Editora Educación Emergente (EEE), a small-scale independent publisher, established in 2009 in Cabo Rojo, Puerto Rico, is proud to announce the release of its most recent titles of 2022 to the ample and diverse reading public of the Caribbean.

An intriguing addition to the series Edades de Siddhartha, Mell Rivera Díaz’s poetry collection de ir sé que vine chronicles a graduate student’s uneasy transit between the Puerto Rican archipelago and the fragile continental stretch of California, between Boricua Spanish and the overbearing English of empire. By way of his constant motion and corresponding self-reflection, the author gifts us poems that serve as intimate registers of ecological, corporeal, affective, political, and linguistic happenings. To be moved by this book, the reader must be willing to let themselves succumb to sudden sadness, dismissing any and every call to get over it. Thankfully, amidst so much and such tiring pain, hope does rear its head. Only it’s not the sort of hope peddled by life coaches and backed by big capital. Rather, it’s a vulnerable, sliver of the thing, brought on by the possibility that, say, all the missing bees in the world are flying underground. Or, maybe, whatever happiness we feel despite everything corresponds to the "wet air" we breathe “in this island we walk around,” or to the “little dance number we listen to on the way to school,” or to a pot of lentils, cooked to perfection and generously shared.

To explore our complete catalogue of over seventy titles, please visit: portal.editoraemergente.com To purchase our books, please visit us online: editoraemergente.com Or come to Puerto Rico, where you can find our titles in local bookstores.

Nuevos títulos de Editora Educación Emergente (EEE)

Editora Educación Emergente (EEE), proyecto editorial independiente de pequeña escala, fundado en 2009 y con base en Cabo Rojo, Puerto Rico, presenta al amplio y diverso público caribeño sus cuatro títulos más recientes del año 2022.

La serie Edades de Siddhartha se robustece con el poemario de ir sé que vine de Mell Rivera Díaz. El vaivén de un estudiante graduado entre las islas puertorriqueñas y la frágil franja continental de California, entre el español boricua y el inglés que se le superpone, sirve aquí como telón de fondo y de frente. Así, trajinando, el autor nos regala poemas-registros de estremecimientos climáticos, ecológicos, corporales, afectivos, políticos, lingüísticos. Dejarse acontecer por este libro depende de la disposición que se tenga a entristecer a boca de jarro, desoyendo cualquier exhortación a superarlo. Entre tanto y tan cansado dolor, se asoma la esperanza, pero no es la grandota del capital o los life coaches, sino una vulnerable, pequeñísima, provocada por la posibilidad de que las abejas desaparecidas estén, más bien, volando bajo tierra. La magnitud de nuestra alegría puede también corresponder al “aire mojado” que siempre se respira “en la isla por más que uno camine,” a una “cancioncita bailable de camino a la escuela porque nadie te quita lo bailao,” o a una olla de lentejas bien cocidas y generosamente compartidas.

Para explorar nuestro catálogo completo, con más de sesenta títulos publicados hasta la fecha, visita: portal.editoraemergente.com Para adquirir nuestros libros, visita las librerías locales puertorriqueñas o nuestra tienda en línea en: editoraemergente.com 

Nouveaux titres : Editora Educación Emergente (EEE) / Éditrice Éducation Émergente (EEE)

Editora Educación Emergente (EEE), projet d’édition indépendant à petite échelle, fondé en 2009 et basé à Cabo Rojo, Porto Rico, présente ses quatre titres les plus récents pour l’an 2022 à l’ample et divers public caribéen.

