Creole Noise: Early Caribbean Dialect Literature and Performance

Cover
Creole Noise: Early Caribbean Dialect Literature and Performance
Copyright
Dedication
Acknowledgments
Contents
List of Illustrations
Introduction: Speaking Badly (In Prose)
	Black Noise? The Origins of Creole
	Violence and Blackface
	Early Creole Grammar Books
	The Modern Politics of Creole
	Note on Use
1: White Creoles, “Bad” Grammar, and the Birth of Dialect Literature
	White Creoles and Racial Ventriloquism
	White Creole Leisure Culture
	Transcribers, Ventriloquists, or Both? The Moreton–Mathews Clash
	Who Is “Speaking?” Ventriloquizing Black Women’s Voices
	“Overheard” Narratives after Slavery
2: Violent Ventriloquism: The Golden Age
	Literary Dialect and the Morant Bay Rebellion
	Conflict, Creolese, and Quow: The Case of British Guiana
	Counterpoint: The Black “Africans”
3: The Charles Dickens of Jamaica
	American Adventure: Mr. Murray Goes to Boston
	The Birth of Black Literary Dialect
	Morant Bay and the Quest for a Native Literature
	The Racial Strategies of Brown Sammy
	The Legacy of Henry Garland Murray
4: Travelling Dialect
	Early Influence: African-American Dialect in the Caribbean
	Blackface Minstrelsy and Literary Dialect
	Rise of the Black Choirs
	Calypso, Carnival, and Dialect
5: Home to Harlem
	“Literary Prostitutes:” Garveyism, Home to Harlem, and Dialect
	Claude McKay’s Creole Migrations
	Harlem’s Caribbean Vernaculars: The Transnational Career of Sam Manning
Epilogue: Global Creole
Bibliography
Discography
Index