This book investigates the problematical historical location of the term ‘religion’ and examines how this location has affected the analytical reading of postcolonial fiction and poetry. The adoption of the term ‘religion’ outside of a Western Enlightenment and Christian context should therefore be treated with caution. Within postcolonial literary criticism, there has been either a silencing of the category as a result of this caution or an uncritical and essentializing adoption of the term ‘religion’. It is argued in the present study that a vital aspect of how writers articulate their histories of colonial contact, migration, slavery, and the re-forging of identities in the wake of these histories is illuminated by the classificatory term ‘religion’. Aspects of postcolonial theory and Religious Studies theory are combined to provide fresh insights into the literature, thereby expanding the field of postcolonial literary criticism. The way in which writers ‘remember’ history through writing is central to the way in which ‘religion’ is theorized and articulated; the act of remembrance can be persuasively interpreted in terms of ‘religion’. The title ‘Memory and Myth’ therefore refers to both the syncretic mythology of Guyana, and the key themes in a new critical understanding of ‘religion’. Particular attention is devoted to Wilson Harris’s novel Jonestown, alongside theoretical and historical material on the actual Jonestown tragedy; to the mesmerizing effect of the Anancy tales on contemporary writers, particularly the poet John Agard; and to the work of the Indo-Guyanese writer David Dabydeen and his elusive character Manu.
Wah Dih Story Seh?
Do you tell and (re) tell stories you grew up hearing? Do your children tune you out when you tell those “ole time stories”? Do they ask more questions than you can answer, especially if you live in the diaspora?? If this is your story, this book is for you. Take a journey across the globe with Uncle Edwin, Marlon, and Waddy the Water Frog (in Guyana). Kay (in New York), Dee (in Antigua), Prince Fuareke (one of the main storytellers from the “Africa For Smart Kids” book series) in in Cameroon. Dear reader, these conversations are yours to take off these pages into the world at the prompting of the ubiquitous, Waddy the Water Frog. Let’s get talking!
“No Word in Guyanese for Me” tells the journey of Hanna, who is made to choose between her identity and the support and love of her family and her precious faith. From her childhood in Guyana to her adolescence in pre and post 9/11 New York City, from a disastrous arranged marriage to her sexual awakening and discovery that there can be someone for whom she is enough, Hanna struggles to come to terms with her sexual identity, her devotion to her faith, and the right to be accepted for who she is while adhering to her family and her faith. Her faith and family test her, and finally Hanna must give them the choice: accept who she is-a gay Muslim-or lose her forever.
Poetic and lyrical, the play is a beautiful exploration of religious and sexual identity, clashing cultures, loyalty, hopes and dreams, parental bonds and attendant feelings of safety or threat. It is a plea for understanding and tolerance at a time of fear and religious, moral, and political polarization. But mostly “No Word in Guyanese for Me” is about communication and unconditional love: the difficulties of it, the search for it, and the desperate need to be heard.
Get the delightful taste of Guyana from the comfort of your own kitchen! These palatable authentic Guyanese recipes will leave you and your guests wanting more. All recipes are simple to follow and in no time you will be a master chef of Guyanese cuisine.
Some notable recipes include:
Vegetarian: Dhal Puri, Roasted Eggplant, Chicken Foot, and more!
Meat: Chicken Curry, Bhunjal Chicken, Stew Beef, and more!
Seafood: Hassa Curry, Fish Cakes, Prawn Curry, and more!
Dessert: Pine Tart, Jalebi, Custard Block, and more!
Seize this chance to impress your friends and family by cooking up something truly unique today!
“Like Kean Gibson, Asantewa observes that Komfa in Guyana recognizes an ethnic hierarchy or order of status. An ancestral Path or Way, not an organised religion had issued a formal finding in the discipline of Sociology or Political Science by observing life in its universe and reaching a consensus. My understanding of this structure is that it is a rendering or graphic of the reality of perceived status of race groups according to social power. Some will disagree with it; the Komfa people will not be offended, it is how they see life.”
Eusi Kwayana, Guyanese cultural activist
Guyanese Komfa: The Ritual Art of Trance engages the Komfa perspective with the aim of locating strategies of cultural liberation. Formerly associated with the mammy water spirits from its ancestral roots in West Africa, Komfa was forced underground by British colonials who had likewise outlawed and discredited practices connected with Obeah. Practitioners absorbed some Christian aspects and identified a pantheon of spirits associated with Guyana’s historical formation, ensuring that Komfa is not forgotten despite ongoing cultural ambivalence towards the practice.
By re-crediting and re-inscribing Guyanese Komfa as a cultural resource, this work envisions modalities for nation building whilst challenging competing forces of cultural and national decline. Michelle Asantewa uses a multidisciplinary framework to explore questions of cultural identity and the ‘arts of imagination’ embedded in the Komfa perspective. The theoretical body of the work is complemented by the inclusion of a novella called Komfa, based on the foregoing themes and issues highlighted in the overall text. This book contributes to the developing interest in African derived religious and spiritual practices, foregrounding Guyana which has largely gone unnoticed.
This memoir specifically highlights the experiences of a female of Indo-Guyanese decent growing up in the Midwest. Often confused for being an immigrant East Indian, Ashti offers a brief exposure to a thriving culture that is consistently overlooked. Ultimately, she aims to show others what it is like to be a West Indian living in the United States.
As she explains her ethnic background, Ashti also covers the nuances of growing up Guyanese—the struggles she and others like herself face and the comical interactions they have all likely experienced. As it progresses, the book delves deeper into a theme of finding oneself. This occurs as the author reaches adulthood and makes discoveries that all millennials must make in their lifetime. Highly anecdotal, Growing Up Guyanese offers any reader regardless of ethnicity something to which he or she can relate.
Mari Evans, author of Continuum and Clarity: (A Poet’s Perspective)
Jan Carew combines Caribbean folklore, ghost story, adventure tale, and literature of European exile to create a spirited dialect and colloquial voice that startles and delights; he’s comfortable confronting anything, racial prejudice or whimsical fable, the natural world or city slum.
“A conemporary take on the cuisine of Guyana, the land of the six peoples”
This book will teach you to cook a variety of flamboyant, scrumptious, and mouthwatering dishes using traditional and unique Guyanese ingredients. You will prepare and enjoy tasty and spicy dishes in no time.
For people who cannot eat spicy, you can prepare these appetizing dishes with just enough spice so your taste buds can savor that once in a lifetime culinary experience.
My book will enable you to make curry dishes in a matter of minutes. The recipes are easy and very practical for any occassion! You will enjoy cooking curry for your family and they will be pleasantly surprised at your culinary skills.
You will enjoy creating easy and unusual desserts in no time!
Author Mona Khalil offers a collection of reflective poetry rooted in love and telling the story of her life, from childhood through present day. I Write Letters in my Thoughts is a synoptic view into one person’s journey through love, life, and ultimately towards liberation. This book is a testament to the power of storytelling as a historic healing method for communities who are often told to be quiet and patient. I Write Letters in my Thoughts allows us to realize that we are enough and that enough is enough; suffering is not our destiny, love is not impossible, and freedom is what we make it.