La série Ages of Siddhartha / Les âges de Siddhartha est renforcée avec le recueil de poèmes de ir sé que vine / à cause d’aller je sais que je suis venu de Mell Rivera Díaz. Le va-et-vient d'un étudiant d’études supérieures entre les îles portoricaines et la fragile bande continentale californienne, entre l'espagnol portoricain et l'anglais qui s'y superpose, sert ici à la fois d'arrière-plan et de premier plan. Ainsi, s'affairant, l'auteur nous livre des poèmes-registres de secousses climatiques, écologiques, corporelles, affectives, politiques et linguistiques. Se laisser toucher par ce livre dépend de la disposition qu'on a à s'attrister sans y penser, ignorant toute exhortation à le surmonter. Entre tant et tant de douleur fatiguée, l'espoir apparaît, mais ce n'est pas le grand espoir du capital ou des coachs de vie, mais plutôt un vulnérable, minuscule espoir, causé par la possibilité que les abeilles disparues volent plutôt sous terre. L'ampleur de notre joie peut aussi correspondre à "l'air humide" que l'on respire toujours "sur l'île, peu importe à quel point on marche", à une "petite chanson de danse sur le chemin de l'école parce que nadie te quita lo baila’o (personne ne t’enlève ce que tu as dansé)", ou à une marmite de lentilles bien cuites et généreusement partagées.

Pour explorer notre catalogue complet, avec plus de soixante titres publiés à ce jour, visitez : portal.editoraemergente.com Pour acheter nos livres, visitez les librairies portoricaines locales ou notre boutique en ligne à : editoraemergente.com 

Editora Educación Emergente (EEE), a small-scale independent publisher, established in 2009 in Cabo Rojo, Puerto Rico, is proud to announce the release of its most recent titles of 2022 to the ample and diverse reading public of the Caribbean.

Part of the series Otra Escuela, we are proud to present the children’s tale La coquí nómada y el mar de estrellas by Sara Gavrell Ortiz, with illustrations by Christíbiri López. Lani is a nomadic coquí, adventurous and playful. She’s searching for the sea and on the way, she meets a fun group of species—other coquíes, a lizard and a Hawksbill Sea turtle—who urge her to stay with them and play at being the pirate she dreams of becoming. But Lani decides to continue her journey and arrives at “a sea of stars,” a true marvel that far surpasses anything she could have imagined. This book invites us on a journey through some of the most iconic spots in Puerto Rico, which must be visited, yes, but also preserved: the Arecibo Observatory, the Camuy River Cave Park, the Tres Palmas marine reserve in Rincón, and the Mosquito Bioluminescent Bay in Vieques. This tale revindicates play, adventure, and hope for a better life for Lani, a coquí in happy harmony with her biodiverse surroundings.

To explore our complete catalogue of over seventy titles, please visit: portal.editoraemergente.com To purchase our books, please visit us online: editoraemergente.com Or come to Puerto Rico, where you can find our titles in local bookstores.

Nuevos títulos de Editora Educación Emergente (EEE)

Editora Educación Emergente (EEE), proyecto editorial independiente de pequeña escala, fundado en 2009 y con base en Cabo Rojo, Puerto Rico, presenta al amplio y diverso público caribeño sus cuatro títulos más recientes del año 2022.

En la serie Otra escuela, aparece el relato infantil La coquí nómada y el mar de estrellas, de Sara Gavrell Ortiz y con ilustraciones de Christíbiri López. Lani es una coquí nómada, aventurera y juguetona. Está en busca del mar y de camino conoce especies –otros coquíes, una lagartija y una carey– que la inspiran a quedarse a jugar y a ser la pirata que sueña. Pero Lani persiste en seguir su peripecia y termina en un “mar de estrellas,” una maravilla que supera su imaginación. Este libro nos invita a un recorrido por lugares icónicos de Puerto Rico que es preciso visitar y preservar: el Observatorio de Arecibo, el Parque Nacional de las Cavernas del Río Camuy, la Reserva Marina Tres Palmas en Rincón y la Bahía Bioluminiscente de Vieques. A la vez reivindica el juego, la aventura y la apuesta por la vida de Lani, una coquí en armonía con su entorno biodiverso.

Para explorar nuestro catálogo completo, con más de sesenta títulos publicados hasta la fecha, visita: portal.editoraemergente.com Para adquirir nuestros libros, visita las librerías locales puertorriqueñas o nuestra tienda en línea en: editoraemergente.com 

Nouveaux titres : Editora Educación Emergente (EEE) / Éditrice Éducation Émergente (EEE)

Editora Educación Emergente (EEE), projet d’édition indépendant à petite échelle, fondé en 2009 et basé à Cabo Rojo, Porto Rico, présente ses quatre titres les plus récents pour l’an 2022 à l’ample et divers public caribéen.

