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MA in Black British Writing

This new and unique Masters importantly addresses black writing as a continuum. Its heritage in British culture is considered along a trajectory marked by historical presences as connecting with migratory, indigenous and global perspectives.

Length
1 year full-time or 2 years part-time.
Funding
If you're applying for funding, you may be subject to an application deadline. Find out more about funding opportunities for home/EU applicants, or funding for international applicants.

Fees
See our tuition fees.
Contact the departments
Contact Dr Deirdre Osborne
Visit us
Find out about how you can visit Goldsmiths at one of our open days or come on a campus tour.

This MA is:

  • World first. Nowhere else in the world can you study this field in such a richly, referenced way - in the actual country where the writing is produced.
  • Cross-disciplinary in teaching, studies, research. Writing as perceived in its broadest form on and off the page and screen.
  • Collaborative. It will be taught by Professor Joan Anim-Addo and Dr Deirdre Osborne, who share its vision and will co-teach the courses.
  • Inclusive. We welcome applications from a broad spectrum of people – those seeking academic careers, professionals who are returning to learning, artists who wish to develop their analytic and critical thinking skills.
  • Connected to local, national and international research streams. Both tutors have well-established research profiles with publications, and track records in convening public events in the field.

Why is this an important degree?

At the end of 2011 it was reported that of over 14,000 university professors in the UK, only 50 were black and overwhelmingly, outside the humanities disciplines. This was followed by confirmations that there are still no black managers in British premiership soccer (despite black footballers’ eminence in the sport), no sustained presence of black cricketers in the national team (despite the long-standing presence of the West Indies team in international competitions), and in turn, by findings that no sustained promotion trajectory exists for black police officers into the higher ranks of the police service, (while black males continue to be disproportionately stopped and searched by white police). In the light of such a broader social context, this MA is timely and necessary.

Many established scholars of contemporary literature working in Britain, Europe, Africa, and Asia occasionally teach a course or two incorporating Black British writers, do research on Black British texts, and publish articles and books on these interests, However, this Goldsmiths MA in Black British Writing means the University of London will break new ground in preparing and empowering scholar-specialists in this growing and exciting field of study.

If the humanities are to serve the indigenous multi-cultures of Britain, the building of a critical infrastructure that retrieves, assesses and articulates a fuller compass of inclusion is vital for intellectual and public awareness. In studying this MA, you will become part of this process.

The MA provides opportunities to experience events featuring many of the writers and practitioners studied. It also gives you contact with contemporary Black British writing, drama and performance from within Britain. You will have access to the Black Theatre Archive at the Royal National Theatre as part of fieldwork tasks and further research.

What you study

The MA draws upon the expertise of literary, drama and theatre specialists from the Departments of Theatre and Performance and the Centre for Caribbean Studies. The degree is made up of: (I) two compulsory core courses, (II) two options, which you're expected to choose, and (III) a dissertation.

Full-time students study both compulsory courses and two options and write their dissertation across one year of study.

Part-time students select one compulsory course and one option per year across two years and write their dissertation in their second year of study.

Intermediate Exit Points

Please note: it's possible to exit the programme early with a Postgraduate Diploma or Postgraduate Certificate if specific learning outcomes have been achieved. These options can be discussed with the course convenor.


Applying and entrance requirements

You can apply directly to Goldsmiths via the website by clicking the ‘apply now’ button on the main programme page.

Before submitting your application you’ll need to have: 

  • Details of your education history, including the dates of all exams/assessments.
  • The email address details of your referee who we can request a reference from, or alternatively an electronic copy of your academic reference.
  • A personal statement. This can either be uploaded as a Word Document or PDF, or completed online.
  • If available, an electronic copy of your educational transcript (this is particularly important if you have studied outside of the UK, but isn’t mandatory).

You'll be able to save your progress at any point and return to your application by logging in using your username/email and password.

When to apply

We accept applications from October for students wanting to start the following September. 

We encourage you to complete your application as early as possible, even if you haven't finished your current programme of study. It's very common to be offered a place that is conditional on you achieving a particular qualification. 

If you're applying for funding you may be subject to an application deadline. Find out more about funding opportunities for UK/EU students and international students. 

