Lino print of French-Mauritanian film director, Med Hondo. Hondo is depicted holding a loud speaker and standing in front of a banner emblazoned with the national motto of France and Haiti, "Liberté, égalité, fraternité".

The Visionary Films of Med Hondo

Illustration and article by François Giraud 

Edited by Ketaki Zodgekar

Although he worked at the margins of the film industry for half a century, pioneer French-Mauritanian filmmaker Med Hondo (1936-2019) is not an obscure artist. As recently as 2020, the German publisher Archive Books compiled almost fifty years of interviews with Med Hondo, which shows the interest that his transnational and anticolonial cinema continues to elicit, decades after many of his films were released. In 1970, his first long feature film Soleil Ôwhich powerfully denounces racism in French society and the exploitation and discrimination of African emigrants in Paris—received exposure at Cannes Festival and was awarded a Golden Leopard at the Locarno International Festival. Some of his later films, such as Sarraounia (1986) and Black Light (Lumière noire, 1994), have been studied in academic journals specialising in African and postcolonial studies. 

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A Utopian Curriculum

PART THREE: SULTANA’S DREAM (1905)

By Ibtisam Ahmed

Edited by Maria Elena Carpintero Torres-Quevedo

Illustration by Iara Silva

Welcome to the new year and welcome back to the Project Myopia Utopian Curriculum series. So far, I set up a broad overview of the discipline and the series in the first post, and then looked at the anti-colonial Afrofuturism of Black Panther in the second. In part three, I will be exploring Sultana’s Dream and how it uses satire and humour to highlight how oppressed communities can create a specific vision of liberation and utopia.

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“Such Small Stuff as Letters”: The Importance of Including the Works of 19th Century African Americans in Undergraduate English Literature Courses

Kiefer Holland

Edited by Maria Elena Carpintero Torres-Quevedo

Artwork by Natasha Ruwona

Whilst the works of nineteenth-century African Americans may feature on some of the rarer undergraduate English Literature courses, or in specialist modules, I believe they should be far more prevalent. In this article, with help from Sojourner Truth and Josiah Henson, I would like to present the idea that the inclusion of works by nineteenth-century African Americans would be highly beneficial in any standard undergraduate literature course. Two of the central lessons literature students learn during an undergraduate degree are how to closely read a text, and that language itself, because it is a human construct, is rife with insufficiencies. The latter lesson ranges from the inability to truly represent human emotions with words like “love” and “hate,” to the painfully reductive terms with which we attempt to categorise people. The conditions under which the works of nineteenth-century African Americans were created means that they are some of the best texts through which to learn those two lessons. While no two nineteenth-century African Americans approached language and its applications in the same way, they were all in one way or another faced with the reality of Black literacy during their lifetimes, which carried the legacies of slavery even after the conclusion of the Civil War. Literacy was illegal for millions of enslaved African Americans, and the primary nineteenth-century audience for the writing of free African Americans was white abolitionists who demanded the truth of their lives without embellishment or interpretation. As Frederick Douglass recalled, abolitionists demanded that he “Give us the facts [. . .] we will take care of the philosophy” (My Bondage 361). For people to whom literacy was denied in enslavement and then restricted in freedom, but who were nevertheless subject, in numerous atrocious ways, to the writings of others (laws, ledgers, racist caricatures, to name a few), engagement with language was understandably complex.

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‘IN ORDER TO LIVE’ BY Yeonmi Park: VOICE FOR A SILENT NATION

Giulia Colato

Edited by Veronica Vivi

Illustration by Maia Walcott

“You have to tell the world that North Korea is like one big prison camp . . . If you don’t speak up for them, Yeonmi-ya, who will?” (Park 264). After her mother said these words, Yeonmi Park decided to put aside her insecurities, her fear and the shame she felt and to write about her life.

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Noughts and Crosses by Malorie Blackman: a Mirrored World

Erin Hutton

Edited by Maria Elena Carpintero Torres-Quevado

Artwork by Natasha Ruwona: https://www.behance.net/natasharuw40cf

I read Noughts and Crosses when I was about thirteen. It is the first powerful book that I can remember reading. However, re-reading my slightly battered copy at eighteen was a very different experience.  It was easier to understand that good people, like the characters in the book, could react so badly to violence. The terrorism in the story is painfully similar to current news headlines. Finally, after studying the fight for Black American civil rights at school, I could clearly see where Blackman got her inspiration. The scene where nought children face a mob of angry crosses to get into a decent school could have been drawn straight from the textbook photos of Little Rock Central High School, Arkansas, 1957.  This seems especially important when one considers the things people said to the author as she was writing: “‘Slavery is in the past’, ‘Why d’you want to rehash something so painful?’, ‘Why do black people always harp on about slavery?’”(Penguin Random House, 2016). Perhaps, if books like Blackman’s were studied at university level, people would be less likely to have these attitudes, especially if the novel’s stark confrontation of cruelty made them consider that their comments are insulting. There are many example of history where people have ignored atrocities as they occurred.

