Chronotropics

1: Introduction: Chronotropics.- Part I: Defiances/Divergences/Digressions.- 2: Of Slave Ships as Chronotopes: Fabienne Kanor’s Humus and Yolanda Arroyo Pizarro’s Las Negras.- 3: Wreckognition: Archival Ruins in Dionne Brand’s The Blue Clerk.- 4: Past Histories and Present Realities: Reading Desire and Difference in Mayra Santos Febres’ Fe en disfraz.- 5: Haunting Genealogies: Indo-Caribbean Feminist Literary Reimaginings of the Monstrous Past.- Part II: Traumas/Restructures/Retracings.- 6: Connecting Diasporas: Reading Erna Brodber’s Work through African Fractal Theory.- 7: When the Tout-Monde is not one: Maryse Condé’s Problematic ‘World-in-Motion’ in Les belles ténébreuses (2008) and Le fabuleux et triste destin d’Ivan et Ivana (2017).- 8: Writing “In Transit”: Literary Constructions of Sovereignty in Julia Alvarez’s Afterlife.- Part III: Destruction/Desires/Disruptions.- 9: Beyond the Crossroad: Caribbean Environments, Gender and Race in Pauline Melville’s The Ventriloquist’s Taleand Elizabeth Nunez’s Prospero’s Daughter.- 10: Creolized Ecology in Mayra Montero’s Palm of Darkness.- 11: Canadian Re-mapping of Caribbean Desire in Nalo Hopkinson’s Sister Mine and Shani Mootoo’s He Drown She in the Sea.- Part IV: Bilocation/Inhabitations/(G)hostings.- 12: Spiritual Crossings: Olokún and Caribbean Futures Past in La mucama de Omicunlé by Rita Indiana Hernández.- 13: A Site of Memory: Revisiting (in) Gisèle Pineau’s Mes quatre femmes.-  14: At the Crossroads of History: The Cohabitation of Past and Present in Kettly Mars’s L’Ange du patriarche.- 15: Fiction as a Spider’s Web? Ananse, Tricksters, and Storytellers in Karen Lord’s Redemption in Indigo.