Late applications will only be considered if there are spaces available.

Selection process

Admission to many programmes is by interview, unless you live outside the UK. Occasionally, we'll make candidates an offer of a place on the basis of their application and qualifications alone.

Entrance requirements

You should have (or expect to be awarded) an undergraduate degree of at least upper second class standard in a relevant/related subject. 

Students without BA-equivalent qualifications who have substantial work experience (eg. in literary journalism, creative writing, publishing, arts administration), which can be considered as equivalent to formal qualifications, may be admitted provided they demonstrate analytical and academic writing skills to the necessary level.

We also accept a wide range of international equivalent qualifications, which can be found on our country-specific pages. If you'd like more information, please contact the Admissions Office.

English language

If your first language is not English you need a minimum score of 7.0 in IELTS (including 7.0 in the written element) or equivalent. 

Please check our English language requirements for more information.

Find out more about applying 

Contact us 

Get in touch via our online form

UK/EU

+44 (0)20 7919 7766
course-info@gold.ac.uk

International (non-EU)

+44 (0)20 7919 7702
international-office@gold.ac.uk

Although I currently work in Theatre and Performance, my base in the humanities is cross-disciplinary. My love of English literature stems from when I was first read to, and began reading. The harmony between thinking and responding to literature by using its actual medium (writing) means to study literature is to engage directly with a form of the very tools that create it. I approach the analysis of dramatic literature with a focus upon language in performance: as printed and read (its poetics), and articulated live on the stage (its dramatisation).

My courses inter-weave canonical and non-canonical emphases from Shakespeare and Renaissance drama, feminist theory, Indigenous studies, African American drama and the emerging field of contemporary Black British writing and performance. I encourage students to explore voices that exist beyond mainstream narratives as underpinned by my teaching of classical critical principles.

Convener for the MA in Contemporary African Theatre and Performance

“The spirit of South East London infects anyone who comes here in a very positive way.”

Professor Osita Okagbue was educated and has taught in both Nigeria and the UK. He brings a wealth of international experience and knowledge to his teaching and community work. Specialising in African and postcolonial theatre and performance, he is founding President of the African Theatre Association and founding Editor of African Performance Review. Through Collective Artists, a local community theatre company in South East London, he engages young people in theatre that addresses issues surrounding African diasporic identity in the UK.

“Goldsmiths is a unique place to teach, where the students challenge the teacher, and its location in South East London reflects the dynamic cultural mix of the city. Through my work, I aim to make Goldsmiths a regular place for local communities to watch and engage with relevant theatre and performance.

“My greatest wish is to use my work to contribute to the local community, especially the African diaspora community which is the focus of my research in terms of how ideas and notions of home and belonging are articulated and negotiated. Secondly, I wish to help to bridge the gap or remove the boundary between the university and the local community.”

“South East London – Lewisham, Lambeth and Southwark in particular - represent very well the eclectic and dynamic cultural mix of cosmopolitan London. It is a home from home for the many ethnic groups living here, and hence it’s a wonderful place to live and work. Its spirit infects anyone who comes here in a very positive way.”

Modules and structure

The degree is made up of:

  • two compulsory core modules;
  • two options, which you're expected to choose;
  • a dissertation.

Core modules

Code Module title Credits
tbc Historicising the Field 30 CATs

This module examines the representational presence of black people in Britain (noting the aporia in such an undertaking), to trace the lines of descent and tradition that connect writers and performers across time and place. The module reviews the past via a problematised continuum to ascertain how mainstream or canonical culture is altered in centralising traditionally marginalised or neglected perspectives.

It asks: What were the formative conditions of production and reception for early black writers and artists in Britain? What part do retrospective historical novels, poetry, visual arts, or drama play in retrieving and reviving past times, to re-circulate and celebrate marginalised voices?

tbc Interculturality, Text, Poetics 30 CATs

This module explores interpretative theories of interculturality including creolisation, poetics of relation, postcolonialism and carnivalisation in relation to Black British and Caribbean poetics, performativity, and discourses such as humanism and globalisation. The module investigates the aesthetics that emerge from the creative concern to articulate a profoundly interconnected world, and possibilities other than the nation. It examines how oral and literary texts, forms and genres within this body of writing through consolidation and experimentation, illustrate distinctive features of interculturality and syncretism.

tbc Dissertation 60 CATs

‌As part of the module, you're expected to read widely and to attend a range of performances across genres: theatre, spoken-word, performance poetry, and film that relate to Black British cultural production.