Dans la série Une autre école, apparaît le conte pour enfants La coquí nómada y el mar de estrellas / La coquí nomade et la mer d’étoiles, de Sara Gavrell Ortiz, avec des illustrations de Christíbiri López. Lani est une coquí nomade, aventureuse et joueuse. Elle est à la recherche de la mer et sur le chemin, elle rencontre des espèces – d'autres coquís, un lézard et une tortue carey – qui l'incitent à rester, à jouer et à être la pirate de ses rêves. Mais Lani persiste à suivre son aventure et se retrouve dans une "mer d'étoiles", une merveille au-delà de son imagination. Ce livre nous invite à une visite des lieux emblématiques de Porto Rico qui doivent être visités et préservés : l'observatoire d'Arecibo, le parc national des cavernes de la rivière Camuy, la réserve marine de Tres Palmas à Rincón et la baie bioluminescente de Vieques. En même temps, il revendique le jeu, l'aventure et l'engagement envers la vie de Lani, une coquí en harmonie avec son environnement biodiversifié.

Pour explorer notre catalogue complet, avec plus de soixante titres publiés à ce jour, visitez : portal.editoraemergente.com Pour acheter nos livres, visitez les librairies portoricaines locales ou notre boutique en ligne à : editoraemergente.com 

Small Axe is happy to announce that Dantaé Elliott, Tyler Grand Pre and Mayaki Kimba will be joining our team as editorial assistants as of 1 September 2022. We look forward to their creative contributions to the work we do. 

Dantaé Elliott is a Ph.D Candidate in the Department of Spanish and Portuguese at New York University. She has a particular interest in contemporary Caribbean Art and its relation to migration within the Caribbean diaspora and region, while examining the phenomenon “barrel children syndrome.” To highlight migratory remittance and the relationship between a material object, that not only carries personal and emotional significance, but facilitates interpersonal interactions. She holds a B.A. in Spanish Language and Literature with a concentration in Latin American and Caribbean Studies and TESL (Teaching English as a Second Language) from Roanoke College and a M.A. in Spanish Language and Literature with a focus on Golden Age Literature in Spain from the University of Delaware. She is also the program assistant for the Caribbean Initiative workshop series at the Center for Caribbean and Latin American Studies at NYU. She is currently serving as Co-Facilitator for the CCCADI (Caribbean Cultural Center African Diaspora Institute) Summer Seminar for their Curatorial Fellowship class of 2022/2023. She is a featured artist in Volume 4 of Forgotten Lands, titled Currents of Africa, released in June 2022. 

Tyler Grand Pre is a Ph.D student in the Department of English and Comparative Literature and ICLS affiliate at Columbia University. Within the scope of both African diasporic and, particularly, Caribbean literature and culture, his research revolves around poetic responses to the infrastructure of race—that is, the networks of technologies, materials, and representational practices that structure the social, economic and spatial hierarchies of race. Tyler therefore examines the way different writers and artists respond to the built and mapped environment to reimagine community both within and without the borders of language, race, and geography. Before earning his MA and MPhil in his current department at Columbia University, Tyler received a BA from the University of Illinois at Chicago where he double majored in English as well as French and francophone studies. He is therefore interested in translation studies and has translated between French and English for Routledge as well as the NGO Women’s Global Education Project. Tyler regularly teaches UW classes for the Undergraduate Writing Program themed around human rights and is leading a section of the course Literary Texts, Critical Methods for the English department this Fall (2022). 

Mayaki Kimba is a Ph.D. student in the Department of Political Science at Columbia University, specializing in political theory. His research interests concern the legacy of empire in shaping ideas around race and migration in twentieth-century Western Europe. Other and related interests include Black political thought, anticolonial political thought, (social) citizenship and the welfare state. He was born and raised in the Netherlands, and graduated with a B.A. in political science from Reed College in May 2020. His essay on T. H. Marshall, late imperial ideology and racialized migrant exclusion was selected for a 2020 award by the Undergraduate Essay Prize Committee of the North American Conference on British Studies. 
 

