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By Angelita Reyes

Mixing the private and the historic, the sensible and the theoretical, Angelita Reyes attracts on a variety of texts from Africa and the African diaspora to set up mothering as a paradigm of revolutionary feminisms. Reyes creates a comparative discussion one of the fictions of 5 postcolonial girls writers: Toni Morrison, Paule Marshall, Simone Schwarz-Bart, Jean Rhys, and Mariama BГў.

Reyes discusses the subject of mothering as a human fact, as a paradigm for cultural crossings, and as what she refers to as autobiographical memory-telling. not just does her paintings discover the fraught relationships between reminiscence, background, and mothering, however it additionally questions traditional methods of impending the usually fragmented testimony and artifacts of the lives of girls of African descent.

Finally, Reyes makes use of memory-telling to provide the autobiography of her personal mom, whose prolonged American family members stated she ''married a Spanish Negro who do not communicate strong English.'' Her mixing of authorial, serious, historic, and autobiographical voices during this paintings extends our realizing of the cross-cultural principles of mothering.

Angelita Reyes is affiliate professor and Morse Alumni special instructing Professor within the division of Afro-American and African reports and the heart for complex Feminist experiences on the collage of Minnesota.

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Extra resources for Mothering Across Cultures: Postcolonial Representations

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Alice Walker writes about her “mothers’ gardens” and describes southern women as the “crazy saints” who could not realize their full potential as creators. In writing back through her own cultural matrilineage, Schwarz-Bart negotiates the tensions among memory, life-story, and colonial history. The people who are still connected to that history must come to terms with economic exploitation in its new forms: poverty inflicted on them by the descendants of the slave owners and gender-oriented misery imposed on them by the men in and out of their lives.

These legends and folk tales are about African people, brought to the Americas in bondage, who could fly or walk on the ocean in their attempt to return to their homeland. Newly arrived Africans sought freedom through marronage (living as fugitive slaves) or the return to the homeland through death. Did Margaret Garner know about the stories of flying Africans? What did these stories actually mean? What was the cover-up that the Africans so successfully managed? Here, I speculate (from the evidence of oral history accounts) that “to fly” is a euphemism, a utilitarian coverup for “taking foot” (escaping) and for suicide.

In contrast to Floyd White’s interpretation, both Paule Marshall and Anmann (the Guadeloupean elder) maintain the legend’s mysticism by insisting that the Africans did not perish. They are among the New World descendants who “know” that the Africans could, indeed, fly. Wendy Walters writes about “truths” that “demonstrate the struggle involved in revising hegemonic versions of history. As versions of superlative heroic resistance to the condition of enslavement, these stories cut across a recorded history which would deny such heroism.

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