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Tracing the Development of the Pirate Motif with Disney’s Pirates of the Caribbean
Series:
Contemporary Cinema, Volume: 8
Author:
Postmodern Pirates offers a comprehensive analysis of Disney’s Pirates of the Caribbean series and the pirate motif through the lens of postmodern theories. Susanne Zhanial shows how the postmodern elements determine the movies’ aesthetics, narratives, and character portrayals, but also places the movies within Hollywood’s contemporary blockbuster machinery. The book then offers a diachronic analysis of the pirate motif in British literature and Hollywood movies. It aims to explain our ongoing fascination with the maritime outlaw, focuses on how a text’s cultural background influences the pirate’s portrayal, and pays special attention to the aspect of gender. Through the intertextual references in Pirates of the Caribbean, the motif’s development is always tied to Disney’s postmodern movie series.
Tracing the Development of the Pirate Motif with Disney’s Pirates of the Caribbean
Series:
Contemporary Cinema, Volume: 8
Author:
Postmodern Pirates offers a comprehensive analysis of Disney’s Pirates of the Caribbean series and the pirate motif through the lens of postmodern theories. Susanne Zhanial shows how the postmodern elements determine the movies’ aesthetics, narratives, and character portrayals, but also places the movies within Hollywood’s contemporary blockbuster machinery. The book then offers a diachronic analysis of the pirate motif in British literature and Hollywood movies. It aims to explain our ongoing fascination with the maritime outlaw, focuses on how a text’s cultural background influences the pirate’s portrayal, and pays special attention to the aspect of gender. Through the intertextual references in Pirates of the Caribbean, the motif’s development is always tied to Disney’s postmodern movie series.
Writing and Directing in Contemporary Theatre Practice
Author:
In Acts of Resistance in Late-Modernist Theatre, Richard Murphet presents a close analysis of the theatre practice of two ground-breaking artists – Richard Foreman and Jenny Kemp – active over the late twentieth and the early twenty-first century. In addition, he tracks the development of a form of ‘epileptic’ writing over the course of his own career as writer/director.
Murphet argues that these three auteurs have developed subversive alternatives to the previously dominant forms of dramatic realism in order to re-think the relationship between theatre and reality. They write and direct their own work, and their artistic experimentation is manifest in the tension created between their content and their form. Murphet investigates how the works are made, rather than focusing upon an interpretation of their meaning. Through an examination of these artists, we gain a deeper understanding of a late modernist paradigm shift in theatre practice.
Murphet argues that these three auteurs have developed subversive alternatives to the previously dominant forms of dramatic realism in order to re-think the relationship between theatre and reality. They write and direct their own work, and their artistic experimentation is manifest in the tension created between their content and their form. Murphet investigates how the works are made, rather than focusing upon an interpretation of their meaning. Through an examination of these artists, we gain a deeper understanding of a late modernist paradigm shift in theatre practice.
Writing and Directing in Contemporary Theatre Practice
Author:
In Acts of Resistance in Late-Modernist Theatre, Richard Murphet presents a close analysis of the theatre practice of two ground-breaking artists – Richard Foreman and Jenny Kemp – active over the late twentieth and the early twenty-first century. In addition, he tracks the development of a form of ‘epileptic’ writing over the course of his own career as writer/director.
Murphet argues that these three auteurs have developed subversive alternatives to the previously dominant forms of dramatic realism in order to re-think the relationship between theatre and reality. They write and direct their own work, and their artistic experimentation is manifest in the tension created between their content and their form. Murphet investigates how the works are made, rather than focusing upon an interpretation of their meaning. Through an examination of these artists, we gain a deeper understanding of a late modernist paradigm shift in theatre practice.
Murphet argues that these three auteurs have developed subversive alternatives to the previously dominant forms of dramatic realism in order to re-think the relationship between theatre and reality. They write and direct their own work, and their artistic experimentation is manifest in the tension created between their content and their form. Murphet investigates how the works are made, rather than focusing upon an interpretation of their meaning. Through an examination of these artists, we gain a deeper understanding of a late modernist paradigm shift in theatre practice.
