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Dionne  Brand
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¹Ï¤ù¨Ó·½¡GHenry Martinuk
¥D­n¤åÃþ¡GPoem
¸ê®Æ´£¨ÑªÌ¡GDr. Kate Liu (¼B¬ö¶²)
ÃöÁä¦rµü¡GWorld Literature in English Carribean Literature

Dionne Brand
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  ¼g§@¥DÃD
¡@ -- ¥¬Äõ¼w¦ÛºÙ¬°¬O«Dºë­^¥÷¤l(non-elite)¡A¤k¦P©ÊÅʪ̩M¥D±i°¨§J´µ¥D¸q(Silvera)

-- Her views on Trinidad, the Caribbean and immigrant identity:

¥¬Äõ¼w¦ÛºÙ¡u°kÂ÷¡v®a¶mªº¡A¦]¬°·í®É¦b¤d¨½¹F¦o¨­¬°¤@­Ó¤k«Ä«Ü¨ü­­¨î (©Ò¥H¦o¤]¬O°kÂ÷femininity¡Q Silvera 361-63)¡C¦ý¹ï¦o¦Ó¨¥¡A¦o¬J¤£¦í¦b¡u¨º¸Ì¡v(¤d¨½¹F)¡A¤]¤£¦í¦b³o¸Ì(¥[®³¤j)¡A¦Ó¬O¦b¨âªÌ¤§¤¤(Birbalsingh 1996: 122)¡C

¦b¦oªº§@«~¤¤¡A¦o(©Î¦oªº¨¤¦â)ªð¶mªº¸gÅç¤]¬O­t­±ªº¡A¦ý³d¥ô¤£¦b¥[°Ç¤ñ®ü¦a °Ï¡A¦Ó¬O¦b¥H¬ü°ê¬°­ºªº·s´Þ¥Á¥D¸q©M¸ê¥»¥D¸q¡C

  • ¦bªø½g¸Ö¶°¡mª¢¤é°O¨Æ¡n(Chronicles of a Hostile Sun)¤¤¡A¦oµh³d¬ü°êªý¼¸®æ¨½¨º¹Fªº­²©R(Cf. Kaup 178-79)¡C

  • ¦bµu½g¤p»¡¡q­¸¦æ¤¤³t¼g¡K¡K¦^®a¡r("Sketches in transit¡K¡Kgoing home")¤¤¡A¥D¨¤¤]¬O¤ä«ù®a¶m­²©Rªº¡A§åµûªº¬O¦b¤p®q¶¡¸õÅD( ¡§island hopping¡¨ 143)¡A§@¶i¥X¤f·~©M¨ó¿ì§²¤k°|ªº¸ê¥»®a¡C¥¬Äõ¼w¤£Â_¼g¡uªð¶m¡vªº¬G¨Æªº¡A¦ý¥D¨¤¦^®aªº¸ô¤´¬O¦M¦M¥i§Äªº¡G»·¤èªº¤p®q¡u¬Ý¦ü¡v¦wÀR¡A­¸¦æ¤¤ªº­¸¾÷«o¥Rº¡ ÅK?¡Q¤@¤£¤p¤ß¡A¦o´N¥i¯à±¼¥X¥h¡A±¼¡u¦b¤ÑªÅ©M®æ¨½¨º¹F¤H¤¤¶¡¡v(145)

-- Her views on Canadian Multiculturalism--compared with Bissoondath:

-- ¹ïBrand¥¬Äõ¼w©MBissoondath¥¬ªQ¹F¦Ó¨¥¡A¥[®³¤jªº¦h¤¸¤å¤Æ¬Fµ¦·|³y¦¨ºØ±Ú¹jÂ÷¡C
 

¥¬ªQ¹F»{¬°¦h¤¸¤å¤Æ¬Fµ¦³y¦¨¡u¤@ºØ¥[®³¤j¦¡ªº¡B·Å©Mªº¡B¤å¤ÆºØ±Ú¹jÂ÷¬Fµ¦¡v (Hutcheon 315);¥¬Äõ¼w¤]»{¬°¥¦±N¥[°Ç¤ñ®ü¸Ç¤À¹j¶}¨Ó¡A¡u¨S¦³³B²z¯u¥¿ªº¡e¬Fªv¡B¸gÀÙ¤W¡fªºÅv¤O°ÝÃD¡v(Hutcheon 274)¡C

¦ý¦³½ìªº¬O¡A¥Ñ¤Ï¹ï¦h¤¸¤å¤Æ¬Fµ¦¡A¥¬ªQ¹F©M¥¬Äõ¼wµo®i¥XºIµM¤£¦Pªº©w¦ì¬Fµ¦:

¥¬ªQ¹Fªº¥ß³õ¬O¦P¤Æ¦¡ªº¡G¥L§_©w¦Û¤vªº±Ú¸Ç©Ê¡A¥D±iÀ³¸Ó¦³¤@­Ó¡u²Î¤@ªº¥[®³¤j ©Ê¡v(¡§an across-the-board standard of what it is to be Canadian ¡¨ Hutcheon 316)¡C

