Search results for ""Author David Dabydeen""

Drama critic Lance Yardley is only 30 but is already a seedy wreck of a man, spending his nights in the back streets of Coventry looking for prostitutes. A working-class boy brought up in a broken home on a council estate, he has sought escape in literature and through his marriage to an actress, the great-granddaughter of a 19th-century Englishman who made his fortune from the sugar plantations in Guyana. At first Elizabeth attracts Yardley, but their differences of class exacerbate the mutual hatred that grows between them. Later he is drawn to a mysterious Indian girl, Rohini. She seems shy, but sells her body to customers when her boss goes out of town. When she dies suddenly, the victim of a strange and violent assassin, Yardley decides to decamp abroad for a while. He goes to Guyana, not least because he wants to learn more about an Irish priest who as an old man has been a priest in Coventry, but as a young man had worked as a missionary in Guyana. The priest's fragmented journals seem to offer Yardley some possible answers to his own spiritual malaise, but the Guyana he discovers provokes more questions than answers.David Dabydeen was born in Guyana. He has published six acclaimed novels and three collections of poetry. He is a Fellow of the Royal Society of Literature and Professor of Literary Studies at the University of Warwick.

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The young narrator of "The Intended" is twelve when he leaves his village in rural Guyana to come to England. There, he is abandoned into social care, but with great determination and self-discipline seizes every opportunity to follow his aunt's farewell advice, 'but you must take education...pass plenty exam' and wins a scholarship to Oxford. With an upper-class white fiancee, he has unquestionably arrived, but at the cost of ignoring the other part of his aunt's farewell: '...you is we, remember you is we.' Through remembering his Guyanese childhood and youth in working class Balham, the narrator's older self explores the contradictions, the difficulties implicit in his aunt's advice and the cost to his personality of losing that past. At one level a moving semi-autobiographical novel, "The Intended" is also a sophisticated postcolonial text with its echoes of 'Heart of Darkness', its play between language registers and its exploration of the instability of identity. As an Indo-Guyanese, the narrator finds himself seen as 'Paki' by the English, and as some mongrel hybrid by 'real' Asians from India and Pakistan; as sharing a common British 'Blackness', yet acutely conscious of the real cultural divisions between Guyanese of African and Indian origins.

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A HARLOT'S PROGRESS reinvents William Hogarth's famous painting of 1732 which tells the story of a whore, a Jewish merchant, a magistrate and a quack doctor bound together by sexual and financial greed. Dabydeen's novel endows Hogarth's characters with alternative potential lives, redeeming them for their cliched status as predators or victims. The protagonist - in Hogarth, a black slave boy, in Dabydeen, London's oldest black inhabitant - is forced to tell his story to the Abolitionists in return for their charity. He refuses however to supply parade of grievances, and to give a simplistic account of beatings, sexual abuses, etc. He will not embark upon yet another fictional journey into the dark nature of slavery for the voyeuristic delight of the English reader. Instead, the old man ties the reader up in knots as deftly as a harlot her client: he spins a tale of myths, half-truths and fantasies; recreating Africa and eighteenth-century London in startlingly poetic ways. What matters to him is the odyssey into poetry, the rich texture of his narrative, not its truthfulness. In this, his fourth novel, David Dabydeen opens up history to myriad imaginary interpretations, repopulating a vanished world with a strange, defiantly vivid and compassionate humanity.

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A young Afro-Guyanese engineer comes to a coastal Kentish village as part of a project to shore up its sea-defences. He boards with an old English woman, Mrs Rutherford, and through his relationship with her discovers the latent violence and raw emotions present in this apparently placid village. He discovers, too, that underlying the village's essential Englishness, echoes of the imperial past resound. In the process, he is forced to reconsider his perceptions of himself and his native Guyana, and in particular to question his engineer's certainties in the primacy of the empirical and the rational. This is a richly intertextual novel which uses reference to the novels of Conrad, Wilson Harris and V.S. Naipaul's 'The Enigma of Arrival' to set up a multi-layered dialogue concerning the nature of Englishness, the legacy of Empire and different perspectives on the nature of history and reality.

