Bringing together the most exciting recent archival work in anglophone, francophone, and hispanophone Caribbean studies, Raphael Dalleo constructs a new literary history of the region that is both comprehensive and innovative. He examines how changes in political, economic, and social structures have produced different sets of possibilities for writers to imagine their relationship to the institutions of the public sphere. In the process, he provides a new context for rereading such major writers as Mary Seacole, José Martí, Jacques Roumain, Claude McKay, Marie Chauvet, and George Lamming while also drawing lesser-known figures into the story. Dalleo’s comparative approach will be important to Caribbeanists from all of the region’s linguistic traditions, and his book contributes even more broadly to debates in Latin American and postcolonial studies about postmodernity and globalization.

It is commonly assumed that Caribbean culture is split into elite highbrow culture-which is considered derivative of Europe and not rooted in the Caribbean-and authentic working-class culture, which is often identified with such iconic island activities as salsa, carnival, calypso, and reggae. In Caribbean Middlebrow, Belinda Edmondson recovers a middle ground, a genuine popular culture in the English-speaking Caribbean that stretches back into the nineteenth century.

Edmondson shows that popular novels, beauty pageants, and music festivals are examples of Caribbean culture that are mostly created, maintained, and consumed by the Anglophone middle class. Much of middle-class culture, she finds, is further gendered as "female": women are more apt to be considered recreational readers of fiction, for example, and women's behavior outside the home is often taken as a measure of their community's respectability.

Edmondson also highlights the influence of American popular culture, especially African American popular culture, as early as the nineteenth century. This is counter to the notion that the islands were exclusively under the sway of British tastes and trends. She finds the origins of today's "dub" or spoken-word Jamaican poetry in earlier traditions of genteel dialect poetry-as exemplified by the work of the Jamaican folklorist, actress, and poet Louise "Miss Lou" Bennett Coverley-and considers the impact of early Caribbean novels, including Emmanuel Appadocca (1853) and Jane's Career (1913).

Maria Fumagalli argues that, like Medusa's stare that turns people to stone, the gaze of the North Atlantic freezes its "others" into a state of perpetual backwardness, ignoring what does not conform to the story it wants to tell about itself. Across a diversity of texts, genres, and media, she shows how the Caribbean articulates its refusal to succumb to Medusa's spell.

In this illuminating study, Gelien Matthews demonstrates how slave rebellions in the British West Indies influenced the tactics of abolitionists in England and how the rhetoric and actions of the abolitionists emboldened slaves. Moving between the world of the British Parliament and the realm of Caribbean plantations, Matthews reveals a transatlantic dialectic of antislavery agitation and slave insurrection that eventually influenced the dismantling of slavery in British-held territories. Focusing on slave revolts that took place in Barbados in 1816, in Demerara in 1823, and in Jamaica in 1831–32, Matthews identifies four key aspects in British abolitionist propaganda regarding Caribbean slavery: the denial that antislavery activism prompted slave revolts, the attempt to understand and recount slave uprisings from the slaves' perspectives, the portrayal of slave rebels as victims of armed suppressors and as agents of the antislavery movement, and the presentation of revolts as a rationale against the continuance of slavery. She makes shrewd use of previously overlooked publications of British abolitionists to prove that their language changed over time in response to slave uprisings. Historians previously have examined the economic, religious, and political bases for slavery's abolishment in the Caribbean, but Matthews here emphasizes the agency of slaves in the march toward freedom. Her compelling work is a valuable analytical tool in the interpretation of abolition in North America, uncovering the important connections between rebellious slaves on one side of the Atlantic and abolitionists on the other side.

Drawing on both personal experience and critical theory, Carole Boyce Davies illuminates the dynamic complexity of Caribbean culture and traces its migratory patterns throughout the Americas. Both a memoir and a scholarly study, Caribbean Spaces: Escapes from Twilight Zones explores the multivalent meanings of Caribbean space and community in a cross-cultural and transdisciplinary perspective.

Caribbean Studies is a multidisciplinary academic journal published since 1961 by the Institute of Caribbean Studies, College of Social Sciences at the University of Puerto Rico, Río Piedras Campus. The journal publishes original works on the Social Sciences and the Humanities in English, Spanish or French languages. It is divided in four parts: articles, research notes, book reviews (including review essays of multiple books and individual reviews), and news and events. At present one of the bi-annual issues is usually a special thematic one.

The poetry associated with Afrocubanismo has been of great interest to academics since the movement began in the late 1920s. Thomas Anderson’s detailed analysis infuses new life into the study of these remarkable works. Focusing on the representations of carnival and its comparsas (carnival bands and music), Carnival and National Identity in the Poetry of Afrocubanismo offers thought-provoking new readings of poems by seminal Cuban poets, demonstrating how their writings on and about these traditions both contributed to and detracted from the development of a recognizable Afro-Cuban identity.

This volume is the first to examine, from a literary perspective, the long-running debate between the proponents of Afro-Cuban cultural manifestations and the predominantly white Cuban intelligentsia who viewed these traditions as “backward” and counter to the interests of the young Republic. Including analyses of the work of Felipe Pichardo Moya, Alejo Carpentier, Nicolás Guillén, Emilio Ballagas, José Zacarías Tallet, Felix B. Caignet, Marcelino Arozarena, and Alfonso Camín, this rigorous, interdisciplinary volume offers a fresh look at the canon of Afrocubanismo and offers surprising insights into Cuban culture during the early years of the Republic.

In Carrying the Word: The Concheros Dance in Mexico City, the first full length study of the Concheros dancers, Susanna Rostas explores the experience of this unique group, whose use of dance links rural religious practices with urban post-modern innovation in distinctive ways even within Mexican culture, which is rife with ritual dances. The Concheros blend Catholic and indigenous traditions in their performances, but are not governed by a predetermined set of beliefs; rather they are bound together by long standing interpersonal connections framed by the discipline of their tradition. The Concheros manifest their spirituality by means of the dance. Rostas traces how they construct their identity and beliefs, both individual and communal, by its means. The book offers new insights into the experience of dancing as a Conchero while also exploring their history, organization and practices. Carrying the Word provides a new way for audiences to understand the Conchero's dance tradition, and will be of interest to students and scholars of contemporary Mesoamerica. Those studying identity, religion, and tradition will find this social-anthropological work particularly enlightening.