¥¬Äõ¼w«h±N¦Û¤v¸m©ó¶Â¤H¤å¤Æªº¤¤¤ß¼g§@¡G¨C¦¸¼g§@³£·|¡u¦^¥h¡v¡G¤£¬O¦^¤d¨½¹F¡A ¦Ó¬O¦^·¹¶Â¤H¤­¦Ê¦~¥£Áõ¥v(Hutcheon 273)¡C

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Dionne Brand
 Biography

 Interview: Brand Talks about blossom

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 Biography
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(source: http://scream.interlog.com/95/brand.html)

A voice that must be heard.
Toronto Star

 Poetry is here, just here. Something wrestling with how we live, something dangerous, something honest..
Bread Out Of Stone

Born in Trinidad, holding degrees from U of T, OISE and currently completing a PhD in women's history, Dionne's clear, evocative and impassioned language brings new dimension to discussions of race, gender, sexuality, politics and class. She has authored five collections of poetry, a book of children's poetry (Earth Magic), and a collection of short fiction (Sans Souci and Other Stories). No Language Is Neutral was nominated for the Governor General's Award for poetry and, in our humble opinion, should be on every bookshelf. Just before her Scream reading Coach House Press released the collection of essays, Bread Out Of Stone, for which Adrienne Rich has called her a cultural critic of uncompromising courage. Grammar Of Dissent, an anthology of work by Dionne, Claire Harris (who was also reading at the Scream in 1995) and Nourbese Philip (who read in 1994) was published by Goose Lane. Dionne co-authored Rivers Have Sources, Trees Have Roots - Speaking of Racism and No Burden To Carry, an oral history of Black working women. An accomplished documentary film writer and director, her credits include Older, Stronger, Wiser and Sisters In Struggle, and Long Time Comin'. Other books: Chronicles of A Hostile Sun, Primitive Offensive, Epigrams to Ernesto Cardenal In Defense of Claudia, Winter Epigrams and 'Fore Day Morning. Since the Scream, Dionne has published her first novel, Anywhere Not Here, to significant acclaim. A new collection of poetry, Land To Light On was published by M&S in the Spring of 1997.

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 Interview: Brand Talks about blossom

¡@ Brand's view on Blossom

I think that Blossom's distrust of whites is not based on some personal craziness of hers.  It's based on historical practice.  It is based on historical events that place her as a black woman in the world at this point in time. ¡KThe whites in the story are not Blossom's only antagonists, though whites might read the story that way. Blossom's also frees herself of an exploiting husband. What B hates is suffering and the suffering of black peoples. (Hutcheon 272)

  1. 276¡Xshe also has a buoyancy. She never thinks of dying. Her anger moves her. You can be angry about silences and injustice. ¡KAnd if that anger can then move ou, I think it's the real answer. In this culture, one tends to think that anger is destructive. Anger is not an emotion that's only distinguished by destructiveness. ¡KIn fact, B is one of the least angry of my characters. She is a woman of mighty resilience and quick action. ¡@
  1. 273 I find myself in the middle of black writing. I'm in the centre of black writing, and those are the senisbilities that I check to figure out something that's truthful.

 We are the new wave of Canadian writing. We will write about the internal contradictions. 277

Birbalsingh's interview 122

I finally decided that I don't live there, and in some ways I don't live here either, so I live between here and there.

Q: The older writers had very solid memories of home to fall back on, and they mined those memories in their writing.

A: I wasn't as nostalgic, I think, as some of them might have been. I was new. Here I was being able to make connections with African-Americans. I saw great hope in that. I didn't long for home at all. I longed for a past, a kind of validation of my history, which I thought I could find in a past that was beyond my grandparents. ¡KIt was located somewhere in the consciousness of a people that had to do with slavery, that other exile.

¡@About "Blossom" and African tradition 132

That story is based on fact: I met this woman running a basement speakeasy in her house, and she had run the speakeasy for years and years. She was a Jamaican woman without a single tooth in the front of her mouth, and she would throw people out who were drunk. Also one day I saw an old man xeroxing something. I thought I'd read over his shoulder and it was all these little potions he was preparing for people. He was an obeah man and that was obeah gone modern tech. It's interesting how our people could come here and adapt things that used to work for them somewhere else so that they work for them here too.
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Gender issue 133

Q: In your stories the women have a certain resilience. The men come and go, like Victor in 'Blossom", but the women go on apparently forever. Is that particularly Caribbean? Was it part of your family? ¡K

A: It's very much what I saw in my family, and what I saw in the other families on MacGillvray Street. ¡K

Q: I should think this [subject not being women] is true for West Indian writing in general. Is it not dominated by male writers?

A: It's not just dominated by male writers but dominated by themselves as subject in it, despite the evidence of their own lives. ¡@

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Reference

¡@ Birbalsingh, Frank, ed.  Frontiers of Caribbean Literature in English.  London: Macmillan, 1996.


Hutcheon, Linda, & Marion Richmond, eds. Other Solitudes: Canadian Multicultural Fictions.  Toronto: Oxford UP, 1990.
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Silvera, Makeda.  ¡§An interview with Dionne Brand: In the company of my work.¡¨  The Other Woman: Women of Colour in Contemporary Canadian Literature.  Ed. Makeda Silvera.  Toronto: Black Women and Women of Colour P, 1995: 356-81.

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