Caribbean Studies Series

Traditional, interdisciplinary, and comparative approaches to the politics, history, literature, philosophies, and popular culture of the Caribbean. Series editors: Shona Jackson, Assistant Professor of English at Texas A&M University; Anton Allahar, Professor of Sociology at the University of Western Ontario.

Projects in this series will be scholarly works and edited volumes covering politics, history, literary criticism, anthropology, and more broadly cultural studies. In addition to these traditional fields, the series will encourage manuscripts that embody interdisciplinary and comparative approaches to understanding the Caribbean, its history, philosophies, its racial, ethnic, and national identities, political economies, literature, and popular culture including, but not limited to, visual arts, music, religion, and folklore. The series seeks works offering new approaches to the study of migration, diaspora formation, theater, dance and pageantry, gender, sexuality, and history, both written and oral. It also welcomes new critical and biographical works revealing the lives and thoughts of leading Caribbean figures past and present.

The Artistry of Afro-Cuban Bata Drumming: Aesthetics, transmission, Bonding, and creativity

The Black Carib Wars: Freedom, Survival, and the Making of the Garifuna

The Caribbean Novel since 1945: Cultural Practice, Form, and the Nation-State

Caribbean Visionary: A. R. F. Webber and the Making of the Guyanese Nation

Decolonization in St. Lucia: Politics and Global Neoliberalism, 1945-2010

Haiti and the Americas

Patrick Chamoiseau: A Critical Introduction

People Get Ready: African American and Caribbean Cultural Exchange

Queen of the Virgins: Pageantry and Black Womanhood in the Caribbean

Voice of the Leopard: African Secret Societies and Cuba

Wolf Tracks: Popular Art and Re-Africanization in Twentieth-Century Panama

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On the Horizon: Scotty and Elvis

When Elvis Presley first showed up at Sam Phillips’s Memphis-based Sun Records studio, he was a shy teenager in search of a sound. Phillips invited a local guitarist named Scotty Moore to stand in. Scotty listened carefully to the young singer and immediately realized that Elvis had something special.  Along with bass player Bill Black, the trio recorded an old blues number called “That’s All

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