Belonging and Becoming in Self-Testimony
Series:
Cross/Cultures, Volume: 198
Author:
In Black South African Autobiography After Deleuze: Belonging and Becoming in Self-Testimony, Kgomotso Michael Masemola uses Gilles Deleuze’s theories of immanence and deterritorialization to explore South African autobiography as both the site and the limit of intertextual cultural memory. Detailing the intertextual turn that is commensurate with belonging to the African world and its diasporic reaches through the Black Atlantic, among others, this book covers autobiographies from Peter Abrahams to Es’kia Mphahlele, from Ellen Kuzwayo to Nelson Mandela. It proceeds further to reveal wider dimensions of angst and belonging that attend becoming through transcultural memory. Kgomotso Michael Masemola successfully marshalls Deleuzean theories in a sophisticated re-reading that makes clear the autobiographers’ epistemic access to wor(l)ds beyond South Africa.
Belonging and Becoming in Self-Testimony
Series:
Cross/Cultures, Volume: 198
Author:
In Black South African Autobiography After Deleuze: Belonging and Becoming in Self-Testimony, Kgomotso Michael Masemola uses Gilles Deleuze’s theories of immanence and deterritorialization to explore South African autobiography as both the site and the limit of intertextual cultural memory. Detailing the intertextual turn that is commensurate with belonging to the African world and its diasporic reaches through the Black Atlantic, among others, this book covers autobiographies from Peter Abrahams to Es’kia Mphahlele, from Ellen Kuzwayo to Nelson Mandela. It proceeds further to reveal wider dimensions of angst and belonging that attend becoming through transcultural memory. Kgomotso Michael Masemola successfully marshalls Deleuzean theories in a sophisticated re-reading that makes clear the autobiographers’ epistemic access to wor(l)ds beyond South Africa.
The Baroque is back in contemporary culture. The ten essays authored by international scholars, and three interventions by artists, examine the return of the baroque as Neo-Baroque through interdisciplinary perspectives. Understanding the Neo-Baroque as transcultural (between different cultures) and transhistorical (between historical moments) the contributors to this volume offer diverse perspectives that suggest the slipperiness of the Neo-Baroque may best be served by the term ‘Neo-Baroques’. Case studies analysed reflect this plurality and include: the productions of Belgian theatre company Abattoir Fermé; Claire Denis’ French New Extremist film Trouble Every Day; the novel Lujuria tropical by exiled El Salvadorian Quijada Urias; the science fiction blockbuster spectacles The Matrix and eXistenZ; and the spectacular grandeur of early Hollywood movie palaces and the contemporary Las Vegas Strip.
Contributors: Jens Baumgarten, Marjan Colletti, Bolívar Echeverría, Rita Eder, Hugh Hazelton, Monika Kaup, Peter Krieger, Patrick Mahon, Walter Moser, Angela Ndalianis, Richard Reddaway, Karel Vanhaesebrouck, Saige Walton.
Contributors: Jens Baumgarten, Marjan Colletti, Bolívar Echeverría, Rita Eder, Hugh Hazelton, Monika Kaup, Peter Krieger, Patrick Mahon, Walter Moser, Angela Ndalianis, Richard Reddaway, Karel Vanhaesebrouck, Saige Walton.
From Latin America to the Hollywood Blockbuster
Series:
Postmodern Studies, Volume: 55
The Baroque is back in contemporary culture. The ten essays authored by international scholars, and three interventions by artists, examine the return of the baroque as Neo-Baroque through interdisciplinary perspectives. Understanding the Neo-Baroque as transcultural (between different cultures) and transhistorical (between historical moments) the contributors to this volume offer diverse perspectives that suggest the slipperiness of the Neo-Baroque may best be served by the term ‘Neo-Baroques’. Case studies analysed reflect this plurality and include: the productions of Belgian theatre company Abattoir Fermé; Claire Denis’ French New Extremist film Trouble Every Day; the novel Lujuria tropical by exiled El Salvadorian Quijada Urias; the science fiction blockbuster spectacles The Matrix and eXistenZ; and the spectacular grandeur of early Hollywood movie palaces and the contemporary Las Vegas Strip.
Contributors: Jens Baumgarten, Marjan Colletti, Bolívar Echeverría, Rita Eder, Hugh Hazelton, Monika Kaup, Peter Krieger, Patrick Mahon, Walter Moser, Angela Ndalianis, Richard Reddaway, Karel Vanhaesebrouck, Saige Walton.
Contributors: Jens Baumgarten, Marjan Colletti, Bolívar Echeverría, Rita Eder, Hugh Hazelton, Monika Kaup, Peter Krieger, Patrick Mahon, Walter Moser, Angela Ndalianis, Richard Reddaway, Karel Vanhaesebrouck, Saige Walton.
