One of Literary Hub's most anticipated books of 2024

Dionne Brand explores English and American literature, and the colonial aesthetic that shaped her sense of self and the world, of what was possible and what was not.

In Salvage: Readings from the Wreck, Dionne Brand's first major book of nonfiction since her classic A Map to the Door of No Return, the acclaimed poet and novelist offers a bracing look at the intersections of reading and life, and what remains in the wreck of empire. Blending literary criticism and autobiography-as-artifact, Brand reads Aphra Behn's Oroonoko, Daniel Defoe's Robinson Crusoe, and Jane Austen's Mansfield Park, among other still widely studied works, to explore encounters with colonial, imperialist, and racist tropes from the seventeenth to the nineteenth centuries--tropes that continue in new forms today. Brand vividly shows how contemporary practices of reading and writing are shaped by the narrative structures of these and related works, and explores how, in the face of this, one writes a narrative of Black life that attends to its own consciousness and expression.

With the power and eloquence of a great poet coupled with the rigor of a deep and subtle thinker, Brand reveals how she learned to read the literature of two empires, British and American, in an anticolonial light--in order to survive, and in order to live.

This is the library, the wreck, and the potential for salvage she offers us now, in a brilliant, groundbreaking, and essential work.

Now in its first American edition, Dionne Brand's groundbreaking A Map to the Door of No Return has emerged as a modern classic, a highly influential exploration of being in the Black Diaspora.

Since its first publication in 2001, Dionne Brand's groundbreaking exploration of being in the Black Diaspora, A Map to the Door of No Return, has emerged as a modern classic. The door, in Brand's iconic schema, represents the point of rupture where the ancestors of the Black Diaspora departed one world for another: the place where all names were forgotten, and all beginnings recast. This door, writes Brand, is not mere physicality. It is a spiritual location . . . Since leaving was never voluntary, return was, and still may be, an intention, however deeply buried. There is as it says no way in; no return.

Through shards of history, memoir, lyrical investigation, and the unwritten experience of so many descendants of those who passed through the door, Brand constructs a map of this indelible region, culminating in an enduring expression, both definitive and seeking, of what it is to live, think, and create in the wake of colonization.

With a new preface by the author, and an afterword by Saidiya Hartman.

Written with lyrical fire in a chorus of vividly rendered voices, Dionne Brand's second novel is an epic of the African diaspora across the globe. It begins in 1824 on Trinidad, where Marie-Ursule, queen of a secret slave society called the Sans Peur Regiment, plots a mass suicide. The end of the Sans Peur is also the beginning of a new world, for Marie-Ursule cannot kill her young daughter, Bola -- who escapes to live free and bear a dynasty of descendants who spill out across the Caribbean, North America, and Europe. Haunted by a legacy of passion and oppression, the children of Bola pass through two world wars and into the confusion, estrangement, and violence of the late twentieth century. [Brand has] a lush and exuberant style that may put some readers in mind of Toni Morrison or Edwidge Danticat. -- William Ferguson, The New York Times Book Review; A delicately structured, beautifully written novel infused with rare emotional clarity. -Julie Wheelwright, The Independent (London); Rich, elegiac, almost biblical in its rhythms . . . One of the essential works of our times. -- The Globe & Mail (Toronto)
In 1824 on the island of Trinidad, Marie Ursule, queen of a secret society of militant slaves called the Sans Peur Regiment, plots a mass suicide, a quietly brazen act of revolt. The end of the Sans Peur is also the beginning of a new world, for Marie Ursule cannot kill her young daughter, Bola, who escapes to live free and bear a dynasty of descendants who spill out across the Caribbean, North America, and Europe. Haunted by a legacy of passion and oppression, the children of Bola pass through two world wars and into the confusion, estrangement, and violence of the late twentieth century. There is Samuel, the soldier who goes to war to defend Mother England and returns with a broken spirit; Cordelia, a woman who has spent her life suppressing the fiery desire that finally catches her, unabated, in her fiftieth year; Priest, the badjohn who leaves the islands for a gangster life ranging from Miami to Brooklyn; and Adrian, who ends up a junkie on the streets of Amsterdam. And still in Trinidad there is the second Bola, who lives alone in the family home, wandering among the dead and waiting for the generations of her ancestors to join her.

