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By Rinaldo Walcott

Rinaldo Walcott's groundbreaking learn of black tradition in Canada, this publication brought on such an uproar upon its booklet in 1997 that Insomniac Press has made up our minds to post a moment revised version of this perennial best-seller. With its incisive readings of hip-hop, movie, literature, social unrest, activities, tune and the digital media, Walcott's booklet not just assesses the position of black Canadians in defining Canada, it additionally argues strenuously opposed to any inspiration of an essentialist Canadian blackness. As erudite at the factor of yankee super-critic Henry Louis Gates' blindness to black Canadian realities as he's at the rap of the Dream Warriors and Maestro clean Wes, Walcott's essays are thought-provoking and continually debatable within the top feel of the notice. they've got further and proceed so as to add immeasurably to public debate.

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Memory often will not allow that anyway. What I am trying to suggest is that "immigrant writing," and in this case "Caribbean (black) immigrant writing," is often shrouded in a nostalgic longing for a past that is neglectful of the politics of the present location. Interestingly, one might read Claire Harris's poetic collections, particularly her recent Dipped in Shadows, as another step in the (re)ordering of black writers' concerns with the cultural politics of home—that is, Canada. But in making these claims, Brand and Harris should be considered with another group of black Canadian writers who have made the question of space a concern in their artistic endeavours.

This border crossing sensibility enhances the narrative power of each text. Yet, despite the common ground of border crossing, each text foregrounds a different set of political questions, concerns and implications for the nation. Border crossing in these texts signifies differently, with varying political and ethical concerns. Each author must be positioned differently in terms of the politics of his text, which I define as what the texts are intended to do. Politically, one might argue that these authors share little in common beyond being black.

49 the present, as recent black post-colonial assertions insist. Thus, those who marched on Negro Creek Road to retain its name were not just marching so that the visible and tangible evidence of the past would not disappear, they were also marching because reclaiming Negro is as important a part of black historical memory and experience as any other artifact or document. Brand's use of language is essential to her re-ordering of Canadian literary realities because she brings new sounds and tonality to what may be considered Canadian.

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