Option modules

Code Module title Credits
tbc Genre and Aesthetics 30 CATs

This module evaluates the degree to which Western, Euro-centric theoretical frameworks (to name two), fit or contort reception of Black British writing and performance. Through a survey of sources of critical languages: reviews, theatre criticism, and academic scholarship, you participate in the task of evolving an inter-referential methodology that can meet the demands of writing that slips between, and re-works literary genres and performance traditions, considering texts as printed and performed embodiments of words.

tbc Caribbean Women and Representation 30 CATs

Studies the historical, social, political and cultural developments in Caribbean women’s writing from 1830 to the present, with particular reference to issues of representation of self and society. Questions of representation of plantation experience, with reference to historical beginnings and consideration of the woman in slave narrative, the novel and the engendering of history linked to issues of text and testimony are explored, including the ‘plantation-plot dichotomy’ and women in the post-slavery period.

various Other option modules 30 or 60 CATs

You can choose from any other available option in the Department of Theatre and Performance and the Department of English and Comparative Literature.

Skills and Careers

Careers

The MA’s design allows for a diverse range of applications of its contents to careers including education, counselling, community arts, arts practice, social services, cultural organisations, or towards research degrees (MPhil; PhD).

Our courses consolidate the influential presence of contemporary Black British writing. It is recognised as both intrinsic to conceptions of British cultural heritage but also distinctive within the body of British writing.

Skills

You will develop transferable writing and oral skills at a high academic level, demonstrating the ability to think and work in an interdisciplinary manner using a range of methodologies. Your ability to work collaboratively and to facilitate and participate in group discussions will be enhanced. You will also develop skills in identifying the socio-cultural, historical, political and literary issues that shape and impact upon contemporary literary and performance texts.

We are oriented towards serving your individual goals and aspirations for self-development; it will generate an articulable body of transferable knowledge and skills.

Besides developing your knowledge of best current research methods and of facts and concepts specific to the featured field of study, the proposed programme will offer training in: discerning vital literary and dramatic roots; recognising how the dynamics of creative and cultural movements interrelate; exchanging information effectively within a variety of intellectual, creative arts, and local communities.