On a lonely wharf a clerk in an ink-blue coat inspects bales and bales of paper that hold a poet's accumulated left-hand pages--the unwritten, the withheld, the unexpressed, the withdrawn, the restrained, the word-shard. In The Blue Clerk renowned poet Dionne Brand stages a conversation and an argument between the poet and the Blue Clerk, who is the keeper of the poet's pages. In their dialogues--which take shape as a series of haunting prose poems--the poet and the clerk invoke a host of writers, philosophers, and artists, from Jacob Lawrence, Lola Kiepja, and Walter Benjamin to John Coltrane, Josephine Turalba, and Jorge Luis Borges. Through these essay poems, Brand explores memory, language, culture, and time while intimately interrogating the act and difficulty of writing, the relationship between the poet and the world, and the link between author and art. Inviting the reader to engage with the resonant meanings of the withheld, Brand offers a profound and moving philosophy of writing and a wide-ranging analysis of the present world.

Spanning almost four decades, Dionne Brand's poetry has given rise to whole new grammars and vocabularies. With a profound alertness that is attuned to this world and open to some other, possibly future, time and place, Brand's ongoing labors of witness and imagination speak directly to where and how we live and reach beyond those worlds, their enclosures, and their violences.

Nomenclature: New and Collected Poems begins with a new long poem, the titular Nomenclature for the Time Being, in which Dionne Brand's diaspora consciousness dismantles our quotidian disasters. In addition to this searing new work, Nomenclature collects eight volumes of Brand's poetry published between 1982 and 2010 and includes a critical introduction by the literary scholar and theorist Christina Sharpe.

Nomenclature: New and Collected Poems features the searching and centering cantos of Primitive Offensive; the sharp musical conversations of Winter Epigrams and Epigrams to Ernesto Cardenal in Defense of Claudia; and the documentary losses of revolutions in Chronicles of the Hostile Sun, in which The street was empty/with all of us standing there. No Language Is Neutral reads language, coloniality, and sexuality as a nexus. Land to Light On writes intimacies and disaffections with nation, while in thirsty a cold-eyed flâneur surveys the workings of the city. In Inventory, written during the Gulf Wars, the poet is the wars' last and late night witness, her job is not to soothe but to revise and revise this bristling list/hourly. Ossuaries' futurist speaker rounds out the collection and threads multiple temporal worlds--past, present, and future.

This masterwork displays Dionne Brand's ongoing body of thought--trenchant, lyrical, absonant, discordant, and meaning-making. Nomenclature: New and Collected Poems is classic and living, a record of one of the great writers of our age.

Acclaimed by Adrienne Rich as fierce, sensuous . . . a work of great beauty and moral imagination, In Another Place, Not Here tells of two contemporary Caribbean women who find brief refuge in each other on an island in the midst of political uprising. Elizete, dreaming of running to another place to escape the harshness of her daily life on the island, meets Verlia, an urban woman in constant flight who has returned to her island birthplace with hopes of revolution. Their tumultuous story moves between city and island, past and future, fantasy and reality.
With all the lyrical intensity of a praisesong, Dionne Brand's luminous debut novel, In Another Place, Not Here, tells of two contemporary Caribbean women one urban, passionate, and idealistic, the other constrained by disillusion and rural poverty, each in her own spiritual exile who find brief refuge in each other on an island in the midst of political uprising.