The Distortion of Time and Space in The Goon Show
Author:
“It’s all rather confusing, really” was one of the catchphrases used by Spike Milligan in his ground-breaking radio comedy program The Goon Show. In a series of mock-epics broadcast over the course of a decade, Milligan treated listeners to a cosmology governed by confusion, contradictions, fluidity and uncertainty. In The Goon Show’s universe, time and space expand and contract seemingly at will and without notice.
The worldview featured in The Goon Show looked both backward and forward: backward, in the sense that it paralleled strategies used by schoolchildren to understand time and space; forward, in the ways it anticipated and prefigured a number of key features of postmodern thought.
Winner of the Ann Saddlemyer Award 2017 of the Canadian Association for Theatre Research.
The worldview featured in The Goon Show looked both backward and forward: backward, in the sense that it paralleled strategies used by schoolchildren to understand time and space; forward, in the ways it anticipated and prefigured a number of key features of postmodern thought.
Winner of the Ann Saddlemyer Award 2017 of the Canadian Association for Theatre Research.
The Distortion of Time and Space in The Goon Show
Author:
“It’s all rather confusing, really” was one of the catchphrases used by Spike Milligan in his ground-breaking radio comedy program The Goon Show. In a series of mock-epics broadcast over the course of a decade, Milligan treated listeners to a cosmology governed by confusion, contradictions, fluidity and uncertainty. In The Goon Show’s universe, time and space expand and contract seemingly at will and without notice.
The worldview featured in The Goon Show looked both backward and forward: backward, in the sense that it paralleled strategies used by schoolchildren to understand time and space; forward, in the ways it anticipated and prefigured a number of key features of postmodern thought.
Winner of the Ann Saddlemyer Award 2017 of the Canadian Association for Theatre Research.
The worldview featured in The Goon Show looked both backward and forward: backward, in the sense that it paralleled strategies used by schoolchildren to understand time and space; forward, in the ways it anticipated and prefigured a number of key features of postmodern thought.
Winner of the Ann Saddlemyer Award 2017 of the Canadian Association for Theatre Research.
The Byzantine as Method in Modernity
Byzantium/Modernism features contributions by fourteen international scholars and brings together a diverse range of interdisciplinary essays on art, architecture, theatre, film, literature, and philosophy, which examine how and why Byzantine art and image theory can contribute to our understanding of modern and contemporary visual culture. Particular attention is given to intercultural dialogues between the former dominions of the Byzantine Empire, with a special focus on Greece, Turkey, and Russia, and the artistic production of Western Europe and America. Together, these essays invite the reader to think critically and theoretically about the dialogic interchange between Byzantium and modernism and to consider this cross-temporal encounter as an ongoing and historically deep narrative, rather than an ephemeral or localized trend.
Contributors are Tulay Atak, Charles Barber, Elena Boeck, Anthony Cutler, Rico Franses, Dimitra Kotoula, Marie-José Mondzain, Myroslava M. Mudrak, Robert S. Nelson, Robert Ousterhout, Stratis Papaioannou, Glenn Peers, Jane A. Sharp and Devin Singh.
Contributors are Tulay Atak, Charles Barber, Elena Boeck, Anthony Cutler, Rico Franses, Dimitra Kotoula, Marie-José Mondzain, Myroslava M. Mudrak, Robert S. Nelson, Robert Ousterhout, Stratis Papaioannou, Glenn Peers, Jane A. Sharp and Devin Singh.
The Byzantine as Method in Modernity
Byzantium/Modernism features contributions by fourteen international scholars and brings together a diverse range of interdisciplinary essays on art, architecture, theatre, film, literature, and philosophy, which examine how and why Byzantine art and image theory can contribute to our understanding of modern and contemporary visual culture. Particular attention is given to intercultural dialogues between the former dominions of the Byzantine Empire, with a special focus on Greece, Turkey, and Russia, and the artistic production of Western Europe and America. Together, these essays invite the reader to think critically and theoretically about the dialogic interchange between Byzantium and modernism and to consider this cross-temporal encounter as an ongoing and historically deep narrative, rather than an ephemeral or localized trend.
Contributors are Tulay Atak, Charles Barber, Elena Boeck, Anthony Cutler, Rico Franses, Dimitra Kotoula, Marie-José Mondzain, Myroslava M. Mudrak, Robert S. Nelson, Robert Ousterhout, Stratis Papaioannou, Glenn Peers, Jane A. Sharp and Devin Singh.