Suggested preliminary reading

Genre and Aesthetics

Core Texts
  • Adebayo, Mojisola. Moj of the Antarctic in Osborne, 2008
  • Agbaje, Bola. Gone Too Far! London: Methuen, 2007
  • Agyemang, Kofi. and Elcock, Patricia. Urban Afro Saxons in Osborne, 2012
  • Anim-Addo. Joan. Imoinda London: Mango Press, 2010
  • Beadle-Blair, Rikki. Bashment London: Oberon, 2005
  • Booker, Malika. Absolution in Osborne, 2012
  • Daley, Dona. Blest Be the Tie London: Royal Court Theatre, 2004
  • Ellams, Inua. Black T-Shirt Collection London: Oberon, 2012
  • Ikoli, Tunde. Scrape Off the Black (1995) London: Oberon, 1998 
  • Kay, Jackie. The Adoption Papers Northumberland: Bloodaxe, 1991
  • Kwei-Armah, Kwame. Elmina’s Kitchen London: Methuen, 2003
  • Kwei-Armah, Kwame. Fix Up London: Methuen, 2004
  • Mason-John, Valerie. Sin Dykes in Brown Girl in the Ring: Plays, Prose and Poems London: Get a Grip, 1999 49-90.
  • Mason-John, Valerie. Brown Girl in the Ring in Osborne, 2008
  • Osborne, Deirdre. ed. Hidden Gems London: Oberon, 2008.
  • Osborne, Deirdre. ed. Hidden Gems Vol. II London: Oberon, 2012.
  • Pinnock, Winsome. One Under London: Faber and Faber, 2005.
  • River, Sol B. To Rahtid in Plays London: Oberon, 1997
  • Sissay, Lemn. Something Dark in Osborne, 2008
  • Solanke, Ade. Pandora’s Box London: Methuen, 2012.
  • SuAndi The Story of M in 4 For More Manchester: artBLacklive, 2002
  • SuAndi. Mary Seacole in Osborne, 2012
  • Tucker Green, Debbie. born bad London: Nick Hern Books, 2003.
  • Tucker Green, Debbie. trade London: Nick Hern Books, 2005.      
  • Tucker Green, Debbie. random London: Nick Hern Books, 2008.
  • Williams, Roy. Sing Yer Heart Out for the Lads London: Methuen, 2002.
  • Williams, Roy. Fall Out London: Methuen, 2003. 
Indicative Secondary Reading:
  • Alexander, Claire E. The Art of Being Black: The Creation of Black British Youth Identities Oxford: Oxford University Press, 1996.
  • Ali, Suki. Mixed-Race, Post-Race: Gender, New Ethnicities and Cultural Practices Oxford: Berg, 2003.
  • Alibhai-Brown, Yasmin. “Black art can be bad, just as art by whites”, The Independent 5th February, 2005.
  • Anzaldua, Gloria. Borderlands/ La Frontera : The New Mestiza San Francisco: Aunt Lute Books, 1987,1999.
  • Arana, R. Victoria. ed. “Black” British Aesthetics Today Newcastle-upon -Tyne: Cambridge Scholars Publishing, 2007.  
  • Arana, R. Victoria. Dictionary of Literary Biography: Twenty-First-Century ‘Black’ British Writing, Vol. 347. Sumter, South Carolina:  Bruccoli, Clark, and Layman; & Detroit, Michigan: Gale Research Company, 2009.
  • Arana, R. Victoria and Ramey, Lauri. eds. Black British Writing New York: Palgrave Macmillan, 2004.
  • Armstrong, Isobel. The Radical Aesthetic. Oxford: Blackwell Publishers, 2000.
  • Anderson, Lisa M. Black Feminism in Contemporary Drama. Urbana and Chicago: University of Illinois Press, 2008.
  • Aston, Elaine. ed. Feminist Theatre Voices Loughborough: Loughborough Theatre Texts, 1997.
  • Aston, Elaine and Harris, Geraldine. eds Feminist Futures?: Theatre, Performance, Theory New York: Palgrave Macmillan, 2006.
  • Back, Les. ‘Voices of hate, sounds of hybridity: Black music and the complexities of racism’, Black Music Research Journal, 20.2: 2000. 127-49.
  • Baker, Bernadette. “What Is Voice? Issues of Identity and Representation in the Framing of Reviews” Review of Educational Research Vol.69, No. 4 1999. 365-83.
  • Bakhtin, M.M./ V.N. Volosinov. Marxism and the Philosophy of Language L. Matejka and I.R. Titunik (trans.), Cambridge MA and London: Harvard University Press, 1986.
  • Baldwin, James. The Price of the Ticket: Collected Non-fiction (1948-1985) London: Michael Joseph, 1985.
  • Bharucha, Rustom. Theatre and the World : Performance and the Politics of Culture London and New York: Routledge, 1993.
  • Black and White in Colour: Black People in British Television Since 1936 Directed by Isaac Julien BFI/BBC2, 1992.
  • Black British Style Written and presented by Gigi Morley, directed by Robby Reddy MAP TV/BBC, 2004.
  • Bourdieu, Pierre. Distinction: A Social Critique of the Judgment of Taste. London: Routledge, (1979), 1993.