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"Slave Song" is unquestionably one of the most important collections of Caribbean/Black British poetry to have been published in the last twenty years. On its first publication in 1984 it won the Commonwealth Poetry Prize and established Dabydeen as a provocative and paradigm-shifting writer. At the heart of "Slave Song" are the voices of African slaves and Indian labourers expressing, in a Guyanese Creole that is as far removed from Standard English as it is possible to get, their songs of defiance, of a thwarted erotic energy. But surrounding this harsh and lyrical core of Creole expression is an elaborate critical apparatus of translations (which deliberately reveal the actual untranslatability of the Creole) and a parody of the kind of critical commentary that does no more than paraphrase or at best contextualise the original poem. It took some time for the displaced critics to recognise that this prosaic apparatus was as much part of the meaning of the whole as the poems themselves, that Dabydeen was engaged in a play of masks, an expression of his own duality and a critique of the relationship which is at the core of Caribbean writing: that between the articulate writer and the supposedly voiceless workers and peasants. This new edition has an afterword by David Dabydeen that briefly explores his response to these poems after more than twenty years.

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Winner of the 2014 Guyana Prize for Fiction, Johnson's Dictionary is set variously in 18th century London and Demerara in British Guiana. It is a celebration of the skills of the enslaved as organisers, story-tellers, artists and mathematicians, hidden in the main from their white masters and mistresses, that is resonant with an undying human urge for freedom.Galley, gallery, gallimaufry: In a novel set in 18th century London and Demerara (in British Guiana), that might be dreamed or remembered by Manu, a revenant from Dabydeen’s epic poem, “Turner”, we meet slaves, lowly women on the make, lustful overseers, sodomites and pious Jews – characters who have somehow come alive from engravings by Hogarth and others.Hogarth himself turns up as a drunkard official artist in Demerara, from whom the slave Cato steals his skills and discovers a way of remaking his world.The transforming power of words is what enlightens Francis when his kindly (or possibly pederastic) master gifts him a copy of Johnson’s Dictionary, whilst the idiot savant, known as Mmadboy, reveals the uncanny mathematical skills that enable him to beat Adam Smith to the discovery of the laws of capital accumulation – and teach his fellow slaves their true financial worth. From the dens of sexual specialities where the ex-slave Francis conducts a highly popular flagellant mission to cure his clients of their man-love (and preach abolition), to the sugar estates of Demerara, Dabydeen’s novel revels in the connections of Empire, Art, Literature and human desire in ways that are comic, salutary and redemptive.David Dabydeen was born in Guyana in 1957. He is only the second West Indian writer, following VS Naipaul, to be named a fellow of the Royal Society of Literature. Turner: New and Selected Poems (Cape, 1994) was republished by Peepal Tree in 2002. His 1999 novel A Harlot's Progress was shortlisted for the James Tait Black Memorial Prize. His other novels include Disappearance (Peepal Tree, 2005) and Molly and the Muslim Stick (2008). He co-edited the Oxford Companion to Black British History (2007), and his documentaries on Guyana have appeared on BBC TV and radio. David is now Professor at the Centre for Caribbean Studies, University of Warwick.

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Set in the early nineteenth century The Counting House follows the lives of Rohini and Vidia, a young married couple struggling for survival in a small, caste-ridden Indian village who are seduced by the recruiter's talk of easy work and plentiful land if they sign up as indentured labourers to go to British Guiana. There, however, they discover a harsh fate as 'bound coolies' in a country barely emerging from the savage brutalities of slavery. Having abandoned their families and a country that seems increasingly like a paradise, they must come to terms with their problematic encounters with an Afro-Guyanese population hostile to immigrant labour, with rebels such as Kampta who has made an early abandonment of Indian village culture, and confront the truths of their uprooted condition."Excellent... Presented with poetic precision, this novel succeeds as both a compelling story and a beautifully sustained piece of writing." Sean Coughlan, The Times."Beautifully written... Dabydeen's grace, as a poet turned novelist, is to give his characters' imaginations and inner lives voices in prose... This is a marvelous novel" Michele Roberts, Independent on Sunday.David Dabydeen was born in Guyana. He has published six acclaimed novels and three collections of poetry. He is a Fellow of the Royal Society of Literature and Professor of Literary Studies at the University of Warwick.

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David Dabydeen's Turner is a long narrative poem written in response to JMW Turner's celebrated painting 'Slavers Throwing Overboard the Dead & Dying'. Dabydeen's poem focuses on what is hidden in Turner's painting, the submerged head of the drowning African. In inventing a biography and the drowned man's unspoken desires, including the resisted temptation to fabricate an idyllic past, the poem brings into confrontation the wish for renewal and the inescapable stains of history, including the meaning of Turner's painting.Turner was described Caryl Phillips as "a major poem, full of lyricism and compassion, which gracefully shoulders the burden of history and introduces us to voices from the past whose voices we have all inherited", and by Hanif Kureishi as "Magnificent, vivid and original."In addition to the title poems, Turner contains selections from David Dabydeen's two earlier books, Slave Song (1984) and Coolie Odyssey.David Dabydeen was born in Guyana. He has published six acclaimed novels and three collections of poetry. He is a Fellow of the Royal Society of Literature and Professor of Literary Studies at the University of Warwick.

