Project MUSE®: Caribbean Studies - Latest Articles
https://muse.jhu.edu/journal/413
Project MUSE®: Latest articles in Caribbean Studies.daily12026-05-16T00:00:00-05:00text/htmlen-USVol. 36 (2008) through current issueLatest Articles: Caribbean StudiesTWOProject MUSE®Caribbean Studies1940-90950008-6533Latest articles in Caribbean Studies. Feed provided by Project MUSE®Puerto Rico Bajo el Escrutinio de Dos Imperios: La Prensa Estadounidense y Española ante la Invasión de Puerto Rico en 1898
https://muse.jhu.edu/article/988069
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El 25 de julio de 1898, las tropas estadounidenses desembarcaron en la bahía de Guánica, Puerto Rico, iniciando así una de las últimas campañas militares de la Guerra Hispanoamericana. Este episodio marcó un giro radical en la historia colonial de la isla: la transición del dominio español a la ocupación estadounidense. Si bien la historiografía ha documentado ampliamente los aspectos militares y políticos de esta invasión (Estades Font 1999; Picó 2008; Scarano 2000), aún persisten vacíos en torno a la representación mediática de los puertorriqueños y su ejército durante este momento crucial, particularmente desde la perspectiva comparada entre la prensa de los dos imperios en conflicto.Este artículo examina
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/413/image/coversmallPuerto Rico Bajo el Escrutinio de Dos Imperios: La Prensa Estadounidense y Española ante la Invasión de Puerto Rico en 18982026-04-15text/htmlen-USPuerto Rico Bajo el Escrutinio de Dos Imperios: La Prensa Estadounidense y Española ante la Invasión de Puerto Rico en 18982026-04-152026TWOProject MUSE®874092026-05-16T00:00:00-05:002026-04-15Untouched: Speculative Visions of Quarantine in the Fiction of Maielis González and Brenda Peynado
https://muse.jhu.edu/article/988070
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Puerto Rican rapper MalaCara’s Toque de Queda en Macondo (Curfew in Macondo), a short musical film released in 2020, highlights the annoying banalities of living during the COVID-19 pandemic. MalaCara is seen dealing with an uncomfortable mask, applying hand sanitizer, and being blocked from entering his home by his partner (the singer Pájaro) because he had not yet disinfected the groceries. Even the act of looking out the window and not seeing anyone on the street ignites a relatable anxiety and frustration. Through his lyrics, MalaCara raps that he obviously wants to go out, but that the risk isn’t worth it. In the middle of the video MalaCara pleads that he makes it out of this situation alive: “Sólo espero
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/413/image/coversmallUntouched: Speculative Visions of Quarantine in the Fiction of Maielis González and Brenda Peynado2026-04-15text/htmlen-USUntouched: Speculative Visions of Quarantine in the Fiction of Maielis González and Brenda Peynado2026-04-152026TWOProject MUSE®593262026-05-16T00:00:00-05:002026-04-15Wata-Mama’s Obeah: Wading Into Komfa’s Afro-Indigenous Guyanese Pasts
https://muse.jhu.edu/article/988071
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A deeply communal practice, Komfa is a central unifying feature of what are known as Spiritual Churches in Guyana and abroad where Guyanese live.1 People who attend these gatherings, houses, or flocks refer to themselves as Faithists, Spiritualists, or Komfa People. Most practitioners are women who comprise tightly knit Spiritual families that serve many purposes in devotees’ lives. Komfa ties Spiritual Churches together. From Guyana’s Creole language, “Komfa” is typically translated into English—and recognized by most Guyanese as “spirit possession,” and is generally synonymous with “Obeah.”Komfa is also understood as a form of dance, often performed in ritual attire around a devotional shrine. In Komfa services
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/413/image/coversmallWata-Mama’s Obeah: Wading Into Komfa’s Afro-Indigenous Guyanese Pasts2026-04-15text/htmlen-USWata-Mama’s Obeah: Wading Into Komfa’s Afro-Indigenous Guyanese Pasts2026-04-152026TWOProject MUSE®1321962026-05-16T00:00:00-05:002026-04-15La Evanescencia de los Asentamientos Costeros: Espejismos Etnográficos sobre Puerto Real de Cabo Rojo y Otras Escenas Fugitivas
https://muse.jhu.edu/article/988072