Contributors are Tulay Atak, Charles Barber, Elena Boeck, Anthony Cutler, Rico Franses, Dimitra Kotoula, Marie-José Mondzain, Myroslava M. Mudrak, Robert S. Nelson, Robert Ousterhout, Stratis Papaioannou, Glenn Peers, Jane A. Sharp and Devin Singh.
Readymades, Meaning, and the Age of Consumption
Series:
Postmodern Studies, Volume: 49
Author:
Collage Culture develops a comprehensive theory of the origins and meanings of collage and readymades in modern and postmodern art, literature, and everyday life. Demonstrating that the origins of collage are found in assembly line technologies and mass media forms of layout and advertising in early twentieth-century newspapers, Collage Culture traces how the historical avant-garde turns the fragmentation of Fordist production against nationalist, fascist, and capitalist ideologies, using the radical potential unleashed by new technologies to produce critical collages. David Banash adeptly surveys the reinvention of collage by a generation of postmodern artists who develop new forms including cut-ups, sampling, zines, plagiarism, and copying to cope with the banalities and demands of consumer culture. Banash argues that collage mirrors the profoundly dialectical relations between the cut of assembly lines and the readymades of consumerism even as its cutting-edges move against the imperatives of passive consumption and disposability instituted by those technologies, forms, and relations. Collage Culture surveys and analyzes works of advertising, assemblage, film, literature, music, painting, and photography from the historical avant-garde to the most recent developments of postmodernism.
Readymades, Meaning, and the Age of Consumption
Series:
Postmodern Studies, Volume: 49
Author:
Collage Culture develops a comprehensive theory of the origins and meanings of collage and readymades in modern and postmodern art, literature, and everyday life. Demonstrating that the origins of collage are found in assembly line technologies and mass media forms of layout and advertising in early twentieth-century newspapers, Collage Culture traces how the historical avant-garde turns the fragmentation of Fordist production against nationalist, fascist, and capitalist ideologies, using the radical potential unleashed by new technologies to produce critical collages. David Banash adeptly surveys the reinvention of collage by a generation of postmodern artists who develop new forms including cut-ups, sampling, zines, plagiarism, and copying to cope with the banalities and demands of consumer culture. Banash argues that collage mirrors the profoundly dialectical relations between the cut of assembly lines and the readymades of consumerism even as its cutting-edges move against the imperatives of passive consumption and disposability instituted by those technologies, forms, and relations. Collage Culture surveys and analyzes works of advertising, assemblage, film, literature, music, painting, and photography from the historical avant-garde to the most recent developments of postmodernism.
Philosophical and Axiological Studies on the Avant-Garde, Pragmatism, and Postmodernism
Author:
The book presents five philosophical and axiological studies devoted to the relationship between aesthetics and politics. It shows this relationship throughout the works of some avant-gardists, pragmatists, and postmodernists. It is also a voice in the discussion about the meaning of the fine arts and aesthetics in the context of the political aims and norms. This voice claims that the political dimension of art and aesthetics should be studied much more seriously than it has been till today, and needs more courageous re-interpretations and re-readings.
Philosophical and Axiological Studies on the Avant-Garde, Pragmatism, and Postmodernism
Author:
The book presents five philosophical and axiological studies devoted to the relationship between aesthetics and politics. It shows this relationship throughout the works of some avant-gardists, pragmatists, and postmodernists. It is also a voice in the discussion about the meaning of the fine arts and aesthetics in the context of the political aims and norms. This voice claims that the political dimension of art and aesthetics should be studied much more seriously than it has been till today, and needs more courageous re-interpretations and re-readings.
