En savoir plus sur les titres de cet ensemble :
Un agent de sécurité épuisé rêve de rentrer chez lui. Une sculpteure et un·e poteux·se font l’amour en compagnie d’un groupe d’ex-flammes en cire. Un atelier sur la diversité prend des allures de cauchemar familier.
Tout au long de ce recueil pince-sans-rire, des figures résolues, damnées et triomphantes apparaissent et réapparaissent, leurs liens devenant de plus en plus clairs au fil de la narration fragmentée. L’auteure dresse avec légèreté le portrait des vies entremêlées d’un groupe d’ami·es noir·es, queer et trans qui évoluent au gré de la violence sociale, des traumatismes et des contradictions qui caractérisent leur situation.
Originally published in French in 2021 by les Éditions du remue-ménage, as part of the Martiales collection, the stories in Bah’s The Rage Letters qui se déroulent à Montréal et ailleurs. Parfois concises et souvent conversationnelles, mais toujours porteuses de possibilités à travers le désir, la rage et les actes de rébellion de leurs personnages.
In their debut poetry collection, Kama La Mackerel mythologizes a queer/trans narrative of and for their home island, Mauritius. Composed of expansive lyric poems, ZOM-FAM (meaning “man-woman” or “transgender” in Mauritian Kreol) is a voyage into the coming of age of a gender-creative child growing up in the 80s and 90s on the plantation island, as they seek vocabularies for loving and honouring their queer/trans self amidst the legacy of colonial silences. Multiply voiced and imbued with complex storytelling, ZOM-FAMshowcases a fluid narrative that summons ancestral voices, femme tongues, broken colonial languages, and a tender queer subjectivity, all of which grapple with the legacy of plantation servitude.
Emerging from a creative process in spoken word and live performance, these poems transform the page into a stage where the queer femme body is written and mapped onto the colonial space of the home/island. Interwoven with Kreol, ZOM-FAM showcases a unique lyrical sensibility, a musicality influenced by the both unforgiving and soothing rhythms of the ocean, where the poet enunciates the complexity of their displaced Indo-African roots, “the lineage of silence / that we weave in-between our intimacies.”
Striking, vivid, tender, intimate, and political, ZOM-FAM is a beautifully wrought journey that articulates a contemporary decolonial poetics and offers a roadmap for colonized and displaced queer and trans voices to (re)imagine themselves into being.
“What was beyond doubt by the time I got back was that a new Transfixion had arrived in the form of Hermia Druitt, the woman in this photograph. This was confirmed by the sensations: flashes from Arcadia. Moonlight, of a kind, sighed up and down the tube of my spine, but above all, that indescribable note which accompanied all my Transfixions was present: humming beneath the high fine rush—probably not dissimilar to holy rapture—was an almost violent familiarity. The feeling of not only recognising, but of having been recognised.
A new Transfixion.”
Le premier roman luxuriant de Shola von Reinhold fait ressortir, à travers une prose élaborée et nuancée, les lacunes et les failles de l’archive. Les recherches obsessionnelles de la narratrice sur une poétesse noire moderniste oubliée la confrontent à la vacuité du milieu artistique, mais aussi à une scène historique queer qui la conforte et la nourrit. Ce roman a initialement été publié au Royaume-Uni par Jacaranda Books Art Music Ltd. dans le cadre de la série Twenty in 2020, une célébration de la littérature noire britannique.
Dear Black Girls is a letter to all Black girls. Every single day poet and educator Shanice Nicole is reminded of how special Black girls are and of how lucky she is to be one. Illustrations by Kezna Dalz support the book’s message that no two Black girls are the same but they are all special—that to be a Black girl is a true gift. In this celebratory poem, Kezna and Shanice remind young readers that despite differences, they all deserve to be loved just the way they are.
