded in/by those records, and in spaces of the public sphere. Through poetics and aesthetics of fragmentation largely influenced by music and popular culture, their work encourages contrapuntal ways of (re)thinking histories; ways that interrogate the influence of colonial narratives in processes of silencing but also centre the knowledge found in oral histories and other forms of artistic archives outside official repositories. Discussing literature and selected artwork by artists from Britain, Cuba, the Dominican Republic, Haiti, Puerto Rico, and Trinidad and Tobago, Memory and the Archival Turn in Caribbean Literature and Culture demonstrates the historiographical significance of artistic and cultural production.

This book examines the relationships between archives, communities and collective memory through both the lens of a postcolonial society, the United States Virgin Islands, a former colony of Denmark, now a United States territory, and through an archival perspective on the relationship between communities and the creation of records. Because the historical records of the Virgin Islands reside primarily in Denmark and the United States, Virgin Islanders have had limited access to the primary sources of their history and this has affected both their ability to write their own history and to construct their collective memory. But while a strong oral tradition, often in competition with the written tradition, influences the ways in which this community remembers, it also underlines the dilemma of interpreting the history of the colonized through the records of the colonizer. The story of the Virgin Islands and its search for its memory includes an exploration of how this community, through public commemorations and folk tradition has formed its memory to date, and the role that archives play in this process. Interwoven throughout is a broader analysis of the place of archives and archivists in helping communities find their history. The book is exceptionally well written and will appeal to historians, archivists and those interested in the Carribean.

Archiving Caribbean Identity highlights the "Caribbeanization" of archives in the region, considering what those archives could include in the future and exploring the potential for new records in new formats. Interpreting records in the broadest sense, the 15 chapters in this volume explore a wide variety of records that represent new archival interpretations. The book is split into two parts, with the first part focusing on record forms that are not generally considered "archival" in traditional Western practice. The second part explores more "traditional" archival collections and demonstrates how these collections are analysed and presented from the perspective of Caribbean peoples. As a whole, the volume suggests how colonial records can be repurposed to surface Caribbean narratives. Reflecting on the unique challenges faced by developing countries as they approach their archives, the volume considers how to identify and archive records in the forms and formats that reflect the postcolonial and decolonized Caribbean, how to build an archive of the people that documents contemporary society and reflects Caribbean memory, and how to repurpose the colonial archives so that they assist the Caribbean in reclaiming its history. Archiving Caribbean Identity demonstrates how non-textual cultural traces function as archival records and how folk-centred perspectives disrupt conventional understandings of records. The book should thus be of interest to academics and students engaged in the study of archives, memory, culture, history, sociology, and the colonial and postcolonial experience.

Cultural Memory, Memorials, and Reparative Writing examines the ways in which memory furnishes important source material in the three distinct areas of critical theory, memoir, and memorial art. The book first shows how affect theorists have increasingly complemented more traditional archival research through the use of “academic memoir.” This theoretical piece is then applied to memoir works by Caribbean writers Dionne Brand and Patrick Chamoiseau, and the final case study in the book interprets as memorial art Kara Walker’s ephemeral 80,000 pound sugar sculpture of 2014. Memory as method; memory as archive; memorial as affect: this book looks at the interplay between archival sources on the one hand, and the affective memories, both personal and collective, that flow from, around, and into the constantly shifting record of the past.

The Grenada Revolution in the Caribbean Present: Operation Urgent Memory is the first scholarly book from the humanities on the subject of the Grenada Revolution and the US intervention. It is simultaneously a critique, tribute, and memorial. It argues that in both its making and its fall, the 1979-1983 Revolution was a transnational event that deeply impacted politics and culture across the Caribbean and its diaspora during its life and in the decades since its fall. Drawing together studies of landscape, memorials, literature, music, painting, photographs, film and TV, cartoons, memorabilia traded on e-bay, interviews, everyday life, and government, journalistic, and scholarly accounts, the book assembles and analyzes an archive of divergent memories. In an analysis that is relevant to all micro-states, the book reflects on how Grenada's small size shapes memory, political and poetic practice, and efforts at reconciliation.

This book will be of great interest to students and scholars of Caribbean and Latin American studies, social and cultural history, women and gender studies, and diasporic studies. In addition, given the transnational and transdisciplinary nature of the books themes, it will also attract the attention of academics whose research focuses more generally on ethnic, postcolonial and Atlantic studies. The volume complements existing Caribbean titles across linguistic borders. However, its distinguishing feature is the intertextual unity, quality and visual imagery of the essays. The book explores the ways in which Caribbean writers, artists and literary scholars explore in their narratives a historical process embedded in genocidal, spatial and ecocidal violence seared in their pasts and their present. It draws attention intertextually to the way history shapes the memories of Caribbean writers, literary critics and artists, and the inventive ways they have found to remember the afterlife of those practices.