Forms, Functions, Attempts at Explanation
Author:
One possible description of the contemporary medial landscape in Western culture is that it has gone ‘meta’ to an unprecedented extent, so that a remarkable ‘meta-culture’ has emerged. Indeed, ‘metareference’, i.e. self-reflexive comments on, or references to, various kinds of media-related aspects of a given medial artefact or performance, specific media and arts or the media in general is omnipresent and can, nowadays, be encountered in ‘high’ art and literature as frequently as in their popular counterparts, in the traditional media as well as in new media. From the Simpsons, pop music, children’s literature, computer games and pornography to the contemporary visual arts, feature film, postmodern fiction, drama and even architecture – everywhere one can find metareferential explorations, comments on or criticism of representation, medial conventions or modes of production and reception, and related issues. Within individual media and genres, notably in research on postmodernist metafiction, this outspoken tendency towards ‘metaization’ is known well enough, and various reasons have been given for it. Yet never has there been an attempt to account for what one may aptly term the current ‘metareferential turn’ on a larger, transmedial scale. This is what The Metareferential Turn in Contemporary Arts and Media: Forms, Functions, Attempts at Explanation undertakes to do as a sequel to its predecessor, the volume Metareference across Media (vol. 4 in the series ‘Studies in Intermediality’), which was dedicated to theoretical issues and transhistorical case studies. Coming from diverse disciplinary and methodological backgrounds, the contributors to the present volume propose explanations of impressive subtlety, breadth and depth for the current situation in addition to exploring individual forms and functions of metareference which may be linked with particular explanations. As expected, there is no monocausal reason to be found for the situation under scrutiny, yet the proposals made have in their compination a remarkable explanatory power which contributes to a better understanding of an important facet of current media production and reception. The essays assembled in the volume, which also contains an introduction with a detailed survey over the possibilities of accounting for the metareferential turn, will be relevant to students and scholars from a wide variety of fields: cultural history at large, intermediality and media studies as well as, more particularly, literary studies, music, film and art history.
Forms, Functions, Attempts at Explanation
Author:
One possible description of the contemporary medial landscape in Western culture is that it has gone ‘meta’ to an unprecedented extent, so that a remarkable ‘meta-culture’ has emerged. Indeed, ‘metareference’, i.e. self-reflexive comments on, or references to, various kinds of media-related aspects of a given medial artefact or performance, specific media and arts or the media in general is omnipresent and can, nowadays, be encountered in ‘high’ art and literature as frequently as in their popular counterparts, in the traditional media as well as in new media. From the Simpsons, pop music, children’s literature, computer games and pornography to the contemporary visual arts, feature film, postmodern fiction, drama and even architecture – everywhere one can find metareferential explorations, comments on or criticism of representation, medial conventions or modes of production and reception, and related issues. Within individual media and genres, notably in research on postmodernist metafiction, this outspoken tendency towards ‘metaization’ is known well enough, and various reasons have been given for it. Yet never has there been an attempt to account for what one may aptly term the current ‘metareferential turn’ on a larger, transmedial scale. This is what The Metareferential Turn in Contemporary Arts and Media: Forms, Functions, Attempts at Explanation undertakes to do as a sequel to its predecessor, the volume Metareference across Media (vol. 4 in the series ‘Studies in Intermediality’), which was dedicated to theoretical issues and transhistorical case studies. Coming from diverse disciplinary and methodological backgrounds, the contributors to the present volume propose explanations of impressive subtlety, breadth and depth for the current situation in addition to exploring individual forms and functions of metareference which may be linked with particular explanations. As expected, there is no monocausal reason to be found for the situation under scrutiny, yet the proposals made have in their compination a remarkable explanatory power which contributes to a better understanding of an important facet of current media production and reception. The essays assembled in the volume, which also contains an introduction with a detailed survey over the possibilities of accounting for the metareferential turn, will be relevant to students and scholars from a wide variety of fields: cultural history at large, intermediality and media studies as well as, more particularly, literary studies, music, film and art history.
Denis Williams, painter, teacher, novelist, archaeologist, and cultural administrator, is one of the founding fathers of modern Guyana. His involvement in several of the country’s key cultural institutions and his pioneering work on Guyana’s founding peoples ensures him a special place in the country’s history books. Williams also contributed to the outpouring of literature that accompanied the awakening consciousness of Caribbean nations and their drive for independence. His literary work is seminal in depicting the character of the Caribbean person and landscape, and the nature of ancestral (African and Afro-Caribbean) identities. His studies of African art and culture encouraged the young nation of Guyana to turn away from Western epistemologies and to pay serious intellectual attention to other origins. His research into the archaeology and culture of the Amerindian population of Guyana and beyond laid the pathway for further scholarship.
The essays assembled here bring together eminent scholars and commentators to offer authoritative analyses of the various aspects of Williams’s work – artistic, academic, and literary – and capture the rationale for, the interconnections between, and the evident trajectory of Williams’s life work as the epitome of the changing nature of the Caribbean condition. As well as wide-ranging biographical essays, and studies of Williams’s activities as a painter, the collection contains a comprehensive primary and secondary bibliography, a generous selection of colour plates, and individual essays devoted to the published novels (Other Leopards; The Third Temptation) and other published and unpublished fiction, and to Williams’s archaeological masterpiece, Prehistoric Guiana.