  • Bromley, Roger. Narratives for a New Belonging Edinburgh: Edinburgh University Press, 2000.
  • Butler, Judith. Giving An Account of Oneself New York: Fordham University press, 2005.
  • Chambers, Colin. Black and Asian Theatre in Britain: A History London and New York: Routledge, 2011.
  • Croft, Susan. Black and Asian Performance at the Theatre Museum: A User’s Guide Theatre Museum: London, 2002.
  • Culler, A. Dwight. ‘Monodrama and the Dramatic Monologue’ PMLA 90, (1975), 366-85 
  • D’Aguiar, Fred. ‘Against Black British Literature’ in Butcher, Maggie. ed. Tibisiri: Caribbean Writers and Critics Sydney: Dangaroo Press, 1989. 106-14
  • Damasio, Antonio. The Feeling of What Happens: Body, Emotion and the Making of Consciousness London: Vintage, 2000.
  • Davis, Geoffrey. and Fuchs, Anna. eds. Staging New Britain: Aspects of Black and Asian British Theatre Practice Oxford: Peter Lang, 2006. 
  • Donnell, Alison. ed. Companion to Contemporary Black British Culture London and New York: Routledge, 2001. 
  • Elam, Keir. “Tempo’s Sickle: Rapping, Zapping, Toasting, and Trekking through History in Black British Drama”, The Yearbook of English Studies Vol.25 1995 173-98
  • Eldridge, Michael. “The Rise and Fall of Black Britain” Transition No.74 1997 32-43
  • Gainor, Ellen J. ed. Imperialism and Theatre: Essays on World Theatre, Drama and Performance London: Routledge, 1995. 
  • Gilroy, Paul. After Empire: Melancholia or Carnival Culture? London: Routledge, 2004.
  • Goddard, Lynette. Staging Black Feminisms: Identity, Politics, Performance
  • Hampshire, GB and New York: Palgrave Macmillan, 2007.
  • Godiwala, Dimple. ed. Alternatives Within the Mainstream: British Black and Asian Theatre  Cambridge: Cambridge Scholars Press, 2006.
  • Grabner, Cornelia. “Is Performance Poetry Dead?”, Poetry Review Vol.97 No.2 Summer, 2007. 78- 82.
  • Griffin, Gabriele. Contemporary Black and Asian Women Playwrights in Britain London: Cambridge University Press, 2003.
  • Grosvenor, Ian. Assimilating Identities London: Lawrence and Wishart, 1997.
  • Gruzinski, Serge. The Mestizo Mind: the Intellectual Dynamics of Colonization and Globalization Trans. Debe Dusinberre. London and New York: Routledge, 2002.
  • Gunning, Dave. “Anti-Racism, the Nation-State and Contemporary Black British Literature”, The Journal of Commonwealth Literature Vol.39 No.2 2004. 29-43. 
  • Hooks, Bell. Black Looks: Race and Representation Boston, MA: South End Press, 1992.
  • Houswitschka, Christoph. “Introduction”, eds. Christoph Houswitschka and Anja Muller-Muth CDE Contemporary Drama in English Vol.12 Trier: Wissenschaftlicher Verlag Trier, 2005. 9-24.
  • Hunt, Celia. and Sampson, Fiona. The Self on the Page: Theory and Practice of Creative Writing in Personal Development London: Jessica Kingsley Publishers, 1998.
  • Jantjes, Gavin. ‘The Long March From “Ethnic Arts” to “New Internationalism”’ in Owusu (2000) 265-70.
  • Kean, Danuta. ed. Free Verse: Publishing Opportunities for Black and Asian Poets London: Spread the Word, 2006.
  • Low, Gail. and Wynne-Davies, Marion. A black British canon? Basingstoke: Palgrave Macmillan, 2006.
  • McMillan, Michael. The Front Room; Migrant Aesthetics in the Home London: Black Dog Publishing Ltd., 2009. 
  • McLeod, John. “Some Problems with ‘British’ in a ‘Black British Canon’”, Wasafiri Issue 36, Summer 2002. 56-59. 
  • Mama, Amina. Beyond the Masks: Race, Gender and Subjectivity London and New York: Routledge, 1995.
  • Mason-John, Valerie. ed. Talking Black: Lesbians of African and Asian Descent Speak Out London: Cassell, 1995.
  • Mason-John, Valerie and Khambatta, Ann. eds. Lesbians Talk: Making Black Waves London: Scarlet Press, 1993.
  • Mercer, Kobena. Welcome to the Jungle: New Positions in Black Cultural Studies London and New York: Routledge, 1994.
  • Mirza, Heidi Safia. ed. Black British Feminism: A Reader London and New York: Routledge, 1997.
  • Mollon, Phil. Multiple Selves, Multiple Voices: Working with Trauma, Violation and Dissociation Sussex: John Wiley and Sons, 1999.