We at Small Axe express our appreciation to the following editorial assistants who have worked with the journal project for the last several years. We wish them every success in their future endeavors.

Noni Carter is a historical and speculative fiction author, performance artist, and academic. Noni has a PhD in French and Francophone studies from Columbia. Her work focuses on memory, gender, and slavery in the literary traditions of the Black diaspora, specifically the French Caribbean. She has published work in Italy's RSA Journal and in Volume 2 of the Comparative Literature History of Modern Slavery compilation. She is the author of the Young-Adult, historical-fiction novel Good Fortune published by Simon & Schuster in 2010 and the recipient of the 2019 PEN/Phyllis Naylor Working Writer Fellowship for her work-in-progress Young-Adult novel Womb Talk. Noni is a classical pianist and is currently building a multi-media organization for young people of color with her talented sisters. Noni worked as editorial assistant with Small Axe from 2019-2022. You can read more about Noni and learn what she is up to by visiting her website: www.nonicarter.com.

Alyssa A. James is a fifth year PhD candidate in anthropology at Columbia University and started as an editorial assistant with Small Axe in September 2019. She is currently conducting her field work in Martinique, examining the social and political processes involved in reviving the island's storied coffee production. Her research is funded by the Social Sciences and Humanities Research Council of Canada and the Wenner Gren Foundation. Alyssa is also a 2022-2023 Society of Fellows and Heyman Center for the Humanities Public Humanities Graduate Fellow. She will be working with her colleague and co-host Brendane Tynes to expand the reach of their popular Black feminist anthropology podcast, Zora’s Daughters (zorasdaughters.com).

Liberty Martin (she/her) joined Small Axe as a sophomore and remained as an editorial assistant until a year after she graduated from Columbia University in the City of New York with a B.A. in comparative literature and Caribbean studies. Born and raised within a Jamaican family in London, her research interests include Caribbean creoles and patois in literature and Black British history. She is currently working on her first novel and freelances as an editorial production manager and a research paralegal. She has previously worked with the Economist Educational Foundation, the Financial Times, the Black Cultural Archives, and the Barnard College Digital Humanities Center, amongst other publications and organizations

In the preface to the latest issue of Small Axe (68), David Scott examines Erna Brodber’s work on Jamaican oral history and what can be understood as a “Social Ethics of Black Memory” motivating her historiographic method.

Like every preface, this piece is available for free on Duke’s website. Click here to read.

(Credit for the photo of Erna Brodber at the Zanzibar International Film Festival in 2015)

From the University of Johannesburg's Center for the Study of Race, Gender & Class  
16th Helen Joseph Memorial Lecture - with Scheherazade Tillet

Date: Wednesday 10th August 2022
Time: 18:00 (SAST) / 12:00 (EDT)
Location: Ubuntu Chambers, UJ Kingsway Campus (map), or online

Gather with us this Wednesday for a unique reflection on Blackness, play, freedom, trauma and healing…

Those in Johannesburg can join them us person (please RSVP below). Those from our broader community can join online via Zoom (please register below). This will be a transnational sharing of lived experience and struggle, made urgent by the normative crisis of racial-sexual violence we navigate daily in South Africa.

RSVP for the in person event here.

Zoom registration (online participation) can be accessed here.

The 2022 Helen Joseph Memorial lecture is hosted by the Centre for the Study of Race, Gender and Class and speaks to its emphasis on the relationship between Black feminist intellectual and creative praxis and activism. A photographer, art therapist and community organizer, their keynote speaker, Scheherazade Tillet engages us around practices of visibilizing Black girls and women’s experiences of community, gender and police violence at local and global levels. Co-founder and Executive Director of A Long Walk Home (ALWH), a Chicago-based national nonprofit, that uses art to empower young people and end violence against girls and women, Tillet uses site-specific work to explore the themes of gendered vulnerability, racial invisibility, pleasure, and play.  