Contributors: Ulli Beier, Vibert Cambridge, David Dabydeen, Charles Gore, Stanley Greaves, Wilson Harris, Louis James, Andrew Jefferson–Miles, Nicholas Laughlin, Andrew Lindsay, John Picton, Leon Wainwright, Anne Walmsley, Charlotte Williams, Evelyn A. Williams, Jennifer Wishart.
The essays assembled here bring together eminent scholars and commentators to offer authoritative analyses of the various aspects of Williams’s work – artistic, academic, and literary – and capture the rationale for, the interconnections between, and the evident trajectory of Williams’s life work as the epitome of the changing nature of the Caribbean condition. As well as wide-ranging biographical essays, and studies of Williams’s activities as a painter, the collection contains a comprehensive primary and secondary bibliography, a generous selection of colour plates, and individual essays devoted to the published novels (Other Leopards; The Third Temptation) and other published and unpublished fiction, and to Williams’s archaeological masterpiece, Prehistoric Guiana.
Contributors: Ulli Beier, Vibert Cambridge, David Dabydeen, Charles Gore, Stanley Greaves, Wilson Harris, Louis James, Andrew Jefferson–Miles, Nicholas Laughlin, Andrew Lindsay, John Picton, Leon Wainwright, Anne Walmsley, Charlotte Williams, Evelyn A. Williams, Jennifer Wishart.
New and Collected Essays
Series:
Cross/Cultures, Volume: 120
Denis Williams, painter, teacher, novelist, archaeologist, and cultural administrator, is one of the founding fathers of modern Guyana. His involvement in several of the country’s key cultural institutions and his pioneering work on Guyana’s founding peoples ensures him a special place in the country’s history books. Williams also contributed to the outpouring of literature that accompanied the awakening consciousness of Caribbean nations and their drive for independence. His literary work is seminal in depicting the character of the Caribbean person and landscape, and the nature of ancestral (African and Afro-Caribbean) identities. His studies of African art and culture encouraged the young nation of Guyana to turn away from Western epistemologies and to pay serious intellectual attention to other origins. His research into the archaeology and culture of the Amerindian population of Guyana and beyond laid the pathway for further scholarship.
The essays assembled here bring together eminent scholars and commentators to offer authoritative analyses of the various aspects of Williams’s work – artistic, academic, and literary – and capture the rationale for, the interconnections between, and the evident trajectory of Williams’s life work as the epitome of the changing nature of the Caribbean condition. As well as wide-ranging biographical essays, and studies of Williams’s activities as a painter, the collection contains a comprehensive primary and secondary bibliography, a generous selection of colour plates, and individual essays devoted to the published novels (Other Leopards; The Third Temptation) and other published and unpublished fiction, and to Williams’s archaeological masterpiece, Prehistoric Guiana.
Contributors: Ulli Beier, Vibert Cambridge, David Dabydeen, Charles Gore, Stanley Greaves, Wilson Harris, Louis James, Andrew Jefferson–Miles, Nicholas Laughlin, Andrew Lindsay, John Picton, Leon Wainwright, Anne Walmsley, Charlotte Williams, Evelyn A. Williams, Jennifer Wishart.
The essays assembled here bring together eminent scholars and commentators to offer authoritative analyses of the various aspects of Williams’s work – artistic, academic, and literary – and capture the rationale for, the interconnections between, and the evident trajectory of Williams’s life work as the epitome of the changing nature of the Caribbean condition. As well as wide-ranging biographical essays, and studies of Williams’s activities as a painter, the collection contains a comprehensive primary and secondary bibliography, a generous selection of colour plates, and individual essays devoted to the published novels (Other Leopards; The Third Temptation) and other published and unpublished fiction, and to Williams’s archaeological masterpiece, Prehistoric Guiana.
Contributors: Ulli Beier, Vibert Cambridge, David Dabydeen, Charles Gore, Stanley Greaves, Wilson Harris, Louis James, Andrew Jefferson–Miles, Nicholas Laughlin, Andrew Lindsay, John Picton, Leon Wainwright, Anne Walmsley, Charlotte Williams, Evelyn A. Williams, Jennifer Wishart.