  • Nelson, Hilde Lindemann. Damaged Identities: Narrative Repair Ithaca and London: Cornell University Press, 2001.
  • Newland, Courttia. and Sesay, Kadija. eds. IC3: An Anthology of Black British Writing London: Penguin Books, 2000.
  • Ong, Walter, “Word as Sound”, Landmark Essays on Voice and Writing, Peter Elbow ed. Hermagoras Press: Davis, California, 1994, 19-34.
  • Osborne, Deirdre. ‘The State of the Nation: Contemporary Black British Theatre and the Staging of the UK’ in Houswitschka and Muller-Muth eds. 2005. 129-149.
  • Osborne, Deirdre. ‘Not “in-yer-face” but what lies beneath: experiential and aesthetic inroads in the drama of debbie tucker green and Dona Daley’ in Arana ed. 2007. 222-242. 
  • Osborne, Deirdre, “ ‘I ain’t British though / Yes you are. You’re as English as I am’: Belonging and
  • Unbelonging in Black British Drama”, in Ulrike Lindner, Maren Mohring, Mark Stein and Silke Strothe eds, Hybrid Cultures, Nervous States: Britain and Germany in a (Post)Colonial World Amsterdam & New York: Rodopi, 2010, 203-227.
  • Owusu, Kwesi. ed. Black British Culture and Society: a Text Reader London and New York: Routledge, 2000.
  • Pearson, John. “The Politics of Framing in the Late Nineteenth Century”, Mosaic 23.1 1990. 15-30.
  • Phillips, Mike. “Re-writing Black Britain”, Wasafiri Issue 36, Summer 2002 62-4
  • Procter, James. Dwelling Places: Postwar Black British Writing Manchester: Manchester University Press, 2003.
  • Rahier, Jean Muteba. Representations of Blackness and the Performance of Identities Westport, Connecticut: Bergin & Garvey, 1999.
  • Rapi, Nina. and Chowdhry, Maya. eds. Acts of Passion: Sexuality, Gender and Performance New York and London: Harrington Park Press, 1998.
  • Reichl, Susanne. Cultures in the Contact Zone: Ethnic Semiosis in Black British Literature Trier: WVT Wissenschaftlicher Verlag Trier, 2002. 
  • Roberts, Maureen. “Does the Writer Have a Responsibility to Their Community?”, Wasafiri No.41, Spring, 2004. 3-7
  • Sesay, Kadija. ed. Write Black, Write British: From Post Colonial to Black British Literature Hertford: Hansib, 2005
  • Severin, Laura. Poetry Off the Page Hants, England: Ashgate, 2004.
  • Sierz, Aleks. “Sources for the study of contemporary theatre”, Studies in Theatre and Performance Vol.20., No.3. 196-204.
  • Sinfield, Alan. Dramatic Monologues London: Methuen, 1977.
  • Stein, Mark. Black British Literature: Novels of Transformation Columbus: The Ohio State University Press, 2004.
  • Stephenson, Heidi. and Langridge, Natasha. eds. Rage and Reason: Women Playwrights on Playwriting  London: Methuen, 1997.
  • Tales From the Front Room Produced and directed by Zimena Percival, BBC, 2006.
  • Tizard, Barbara. and Phoenix, Ann. Black, White or Mixed Race: Race and Racism in the Lives of Young People of Mixed Parentage London and New York: Routledge, 1993.
  • Tompsett, A. Ruth. ed. Performing Arts International Special Issue: ‘Black Theatre in Britain’. Vol. 1., Part 2. 1996.
  • Turp, Maggie. Hidden Self-Harm: Narratives from Psychotherapy London and Philadelphia: Jessica Kingsley Publishers, 2003.
  • Ugwu, Catherine. ed. Let’s Get It On: The Politics of Black Performance London: ICA, 1995. 
  • Winnicott, D.W. The Maturational Processes and the Facilitating Environment London: Hogarth, 1965.
  • Wisker, Gina. Post-Colonial and African American Women’s Writing London: Macmillan Press, 2000.
A Selection of Useful Websites – operative at the time of writing
  • www.applesandsnakes.org – England’s leading organisation for performance poetry.
  • http://english.chass.ncsu.edu/jouvert/v3i3/willia.htm – ‘A State of Perpetual Wandering’: Diaspora and Black British Writers” Bronwyn T. Williams 
  • www.blackartists.org.uk – The site for the longest running black arts organisation in the UK, New Black Arts Alliance (formerly Black Arts Alliance)
  • www.blacknet.co.uk – A cultural events website
  • www.futurehistories.org.uk – National repository of African, Asian and Caribbean Performing Arts in the UK (Nitro, Black Theatre Forum and Moti Roti archives)
  • www.nitro.co.uk – Leading black music theatre