The Helen Joseph Memorial Lecture has sat in the Faculty of Humanities at the University of Johannesburg since 2005. Named for the British-born anti-apartheid activist, the Helen Joseph Memorial lecture was spearheaded by the Centre for Social Development in Africa and Professor Leila Patel and intended to speak to Joseph’s legacy and that of the wider terrain of women’s movements in South Africa. The lecture is often held in August in commemoration of the 1956 August 9th Women’s March to the Union Buildings against pass laws that Joseph led, along with other leaders of the Federation of South African Women like Lilian Ngoyi. Tried for treason and held under house arrest for over two decades, Joseph was a strident critic of apartheid and a champion of the rights of women, children and families.

sx68 features essays by Arnaldo M. Cruz-Malavé, Jenny Sharpe, M. Myrta Leslie Santana, and Peter L. Haffner.  We launch the new section Keywords in Caribbean Studies: A Small Axe Project introduced by Vanessa Pérez-Rosario and Ryan Cecil Jobson. Our first keyword is zwart, negro/a/x*, negre, and Black, and it is explored in essays by Gloria Wekker, Omaris Z. Zamora, Grégory Pierrot, and Leniqueca A. Welcome. The essay and visual essay, "everything slackens in a wreck," by Andil Gosine develops a discussion about four Caribbean artists: Wendy Nanan, Margaret Chen, Kelly Sinnapah Mary, and Andrea Chung. Kelly Sinnapah Mary's work entitled "Notebook of No Return 10: Childhood of Sanbras, 2021" also serves as this issue's cover image. Lastly, Rocío Zambrana, Petra R. Rivera-Rideau, and Ronald Mendoza-de Jesús examine Ren Ellis Neyra's The Cry of the Senses: Listening to Latinx and Caribbean Poetics, for the book discussion

You can browse the new issue's full table of contents at Duke University Press's website, where it is also available for purchase.

everything slackens in a wreck
Curated by Andil Gosine, features Artists Margaret Chen, Andrea Chung, Wendy Nanan and Kelly Sinnapah Mary

New York, NY— The Ford Foundation Gallery will reopen its physical space with everything slackens in a wreck, an exhibition running from June 1 to August 20, 2022. The gallery will host an opening reception with the artists on June 1 from 6-8 p.m and viewing hours are Monday through Saturday from 11 a.m. to 6 p.m. The titular metaphor of wreckage evokes colonialism and the destruction left in its wake, but it also echoes what the exhibition’s curator calls the “wrecking work” of marginalized peoples who answer this destruction with art that invents its own subversive forms of order, rendering alternate visions of existence, and co-existence, imaginable, and therefore possible. Featuring the work of four artists with a shared diasporic heritage and curated by Trinidadian scholar, author and artist Andil Gosine, everything slackens in a wreck is the first show to appear in the Ford Foundation Gallery space since its closure in March 2020 due to the COVID-19 pandemic.

The exhibition includes Margaret Chen (Jamaica/Canada), Andrea Chung (USA), Wendy Nanan (Trinidad and Tobago) and Kelly Sinnapah Mary (Guadeloupe). The four women share heritage in the indentureship program, which brought Asian migrants to the Americas and elsewhere to labor on plantations following the abolition of slavery. They also share a playful and disruptive approach to this history’s complex afterlife, through combining and reimagining artifacts and images associated with it. The curator was deliberate in putting the two pairs of artists in conversation. Chinese-Jamaican Chen, 71, and Indo-Trinidadian Nanan, 67, are pioneering Caribbean artists in their fields, and one witnesses legacies and departures from their practices in the new works created exclusively for this exhibition by Caribbean American Chung, 44, and Indo-Guadeloupean Sinnapah Mary, 42, who both elaborate and expand on ideas that similarly draw on this shared history.

The exhibition highlights the ways their artistic processes echo their own and their families’ ongoing journeys of invention and reinvention, as complex identities merge and evolve. Using paint, papier-mâché and foraged items like wood and shells, the artists transform humble materials into intricate forms and hybrid creatures that are part plant and part human, linking the inherent creativity of the natural world to the adaptive practices migrants use to survive and thrive.

