Cover

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pp. 1-1

Title Page, Copyright

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pp. 2-7

Contents

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pp. vii-viii

List of Illustrations

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pp. ix-x

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Acknowledgments

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pp. xi-xiv

There are many people behind this book. I am grateful to my editor, Peter Potter, for being an early and enthusiastic champion of this project. His careful editing, steady guidance, and pithy advice made this a better book. Sara Ferguson of Cornell University Press patiently answered my almost daily questions. ...

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Introduction: Making the Case for Middlebrow Culture

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pp. 1-20

A milestone of sorts was reached in 2007 when, for the first time ever, a dreadlocked, black Rastafarian woman won a Caribbean beauty pageant. It was no longer news, as it might have been ten years before, that Zahra Redwood, a dark-skinned, black woman, won the coveted Miss Jamaica Universe title. ...

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Chapter 1. Early Literary Culture

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pp. 21-49

On December 23, 1899, on the eve of the twentieth century, Jamaica’s oldest and most venerable newspaper, the Daily Gleaner, ran one of its many popular competitions. This one was for the best “Nancy story.” The entries were to capture, in written form, the stylistic and thematic intricacies of the oral folktales about Anancy the Spider. ...

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Chapter 2. Brownness, Social Desire, and the Early Novel

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pp. 50-85

In Trinidad, in the years 1853 and 1854, long before the famed Trinidad Awakening of the 1930s, two novels about brown people, both by brown authors, found their way into circulation. Emmanuel Appadocca, by the well-known Trinidadian lawyer, editor, and orator Michel Maxwell Philip, was a gothic adventure of Caribbean pirates on the high seas. ...

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Chapter 3. Gentrifying Dialect, or theTaming of Miss Lou

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pp. 86-109

On August 9, 2006, Jamaicans were riveted to the funeral of the Honorable Louise Bennett Coverley, member of the British Empire and Order of Jamaica. The wildly popular Jamaican folklorist, actress, and poet had died at the age of eighty-seven. ...

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Chapter 4. Middlebrow Spectacle and the Politics of Beauty

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pp. 110-125

The two epigraphs describing nineteenth-century Afro-Caribbean women with which I begin this chapter contain the central ideas and images that frame my argument about the contradictory ideologies surrounding contemporary women’s performance in the Caribbean public sphere.1 ...

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Chapter 5. Organic Imports, or Authenticating Global Culture

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pp. 126-147

The distinction between folk and popular that I have made thus far contrasts the “purity” of sterile, stable traditions of the past with the dynamic, unstable proclivities of the present. The former is associated with the cataloguing impulses of the state and the latter with its antithesis. The distinction is not, however, entirely workable. ...

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Chapter 6. Transnational Communities and the New Pop Fiction

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pp. 148-168

Popular fiction has always been a staple of the Caribbean entertainment diet. As we have seen, however, most of the popular fiction of one hundred years ago was relegated to small daily or weekly doses, published in the columns of a “serious” newspaper, or to the odd volume published either in London or locally, and paid for out of the author’s pocket. ...

Notes

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pp. 169-202

Bibliography

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pp. 203-216

Index

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pp. 217-224