Caribbean Women and Representation

Core Texts
  • Allfrey, Phyllis. The Orchid House, London: Virago, 1990.
  • Bennett, Louise.  Jamaica Labrish, Kingston: Sangsters Book Stores, 1982.
  • Brand, Dionne. A Map to the Door of No Return, Toronto: Doubleday, 2001.
  • Brodber, Erna. Jane and Louisa Will Soon Come Home, London: New Beacon, 1980.
  • Chancy, Myriam. The Hills of Haiti. London: Mango Publlishing, 2002.
  • Cliff, Michelle. No Telephone to Heaven, New York: Vintage, 1989.
  • Collins, Merle. The Colour of Forgetting, London: Women’s Press, 1995.
  • Condé Maryse.  I, Tituba Black Witch of Salem,  translated by Richard Philcox, London. Faber. 2000.
  • Condé Maryse. A Season in Rihata, trans. Richard Philcox, London: Heinemann, 1988.
  • Danticat, Edwidge. Breath, Eyes, Memory, London. Abacus. 1995.
  • de Avellaneda, Gertrudis Gómez. Sab: an Autobiography, trans. Nina M. Scott, Univ. of Texas Press, 1993.[1841]
  • Edgell, Zee. Beka Lamb, London. Heinemann Educational. 1982. 1986.  
  • Ferguson, Moira. ed., The History of Mary Prince, A West Indian Slave, Related by Herself, London: Pandora, 1987.
  • Gilroy, Beryl. Inkle and Yarico, Leeds: Peepal Tree Press, 1996.
  • Goodison, Lorna. I am Becoming My Mother, London: New Beacon, 1994.
  • Kincaid, Jamaica. At the Bottom of the River, London: Pan Books, 1984.
  • Kincaid, Jamaica. Annie John, New York: Farrar Strauss, 1985.
  • Morejon, Nancy. Black Woman and Other Poems / Mujer negra y otros poemas, translated by Jean Andrews, London: Mango Publishing.
  • Paravisini-Gebert. L and Carmen Esteves, Green Cane abd Juicy Flotsam, Rutgers University Press, 1995.
  • Persaud, Lakshmi. Butterfly in the Wind, Leeds: Peepal Tree Press, 1990.
  • Philip, M. Nourbese. She Tries Her Tongue Her Silence Softly Breaks, London: Women’s Press, 1993.  
  • Powell, Patricia. The Pagoda , London: Heinemann, 2001.
  • Rhys, Jean. Wide Sargasso Sea, London: Penguin, 1968.
  • Riley, Joan, Waiting in the Twilight): London: Women’s Press, 1987.
  • Schwarz-Bart, Simone, Bridge of Beyond, trans. Barbara Bray, London: Heinemann, 1982.
  • Seacole, Mary,The Wonderful Adventures of Mrs Seacole in Many Lands, [1857], 1984.
  • Senior, Olive,  Arrival of the Snake Woman, Essex: Longmans, 1989.
  • Wynter, Sylvia, Hills of Hebron, Longmans, 1984.
  • Yanez, Mirta, ed., Making A Scene: Cuban Women’s Stories, London: Mango Publishing, 2002.
Indicative Secondary and General Texts
  • Anim-Addo, Joan, Framing The Word: Gender and Genre in Caribbean Women’s Writing, London: Whiting & Birch, 1996.
  • Ardener, Shirley, Women and Space: Ground Rules and Social Maps, London: Croom Helm, 1981.
  • Armstrong, Nancy, Desire and Domestic Fiction: A Political History of the Novel, New York: Oxford University Press, 1987.
  • Blunt, Alison and Gillian Rose, eds., Writing Women and Space: Colonial and Postcolonial Geographies, New York: Guilford Press, 1994.
  • Boyce-Davies, Carole, and Elaine Savory Fido, eds., Out of the Kumbla, Trentton, New Jersey, Africa World Press, 1990. 
  • Chancy, Myriam  J. A.,  Framing Silence: Revolutionary Novels by Haitian Women, New Jersey: Rutgers University Press, 1997.
  • Chamberlin, J, Edward, Come Back to Me Language, Urbana and Chicago: University of Illinois Press, 1993
