Description
Book SynopsisExamines how Haitian diaspora writers, artists, and musicians address black masculinity through the Haitian Creole concept of gwo negs, or "big men". This work confronts the gendered, sexualized, and racialized boundaries of America's diaspora communities and openly resist "domestic" imperialism that targets immigrants, minorities, and gays.
Trade Review"Energetic, well—argued, and persuasive." —Marjorie Salvodon, Suffolk University
Table of ContentsContents<\>
Introduction: Haiti's Transnational Politics of "Big Man-ism"
Part 1. Straight, Queer, and Street
1. Trans-American Constructions of Black Heteromasculinity: Dany Laferrière, le Nègre, and the Late-Capitalist American Racial Machine-désirante
2. From Fort Dimanche to Brooklyn: Transnational Regimes of Violence, Duvalierism, and Failed Heteromasculinity in Raoul Peck's Haitian Corner
Part 2. Queer Fist
3. "Honey, Honey, Miss Thing": Assotto Saint's Drag Queen Blues—Queening the Homeland, Queer-Fisting the Dyaspora
4. Drag-Kinging the Dyaspora: Dréd Performing Black (Female) Masculinities in Haiti's Tenth Department
Part 3. Rapping B(l)ack
5. (Rara) Rap Haiti! Wyclef Jean's Chante pwen, Embattled Black Masculinity, and Diasporic Remix as Political Protest
6. Trans-American Art on the Streets: Jean-Michel Basquiat's Black Canvas Bodies and Urban Vodou-Art in Manhattan
Conclusion: Presidential Politics, Haiti's Gwo Nègs, and Diasporic Cultural Production as Transnational Political Protest
Notes
Selected Bibliography
Index