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The Hate U Give by Angie Thomas

Jasmine Thakral

Edited by Karl Egerton

Illustration ‘Double Consciousness’ by Natasha Ruwona, https://www.behance.net/natasharuw40cf

The Hate U Give deals with the way in which police brutality and systematic criminalisation of black bodies damage African American communities, depicting the struggle often felt by people of colour between who they are and how they are perceived by the world. The events of the novel are particularly resonant in light of recent cases of police brutality which have resulted in the death of victims such as Trayvon Martin, which sparked the activist movement, Black Lives Matter. The Hate U Give follows Starr Carter as she negotiates the fallout from the horrific police brutality suffered by her friend Khalil. The novel explores Starr’s journey to finding her voice so that she can explicitly challenge police brutality against African Americans.

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The Joy Luck Club by Amy Tan

Lily Thwaites

Edited by Maria Elena Carpintero Torres-Quevedo

Illustration by Holly Summerson hollysummerson.wix.com/arts

Ying-Ying, you have tiger eyes. They gather fire in the day. At night they shine golden”’ – Amy Tan (The Joy Luck Club 1989) (246)

Many times in my life I have wished to be more like my mother; she is strong, independent, smart, but also a little bit wild. When I was eleven, I went over to one of our bookshelves and found a fairly worn copy of The Joy Luck Club, picked it up and brought it to her. She told me to read it and I did.

Seven years later and only now am I beginning to understand the significance of this book for women like my mother; strong and independent women who were once caught between cultures, but also for others, who cannot grasp the complexities of a mother-daughter relationship strained in a cultural cross-fire. It is a book my mother and her friends have all given their partners to read, and it is one that deserves attention, specifically in English Literature syllabi, where I find texts with Asian influences are often disregarded.

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The Silence of the Girls by Pat Barker

Erin Hutton

Edited by Veronica Vivi

Illustration by Ottelien Huckin https://www.ottelienhuckin.co.uk/

History often ignores women’s contributions. Modern schools, such as my own, may try to teach about their contributions, yet it is clear that many women are resigned to the shadows. Pat Barker has emphasised this injustice with her shocking novel The Silence of the Girls, a retelling of The Iliad with one crucial difference: it tells the story of the women who were caught up in the bloodshed.

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Black Girlhood in ‘Bone Black’ by bell hooks, and ‘Zami’ by Audre Lorde

Francesca Sobande

Edited by Veronica Vivi

Art by Olivia Twist: http://www.yesoliviatwist.com/

For some, the work of bell hooks needs no introduction. It may have represented their entry into Black feminist media and cultural critique, or the starting point of their understanding of the intersections of sexism and racism. I will always remember when I first came across the writings of hooks. I found such excitement in reading a distinctly Black feminist voice that is rarely found in university curricula. As I read hooks’ engaging analysis of media and consumer culture, I thought to myself “I never knew that academic writing could be like this!”.

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More Than Just Blood: Bloodchild by Octavia E. Butler

Angie Spoto

Edited by Maria Elena Carpintero Torres-Quevedo

Illustration by Iara Silva https: https://www.instagram.com/iiaraz_/

I hadn’t felt my baby move yet and wasn’t sure I wanted to. I confessed this to a friend in a café, who, bringing his hands together in front of his chest and clawing his fingers, said, ‘Yeah, it might feel, you know, like Alien.’ And his hands exploded outward, raining imaginary blood across our lattes.

My friend touched on a fear of mine: that having a baby would be like hosting an alien creature in my body. A fear no doubt inspired by my consumption of science fiction. Immediately, the prospect of pregnancy makes me think of the 1979 movie Alien, which undeniably plays out humanity’s pregnancy fears in the form of chest-ripping, murderous alien children. There’s also the ‘mystical pregnancy trope’: women in science fiction media are regularly forcibly or accidentally impregnated by aliens (Sarkeesian). This trope appears in Stargate SG-1, the X-Files, and Torchwood among other television shows and films.

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