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Estas imágenes, consideradas retrospectivamente, ya no me parecen tan arbitrarias. He visto que la verdad de una situación no se encuentra en su observación diaria, sino en su destilación paciente y fraccionada… Más que un recorrer, la exploración es un escudriñar: una escena fugitiva, un rincón del paisaje, una reflexión cogida al vuelo, es lo único que permite comprender e interpretar horizontes que de otro modo serían estérilesLa Antropología Social y Cultural supone cierto distanciamiento entre la persona que la practica, y la gente a la que le dedica su tiempo etnográfico, para poder entenderles mejor. Por mucho tiempo la disciplina requirió esa estadía extensa en un paisaje diferente, exótico, de sociedades
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/413/image/coversmallLa Evanescencia de los Asentamientos Costeros: Espejismos Etnográficos sobre Puerto Real de Cabo Rojo y Otras Escenas Fugitivas2026-04-15text/htmlen-USLa Evanescencia de los Asentamientos Costeros: Espejismos Etnográficos sobre Puerto Real de Cabo Rojo y Otras Escenas Fugitivas2026-04-152026TWOProject MUSE®1044282026-05-16T00:00:00-05:002026-04-15Suspended Agency and Psychic Power: Stanley Greaves’s Paintings of Caribbean People
https://muse.jhu.edu/article/988073
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There may be a logic of sorts in the fact that an artistic practice which often has been centered on paradox itself contains so many of them. Since my first encounter with Stanley Greaves and his work, I’ve been struck by the curious relationship between his interest in intuition and esoteric forms of knowledge and his artistic method of careful planning and meticulous execution. I have likewise, and in the present context more importantly, been intrigued by his often-verbalized longing for progress and social justice and the seemingly stoic and impassive human figures he tends to employ as its agents in his work. The reflections offered here are rooted in my surprise and excitement about the paintings Greaves
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/413/image/coversmallSuspended Agency and Psychic Power: Stanley Greaves’s Paintings of Caribbean People2026-04-15text/htmlen-USSuspended Agency and Psychic Power: Stanley Greaves’s Paintings of Caribbean People2026-04-152026TWOProject MUSE®780712026-05-16T00:00:00-05:002026-04-15Decolonial Ecology: Thinking from the Caribbean World by Malcom Ferdinand (review)
https://muse.jhu.edu/article/988074
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Malcom Ferdinand has written a thoughtful, artful, and much-needed book. Those who are committed to decolonizing the Eurocentric curriculum of our universities would do well to read it and consider using it. However, any deep thinker or social critic will also want to engage with this work. Ferdinand addresses two pressing contemporary issues. On the one hand, he reckons with the history of the transatlantic slave trade and the persistence of white supremacy. On the other, he examines the global climate crisis. Few scholars are better positioned to address these intertwined concerns than Ferdinand. He holds a PhD in political philosophy from Université Paris Diderot, and his work is situated within the field of
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/413/image/coversmallDecolonial Ecology: Thinking from the Caribbean World by Malcom Ferdinand (review)2026-04-15text/htmlen-USDecolonial Ecology: Thinking from the Caribbean World by Malcom Ferdinand (review)2026-04-152026TWOProject MUSE®196512026-05-16T00:00:00-05:002026-04-15The Village of One: Essays on Trinbago’s Past, Places, People by Richard Charan (review)
https://muse.jhu.edu/article/988075
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Richard Charan’s book comes out of the author’s wanderings through all the towns and villages catalogued by Michael Anthony, and out of his own penetrating excursions into obscure settlements and ruins that the indefatigable researcher never dreamed of finding in the printed sources he scoured. To Charan, it is part of the job of a journalist to visit the sources and the scenes of the news of the day. In The Village of One, he does more than that. It became his mission―driven by curiosity, a sense of adventure, and ecological patriotism―to retrieve and to discover unconsidered histories with fresh eyes, and to drill down to the deep and enduring news resident in the worlds around him. The cumulative effect of his
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/413/image/coversmallThe Village of One: Essays on Trinbago’s Past, Places, People by Richard Charan (review)2026-04-15text/htmlen-USThe Village of One: Essays on Trinbago’s Past, Places, People by Richard Charan (review)2026-04-152026TWOProject MUSE®144792026-05-16T00:00:00-05:002026-04-15A New No-Man’s-Land: Writing and Art at Guantánamo, Cuba by Esther Whitfield (review)
https://muse.jhu.edu/article/988076