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Life in Wuhan and British Guiana is vividly evoked in this novel, told mainly through letters. Amidst the crumbling Chinese feudal system, and life under British colonial rule, the novel's characters seek personhood and interdependence.

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Since Kwame Dawes first published his prestigious Forward Poetry prize-winning Progeny of Air in 1994, six further collections have followed which have changed the face of Caribbean poetry. New and Selected Poems contains a generous selection from all these volumes, and a book's worth of new poems.Sensitive to the dusty savannahs of Ghana (where he was born), the hills and city streets of Jamaica (where he grew up), the 'low-riding, swamp' landscapes of South Carolina (where he lives) and the landscapes of England (where he regularly visits), Dawes has been building an enthusiastic readership in the UK, the Caribbean and the USA.New and Selected Poems does not replace the earlier collections. Indeed, the selections here will whet the appetite of those who have not yet discovered them to encounter their individual, organic and rewarding architectures and for those familiar with the earlier books, this selection will suggest new ways of reading them.Kwame Dawes is widely acknowledged as the foremost Caribbean poet of the post-Walcott generation. He currently holds the position of Distinguished Poet In Residence and Louise Fry Scudder Professor of Liberal Arts at the University of South Carolina.

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This dual language selection of Martin Carter's poems, edited by David Dabydeen, translated into Spanish by Salvador Ortiz-Carbonares and with an introduction by Gemma Robinson, will establish very clearly that Carter is a major South American poet, in the company of Valejo, Neruda and Paz."What we have is enough to prove, if proof has been needed... that Martin Carter is, without reservation, one of the finest poets to have emerged in the Caribbean region. And the varied subtlety and strength of his poetry carries him without any doubt into the first rank of world poets. Long after the politics which prompted a number of his poems have been forgotten, and long after the society which he often so scathingly indicted has been changed utterly the poetry will continue to strike a chord among new generations."Ian McDonaldThe late Martin Carter was without doubt one of the Caribbean's major poets, only less well known than Walcott and Brathwaite because he rarely left his native Guyana. He came to notice first for his Poems of Resistance (1954) written out of his experiences of the anti-colonial struggle which included his imprisonment by the British for his political activities. His work has been a major influence on the current generation of Caribbean poets as John Agard, David Dabydeen, Fred D'Aguiar, Kwame Dawes, Linton Kwesi Johnson and Grace Nichols among others have elsewhere testified.Martin Carter was born in Guyana in 1927. He first came to attention with Poems of Resistance in 1954. He is unquestionably one of the three great West Indian poets of his generation. He died in 1997.

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'This illuminating, vivid volume is a fitting tribute to the experiences of migration' - Hanif Kureishi Between the arrival of the HMT Empire Windrush in 1948 and the passing of the 1971 Immigration Act, half a million people came to the UK from the Caribbean. In the aftermath of the 2018 Windrush Scandal, the story of the Windrush Generation is more widely known than ever. But is it the whole story? Through a series of biographical essays, poems and articles, The Other Windrush shines a light on the hidden history of a 'minority within a minority': Caribbean migrants of Indian and Chinese descent - often the descendants of indentured labourers - who were the 'invisible passengers' of the Windrush generation. Both highlighting the diversity of their lives and cultural backgrounds, and delving into the largely forgotten history of the system of indenture in the British Caribbean, The Other Windrush makes a unique addition to the literature on migration and the British Empire.

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'This illuminating, vivid volume is a fitting tribute to the experiences of migration' - Hanif Kureishi Between the arrival of the HMT Empire Windrush in 1948 and the passing of the 1971 Immigration Act, half a million people came to the UK from the Caribbean. In the aftermath of the 2018 Windrush Scandal, the story of the Windrush Generation is more widely known than ever. But is it the whole story? Through a series of biographical essays, poems and articles, The Other Windrush shines a light on the hidden history of a 'minority within a minority': Caribbean migrants of Indian and Chinese descent - often the descendants of indentured labourers - who were the 'invisible passengers' of the Windrush generation. Both highlighting the diversity of their lives and cultural backgrounds, and delving into the largely forgotten history of the system of indenture in the British Caribbean, The Other Windrush makes a unique addition to the literature on migration and the British Empire.

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