With a reading library onsite, videos in the gallery, an illustrated catalogue and other publications and related artworks in the Ford Foundation space, everything slackens in a wreck offers visitors a roadmap for discovering new forms of agency in the path of destruction. Curator Andil Gosine, Professor of Environmental Arts and Justice at York University in Toronto and author of Nature’s Wild: Love, Sex and Law in the Caribbean (Duke, 2021), drew the exhibition title from a phrase in “Cale d’étoiles,” Khal Torabully’s epic poem about Indians traveling to the Caribbean, Mauritius, Fiji and South Africa between 1838 and 1917. Continuing the theme of wreckage as a symbol for colonialism, Gosine coined the term “wrecking work” to describe how migrant women use creative tactics to disrupt gender norms and the status quo, raising larger questions about received views of the so-called “natural order.” “Possibilities always open up in the fissures created by crisis,” Gosine writes. “The framework of this exhibition bears broader relevance, as evidenced in 2020 by the myriad responses to the pandemic and the stunning force of the Black Lives Matter movement; however bad things get, the human spirit and our survivalist drive force new shifts and invent new paths.”

Margaret Chen foraged oyster shells from mangroves and plywood cast-offs from the studio that was previously a part of her family's furniture business to construct “Cross-section of labyrinth,” a 22’ wide floor piece that looks as delicate as a leaf floating on water. Raised in a family of Chinese migrants who owned a furniture business, Chen became interested in wood as an art material when she studied with Afro-Jamaican sculptor Winston Patrick at the Jamaica School of Art and Crafts. Later, when she would return to her family’s store, Chen gathered the leftover shapes and scraps, infusing them with new life and meaning in her art. “That is what I do,” she says in the catalogue. “I take leavings from whatever is there. That’s the interesting bits.”

Andrea Chung’s contribution, crafted on-site in the gallery out of sugarcane scraps collected in Trinidad, is a massive community bird’s nest. Born in the United States to a Chinese-Jamaican father and Trinidadian mother, the artist modeled the form on the elaborate creations of weaver birds she observed in Mauritius (pictured in prints on the gallery walls). “I came to see the weaver bird’s process as a metaphor for how enslaved and indentured peoples are forced to adapt and create homes in spaces that weren’t created with their survival in mind,” Chung says in the catalogue. “Building nests,” she explains, “is an opportunity to bring that metaphor to life…to pay homage to the resilience and tenacity of groups impacted by the transatlantic slave trade.”

Guadeloupean artist Kelly Sinnapah Mary is contributing two series of work to everything slackens in a wreck: five large scale paintings comprising a triptych and renditions of her parents and 20 papier mâché sculptures from her series “Notebook of No Return.” For Sinnapah Mary, creating art is a way to process a heritage she did not know about until adulthood: that she is descended from indentured Indian workers brought to Guadeloupe. “When I was a child, I considered myself to be Afro-descendant. The story of my ancestors was never told to me–either in my family or at school,” she says in the catalogue. “I had this need to seek out and to shed light on a missing part of my story.” In the paintings, human forms (often the artist) merge with leaves, creating ethereal hybrids. Sinnapah Mary also appears in her playfully surrealist sculptures, including one in which she reimagines the Hindu Goddess Durga as a uniformed schoolgirl riding a tiger.

Wendy Nanan, who grew up with Christian and Hindu practices at home in Trinidad, contributes two series to everything slackens in a wreck. Her mixed-media pods—lips seductively parted and embedded with shells—are at once erotic and threatening, somewhere between woman and plant. Nanan’s papier mâché sculptures embody conflictive cultural hybrids: one shows the Hindu baby Krishna with Christian angel wings, holding a pride rainbow. “Idyllic Marriage” is clearly not—La Divina Pastora/Siparia Mai/the Black Madonna is depicted in a forced union with a menacing Vishnu. "What is so interesting about La Divina is that Hindus and Catholics share her, as well," the artist says in the catalogue, “That, for me, is the reality of what it means to beTrinidadian.”