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Guantánamo is a microcosm of the controversial relationship between Cuba and the United States. In the twenty-first century, the geopolitical polarization of the area includes the definition of distinct war enemies. On the one hand, the Cuban war on US imperialism pursuing the protection of Cuban’s social project of revolution since 1959 and, on the other, the United States war on terror after 9/11, which led to the imprisonment of alleged terrorists in the naval base at Guantánamo Bay (often called GTMO) since 2002. These contemporary oppositions add to long-lasting contentious interactions in the Guantánamo region. Following the Spanish-American War in 1898, the US required Cuba to accept the Platt Amendment as a
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/413/image/coversmallA New No-Man’s-Land: Writing and Art at Guantánamo, Cuba by Esther Whitfield (review)2026-04-15text/htmlen-USA New No-Man’s-Land: Writing and Art at Guantánamo, Cuba by Esther Whitfield (review)2026-04-152026TWOProject MUSE®123042026-05-16T00:00:00-05:002026-04-15Descolonialidad del alma, del cuerpo y del saber: Perspectiva teórico-metodológica afrolatinoamericana y caribeña by Héctor E. López-Sierra (review)
https://muse.jhu.edu/article/988077
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Quien escribe esta reseña es una mujer y feminista negra, afrobrasileña, estudiosa e investigadora, que busca en la academia y la intelectualidad la realización personal y una forma de transformar la realidad que la rodea. Es desde este lugar desde donde leo, escribo, estudio, converso y vivo el mundo. Por lo tanto, es desde esta parte de las Américas que interpreto y escribo las siguientes reflexiones sobre el libro en cuestión, escrito por el afro-puertorriqueño Héctor E. López Sierra.La obra reseñada es el resultado de 30 años de intensa investigación en el campo de la psicología, la sociología y la religión. López Sierra es doctor en psicología y cuenta con un máster en sociología de la Universidad de Puerto
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/413/image/coversmallDescolonialidad del alma, del cuerpo y del saber: Perspectiva teórico-metodológica afrolatinoamericana y caribeña by Héctor E. López-Sierra (review)2026-04-15text/htmlen-USDescolonialidad del alma, del cuerpo y del saber: Perspectiva teórico-metodológica afrolatinoamericana y caribeña by Héctor E. López-Sierra (review)2026-04-152026TWOProject MUSE®193262026-05-16T00:00:00-05:002026-04-15Velma Pollard (1937–2025): An Appreciation
https://muse.jhu.edu/article/988078
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A manila envelope arrived in Vieques, Puerto Rico in late May-early June. I was traveling and didn’t see it until my return on June 20. “Not Collected” was written by hand and the address of Velma Pollard, both in my hand and the official USPS printed label, had been crossed out. The envelope contained my 2024 book MÁSCARAS: Confesiones de un tallador secreto (San Juan: Tiempo Nuevo) that left Puerto Rico for Jamaica on 21 October 2024. Velma Pollard passed from this life on February 1st, 2025.None of the books I sent to British Columbia, Ontario, Chicago, New York, Coral Gables, Santiago de Compostela, Tunapuna, and La Habana (by hand) to friends were returned, and all arrived before February 1st. I emailed a
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/413/image/coversmallVelma Pollard (1937–2025): An Appreciation2026-04-15text/htmlen-USVelma Pollard (1937–2025): An Appreciation2026-04-152026TWOProject MUSE®95572026-05-16T00:00:00-05:002026-04-15Colaboradores | Contributors | Collaborateurs
https://muse.jhu.edu/article/988079
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ETHEL BARJA (ebarja@smith.edu) is a Peruvian scholar and educator and is Assistant Professor of Spanish at Smith College. She holds a PhD from Brown University. Her interests include include transnational and cross-disciplinary approaches to 20th and 21st-century Latin American and Caribbean literature, poetry, and poetics, which intertwines critical Indigenous studies, Afro-poetics, decolonial studies, gender studies, and posthuman studies.SAMUEL GINSBURG (samuel.ginsburg@wsu.edu) is Assistant Professor of Comparative Ethnic Studies, Spanish and American Studies and Culture at Washington State University. His research focuses on 21st century Caribbean and Latinx science fiction, looking at how authors, filmmakers
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/413/image/coversmallColaboradores | Contributors | Collaborateurs2026-04-15text/htmlen-USColaboradores | Contributors | Collaborateurs2026-04-152026TWOProject MUSE®57842026-05-16T00:00:00-05:002026-04-15