  • Condé, Mary and Thorunn Lonsdale eds., Caribbean Women Writers: Fiction in English, Hampshire & London: Macmillan, 1999.
  • Condé, Maryse, I Tituba, Black Witch of Salem, trans. Richard Philcox. Foreword by Angela Davis, Afterword by Ann Armstrong Scarboro. CARAF Books. Charlottesville and London: University Press of Virginia, 1992.
  • Cooper, Carolyn, Noises in the Blood: Orality, Gender and the ‘Vulgar’ Body of Jamaican Popular Culture, London: Macmillan, 1993.
  • Cudjoe, Selwyn R, Caribbean Women Writers, Massachusetts: Calaloux Publications, 1990.
  • Davies, Carole Boyce, Black Women, Writing and Identity: Migrations of the Subject, London & New York: Routledge, 1994.
  • Davies, Catherine, A Place In The Sun? Women Writers in Twentieth-Century Cuba, London & New Jersey: Zed Books, 1998.
  • Dubey, Madhu, Black Women Novelists and the Nationalist Aesthetic, Bloomington & Indianapolis: Indiana University Press, 1994.
  • Harris, Wilson, Tradition, The Writer and Society: Critical Essays, London: New Beacon, 1973.
  • Hooks, bell, Outlaw Culture: Resisting Representations, London: Routledge, 1994.
  • Jones, Anny Brooksbank and Catherine Davies eds., Latin American Women’s Writing: Feminist Readings in Theory and Crisis, Oxford: Oxford University Press, 1996.
  • Juneja, Renu, Caribbean Transaction: West Indian Culture in Literature, London: Macmillan, 1996.
  • Leo-Rhynie, Elsa, Barbara Bailey & Christine Barrow, eds., Gender: A Caribbean Multi-Disciplinary Perspective, Kingston: Ian Randle & Oxford: James Currey, 1977.
  • Momsen, Janet H., ed., Women and Change in the Caribbean, London: James Currey; Kingston: Ian Randle & Bloomington: Indiana University Press, 1993.
  • O’Callaghan, Evelyn, Woman Version: Theoretical Approaches To West Indian Fiction by Women, London & Basingstoke: Macmillan, 1993.
  • Paravisini-Gebert, Lizabeth, Phyllis Shand Allfrey: A Caribbean Life, Rutgers University Press, 1996.
  • Wilson, Elizabeth, The Portrayal of the Woman in the Works of Francophone African and Caribbean Women Writers, Michigan:  Michigan State University, 1985.
  • Wilson-Tagoe, Nana, Historical Thought and Literary Representation in West Indian Literature, Gainesville: University Press of Florida, Barbados: Press of the University of the West Indies, & Oxford: James Currey, 1998.

What people are saying about the degree

“A Master’s degree programme that enables the serious study of the creative and artistic history and achievement of black British novelists, poets, short story writers, essayists, and playwrights.” Professor R. Victoria Arana, Howard University, Washington DC   

“I fully endorse this course because I believe in its intellectual and cultural necessity.” Kwame Kwei-Armah, playwright and Artistic Director, Centerstage, Baltimore

“From my hundreds of visits to schools, colleges and libraries in the last ten years or so, I know there is a hunger out there for black British writing. This course will add to the fabric of British literature.” Alex Wheatle MBE, novelist

“A landmark for Black culture.” Hannah Pool, journalist

“It will produce path-breaking research and creative production based on this programme’s design, setting and leadership.” Professor Lauri Ramey, California State University


Content last modified: 12 Mar 2014

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