Within the circum-Caribbean, the ubiquity of tourism and the variety of musical life are hard to miss. Scholars have long explored both of these themes in the Caribbean, but have done so from disciplinary perspectives that tended until recently (and for a variety of reasons) to foreclose readings that considered tourism and music together. This volume addresses itself to analyzing the dynamics and interrelationships between tourism and music throughout the region.

Within the circum-Caribbean, the ubiquity of tourism and the variety of musical life are hard to miss. Scholars have long explored both of these themes in the Caribbean, but have done so from disciplinary perspectives that tended until recently (and for a variety of reasons) to foreclose readings that considered tourism and music together. This volume addresses itself to analyzing the dynamics and interrelationships between tourism and music throughout the region.

Within the circum-Caribbean, the ubiquity of tourism and the variety of musical life are hard to miss. Scholars have long explored both of these themes in the Caribbean, but have done so from disciplinary perspectives that tended until recently (and for a variety of reasons) to foreclose readings that considered tourism and music together. This volume addresses itself to analyzing the dynamics and interrelationships between tourism and music throughout the region.

Growing up a stone's throw away from New York City in a small house on suburban Long Island, Richard Olsen-Harbich always dreamed of being a farmer. After graduating from Cornell with a degree in viticulture, he found himself back on the Island at the heart of an emerging wine region that was struggling to find itself. Starting from the ground up with little information or experience, Olsen-Harbich began a lifelong quest to master the art and science of growing wine grapes less than 90 miles from Manhattan. In the last half-century, the North Fork's bucolic seaside towns and humble potato farms were transformed into one of this country's most compelling agricultural success stories, garnering praise from wine critics around the world. Olsen-Harbich charts the meteoric rise of North Fork winemaking from the historic failures of colonial times to the modern triumph of becoming one of the most important wine-producing districts on the East Coast. Through a poetic interweaving of personal anecdotes with scientific reporting about climate, soils, geology, and botany, Olsen-Harbich drills deep into the topic, giving the world a new language for talking about wine. In doing so, he redefines what it means to make wine in the New World.

In Horizon, Sea, Sound: Caribbean and African Women’s Cultural Critiques of Nation, Andrea Davis imagines new reciprocal relationships beyond the competitive forms of belonging suggested by the nation-state. The book employs the tropes of horizon, sea, and sound as a critique of nation-state discourses and formations, including multicultural citizenship, racial capitalism, settler colonialism, and the hierarchical nuclear family. Drawing on Tina Campt’s discussion of Black feminist futurity, Davis offers the concept future now, which is both central to Black freedom and a joint social justice project that rejects existing structures of white supremacy. Calling for new affiliations of community among Black, Indigenous, and other racialized women, and offering new reflections on the relationship between the Caribbean and Canada, she articulates a diaspora poetics that privileges our shared humanity. In advancing these claims, Davis turns to the expressive cultures (novels, poetry, theater, and music) of Caribbean and African women artists in Canada, including work by Dionne Brand, M. NourbeSe Philip, Esi Edugyan, Ramabai Espinet, Nalo Hopkinson, Amai Kuda, and Djanet Sears. Davis considers the ways in which the diasporic characters these artists create redraw the boundaries of their horizons, invoke the fluid histories of the Caribbean Sea to overcome the brutalization of plantation histories, use sound to enter and reenter archives, and shapeshift to survive in the face of conquest. The book will interest readers of literary and cultural studies, critical race theories, and Black diasporic studies.

The contributors to Sounds of Vacation examine the commodification of music and sound at popular vacation destinations throughout the Caribbean in order to tease out the relationships between political economy, hospitality, and the legacies of slavery and colonialism. Drawing on case studies from Barbados, the Bahamas, Guadeloupe, Saint Martin, and Saint Lucia, the contributors point to the myriad ways live performances, programmed music, and the sonic environment heighten tourists' pleasurable vacation experience. They explore, among other topics, issues of authenticity in Bahamian music; efforts to give tourists in Barbados peace and quiet at a former site of colonial violence; and how resort soundscapes extend beyond music to encompass the speech accents of local residents. Through interviews with resort managers, musicians, and hospitality workers, the contributors also outline the social, political, and economic pressures and interests that affect musical labor and the social encounters of musical production. In so doing, they prompt a rethinking of how to account for music and sound's resonances in postcolonial spaces. Contributors. Jerome Camal, Steven Feld, Francio Guadeloupe, Jocelyne Guilbault, Jordi Halfman, Susan Harewood, Percy C. Hintzen, Timothy Rommen

No truer words can be said—life isn’t always as it seems—especially when it throws a dangerous concoction of its mind-blowing elements straight at you. Coming from an underprivileged background in the East End of London, Berkeley sets himself the challenge to escape poverty and do well for himself. Armed with a good brain and determination, he succeeds and wants for nothing, but there’s a bitter price to pay. Now the challenge is with himself, and he escapes to the quiet of Tenerife for love, only to lose it promptly. What now? With no career or prospects in the unfamiliar country, what is Berkeley to do? He decides to set up business opening an art gallery, yet knows nothing about art. What follows is a series of comical disasters, veiled threats, and visitors of a spiritual nature convincing him he’s to be served up to the Devil himself. The whole experience pushes Berkeley to limits he’s never encountered before, and he learns the hard way that what goes around really does come around to haunt you. Only love and true friendships can bring him back to the real world.