Along with the four featured artists, everything slackens in a wreck will include various elements designed to engage and inspire visitors. At the show’s entrance, Antiguan artist amber williams-king’s beaded tapestry will announce the exhibition title and mark visitors’ entrance into the space of dream-like, multi-faceted possibility that the exhibition evokes. The Ford Foundation’s indoor garden will feature a soundscape produced by the curator in collaboration with the New York-based organization Jahajee Sisters, whose mission it to “address, redress and dismantle gender-based violence within the city’s Indo-Caribbean community. The collected sounds that comprise the score were the women’s responses to Gosine’s questions “What brings you joy? What brings you comfort?”

A reading room in the gallery will offer writings on hybrid culture, Caribbean queer and feminist issues and Afro-Asian identity. The exhibition catalogue includes texts by Ford Foundation president Darren Walker, gallery director Lisa Kim, curator Andil Gosine and essays on the featured artists: Elena Chou and Aitak Sorahitalab report on their dialogues with Margaret Chen, amber williams-king writes about her encounter with Andrea Chung’s practice; Wendy Nanan’s work is discussed by acclaimed poet-author Shivanee Ramlochan; and noted filmmaker Richard Fung writes a response to Kelly Sinnapah Mary’s work.

An orchestral score carries the exhibition’s story into the Ford Foundation atrium garden. “Jahajee (Ouverture)” was produced by Gosine in collaboration with Jahajee Sisters, a group of intergenerational Indo-Caribbean women who fight gender-based violence and create paths for self-determination. To create the work, the members will produce sounds from objects of their choosing that elicit memories attached to their experience of migration.

ABOUT THE FORD FOUNDATION GALLERY

Opened in March 2019 at the Ford Foundation Center for Social Justice in New York City, the Ford Foundation Gallery aims to shine a light on artwork that wrestles with difficult questions, calls out injustice and points the way toward a fair and just future. Our hope is for this to be a responsive and adaptive space, one that serves the public in its openness to experimentation, contemplation and conversation. Located near the United Nations, the space is situated to draw visitors from around the world—and address questions that cross borders and speak to the universal struggle for human dignity.

The gallery is located inside the Ford Foundation Center for Social Justice and is accessible to the public through the building entrance on 43rd Street, east of Second Avenue. Gallery events are open to the public, but registration is required.

ABOUT THE FORD FOUNDATION

The Ford Foundation is an independent organization working to address inequality and build a future grounded in justice. For more than 85 years, it has supported visionaries on the frontlines of social change worldwide, guided by its mission to strengthen democratic values, reduce poverty and injustice, promote international cooperation, and advance human achievement. Today, with an endowment of $16 billion, the foundation has headquarters in New York and 10 regional offices across Africa, Asia, Latin America, and the Middle East. Learn more at www.fordfoundation.org.

Small Axe joins Barbados, the Caribbean region, and the world in mourning the passing of George Lamming on Saturday 4 June 2022. He was much more than the sum of all his remarkable literary achievements. He was above all a visionary whose work aimed to illuminate the Caribbean future in the present.

Walk good, George.
 

In honor of George Lamming's legacy, his interview with David Scott for Small Axe will be free until September 2022. Click here to read.

sx67 starts with essays by Warren Harding, Susan C. Méndez, Chelsea Stieber, Kathleen Donegan, Leanna Thomas, and Marta Fernández Campa. Aaron Kamugisha guest-edits our special section "Kamau Brathwaite at Ninety: In Memoriam," which features articles by Kamugisha, Lorna Goodison, Timothy J. Reiss, Gordon Rohlehr, and Elaine Savory. The Bahamian interdisciplinary visual artist, GIo Swaby, provides this issue's visual essay. Lastly, Kevon Rhiney, Patricia Noxolo, and Jovan Scott Lewis analyze and examine Jovan Scott Lewis's Scammer’s Yard: The Crime of Black Repair in Jamaica in our book discussion.

You can browse the new issue's full table of contents at Duke University Press's website, where it is also available for purchase.