Elizete dreams of running to another place to escape the harshness of her daily life on the island. Knowing better than to hope for much, she lives in a world of lush inventions that stave off reality. Then she meets Verlia, a woman in constant flight, who lives in Toronto and has returned to her island birthplace with hope of revolution. Both women are dreaming of each other's reality and of each other. Their tumultuous story moves between city and island, between material and spiritual poverty, between fantasy and reality, in a past and future time where the dream is always, again, deferred.

Gripping at times, heartrending at others, What We All Long For is an ode to a generation of longing and identity, and to the rhythms and pulses of a city and its burgeoning, questioning youth.

Dionne Brand's multicultural infusion follows the stories of a close circle of twenty-something second-generations living in downtown Toronto--and the secrets they hide from their families.

Tuyen is a lesbian avant-garde artist and the daughter of Vietnamese parents who've never recovered from losing one of their children while in the rush to flee Vietnam in the 1970s. She rejects her immigrant family's hard-won lifestyle, and instead lives in a rundown apartment with friends--each of whom is grappling with their own familial complexities and heartache.

Tuyen is love with her best friend Carla, a biracial bicycle courier. Oku is a jazz-loving poet who, unbeknowst to his Jamaican-born parents, has dropped out of college. He is tormented by his unrequited love for Jackie, a gorgeous black woman who runs a hiphop clothing store.

Meanwhile, Tuyen's lost brother, Quy--now a criminal in the Thai underworld--sets out for Toronto to find his long-lost family.

Gripping at times, heart-wrenching at others, Dionne Brand's What We all Long For is a story of identity, love and loss--the universal experience of being human, and discovering the nature of our longing.

One of Literary Hub's most anticipated books of 2024

Dionne Brand explores English and American literature, and the colonial aesthetic that shaped her sense of self and the world, of what was possible and what was not.

In Salvage: Readings from the Wreck, Dionne Brand's first major book of nonfiction since her classic A Map to the Door of No Return, the acclaimed poet and novelist offers a bracing look at the intersections of reading and life, and what remains in the wreck of empire. Blending literary criticism and autobiography-as-artifact, Brand reads Aphra Behn's Oroonoko, Daniel Defoe's Robinson Crusoe, and Jane Austen's Mansfield Park, among other still widely studied works, to explore encounters with colonial, imperialist, and racist tropes from the seventeenth to the nineteenth centuries--tropes that continue in new forms today. Brand vividly shows how contemporary practices of reading and writing are shaped by the narrative structures of these and related works, and explores how, in the face of this, one writes a narrative of Black life that attends to its own consciousness and expression.

With the power and eloquence of a great poet coupled with the rigor of a deep and subtle thinker, Brand reveals how she learned to read the literature of two empires, British and American, in an anticolonial light--in order to survive, and in order to live.

This is the library, the wreck, and the potential for salvage she offers us now, in a brilliant, groundbreaking, and essential work.

On a lonely wharf a clerk in an ink-blue coat inspects bales and bales of paper that hold a poet's accumulated left-hand pages--the unwritten, the withheld, the unexpressed, the withdrawn, the restrained, the word-shard. In The Blue Clerk renowned poet Dionne Brand stages a conversation and an argument between the poet and the Blue Clerk, who is the keeper of the poet's pages. In their dialogues--which take shape as a series of haunting prose poems--the poet and the clerk invoke a host of writers, philosophers, and artists, from Jacob Lawrence, Lola Kiepja, and Walter Benjamin to John Coltrane, Josephine Turalba, and Jorge Luis Borges. Through these essay poems, Brand explores memory, language, culture, and time while intimately interrogating the act and difficulty of writing, the relationship between the poet and the world, and the link between author and art. Inviting the reader to engage with the resonant meanings of the withheld, Brand offers a profound and moving philosophy of writing and a wide-ranging analysis of the present world.

Dionne Brand explores and chronicles how history shapes human existence, in particular the lives of those ruptured and scattered by New World slaveries and modern crises. This republication of three early volumes presents her poetic journey and is a testament to a historical moment in which change seemed possible.

Dionne Brand's hypnotic, urgent long poem is about the bones of fading cultures and ideas, about the living museums of spectacle where these bones are found. At the centre of Ossuaries is the narrative of Yasmine, a woman living an underground life, fleeing from past actions and regrets, in a perpetual state of movement. She leads a solitary clandestine life, crossing borders actual (Algiers, Cuba, Canada), and timeless. Cold-eyed and cynical, she contemplates the periodic crises of the contemporary world. This is a work of deep engagement, sensuality, and ultimate craft from an essential observer of our time and one of the most accomplished poets writing today.

The selections in Fierce Departures, drawn from Dionne Brand's work since 1997, delineate with searing eloquence how history marks and dislocates peoples of the African diaspora, how nations, concretely and conceptually, fail to create safe haven, and how human desire persists nevertheless.

Through a widening canvas, Brand unfolds the (im)possibilities of belonging for those whom history has dispossessed. Yet she also shows how Canada, and in particular Toronto, remade by those who alight on it, is a place of contingency. Known for her linguistic intensity and lyric brilliance, Brand consoles through the beauty of her work and disturbs with its uncompromising demand for ethical witness.

In her introduction, editor Leslie C. Sanders traces the evolution of Brand's poetic concerns and changing vision. In particular, she observes Brand's complex use of landscape and language to delineate the ethical and emotional issues around the desire for place. She argues that Brand reformulates Northrop Frye's question Where is here?, disturbing and expanding the national imaginary.

As afterword, Brand has selected passages from her evocative collection of essays A Map to the Door of No Return. Read as an ars poetica, the passages summon the presences of those whose lives are circumscribed by the histories the poet narrates as her own.

Curated by Dionne Brand, this anthology features the work of 18 emerging Toronto talents writing about their city:

Diana Biacora
David Bradford
Nicole Chin
Simone Dalton
Dalton Derkson
Doyali Islam
Laboni Islam
Ian Kamau
Adnan Khan
Shoilee Khan
Canisia Lubrin
Sofia Mostaghimi
Nadia Ragbar
Rudrapriya Rathore
Sanchari Sur
Katheryn Wabegijig
Phoebe Wang
Chuqiao Yang

Curated by Dionne Brand, this anthology features the work of 18 emerging Toronto talents writing about their city:

Diana Biacora
David Bradford
Nicole Chin
Simone Dalton
Dalton Derkson
Doyali Islam
Laboni Islam
Ian Kamau
Adnan Khan
Shoilee Khan
Canisia Lubrin
Sofia Mostaghimi
Nadia Ragbar
Rudrapriya Rathore
Sanchari Sur
Katheryn Wabegijig
Phoebe Wang
Chuqiao Yang

Inspired by her childhood in Trinidad, acclaimed poet and writer Dionne Brand conjures the world of the Caribbean in her first book of poetry for children. The sounds and smells of market day, the blazing sun, the joyful beat of much-awaited rain and a girl who dares to do better. These are just some of the stories and characters brought into focus in this captivating collection of poems. Originally published in 1979, these poems are an eloquent, unsparing tribute to the lives of the Caribbean people and the power of nature. Simple chants and schoolyard skipping songs alongside more sophisticated poems reveal a place of beauty and hardship where life moves in harmony with the elements. With vibrant collage paintings and poignant line drawings by Eugenie Fernandes, Earth Magic will cast a spell over readers of all ages.

The geopolitics of empire had already prepared me for this...coloniality constructs outsides and insides--worlds to be chosen, disturbed, interpreted, and navigated--in order to live something like a real self.

Internationally acclaimed poet and novelist Dionne Brand reflects on her early reading of colonial literature and how it makes Black being inanimate. She explores her encounters with colonial, imperialist, and racist tropes; the ways that practices of reading and writing are shaped by those narrative structures; and the challenges of writing a narrative of Black life that attends to its own expression and its own consciousness.