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The abolitionist debate, which peaked in Britain in the 1780s and '90s, elicited a number of works by black authors. These texts exhibit features which suggest that their authors were developing a diasporan consciousness, a sense of a community defining itself in contradistinction to a larger hegemony. Black voices obviously had been heard before in English writing; one thinks of more than just Othello or Oroonoko (see, for instance, Walvin, The Black Presence, Shyllon, and Dabydeen). From the appearance of the very first Portuguese, Dutch, and English chronicles of visits to the African west coast, from the fifteenth and sixteenth centuries onwards, sporadic attempts were made to record the thoughts and sayings of blacks. Their voices, however, are usually no more than asides in the colonial narrative. Such passages are invariably of the "they say" variety and, though one may sometimes detect what sounds like a genuine cadence or whisper of a non-Western point of view, these cannot demonstrably be proven to be other than fictitious. By the late eighteenth century such mediated accounts, either totally or partially fictitious, had become a major feature of abolitionist literature, as Wylie Sypher and many others since have shown.

Social work education and interventions with Black African families are frequently impaired because of structural discrimination and racism. Rooted in rich empirical work with practitioners and educators, this urgent, scholarly and accessible book emphasises that 'Black Lives Matter'.

"In this book of textual and cultural studies, Myriam J.A. Chancy focuses on the tropes of transnationalism, testimony and transmission within African diasporic texts. Not a work simply concerned with "racial rehabilitation" or "inclusion" within the dominant discourses of North America and Western Europe, it intends to serve as an intervention in race, Caribbean, African diasporic, and cultural studies by providing a radically new model for a culturally imbedded reading practice of contemporary works by African and African diasporic artists. Its purpose is to reveal the contributions to ontology that such artists deploy. In developing this approach, Chancy revisits the concept of "interpretive communities" from a distinctively African diasporic point of view. She uses concepts derived from contemporary philosophical approaches to subjectivity that revise-and mostly discard-Hegelian principles in order to assert less Eurocentric approaches. Building from these, she develops her neologism autochthonomy (aw-tok-ton-nuh-mee), which describes a practice of subjectivity and agency employed by African diasporic artists. Those artists chosen for this study bring together the experiences, movements, and knowledge of populations of African descent both on the continent and dispersed throughout Europe and the Americans in order to emphasize transnational interactions between African cultural producers and sites."--

Social work education and interventions with Black African families are frequently impaired because of discrimination, racism and the structuring priorities of neoliberalism. Rooted in rich and fascinating empirical work with practitioners and educators, this urgent, scholarly and accessible book emphasises that 'Black Lives Matter'. Intent on nurturing more progressive and pluralistic practices in pedagogy and practice, the book is a timely and significant contribution seeking to remake social work approaches to issues of 'race', racism and social justice.

"In this book of textual and cultural studies, Myriam J.A. Chancy focuses on the tropes of transnationalism, testimony and transmission within African diasporic texts. Not a work simply concerned with "racial rehabilitation" or "inclusion" within the dominant discourses of North America and Western Europe, it intends to serve as an intervention in race, Caribbean, African diasporic, and cultural studies by providing a radically new model for a culturally imbedded reading practice of contemporary works by African and African diasporic artists. Its purpose is to reveal the contributions to ontology that such artists deploy. In developing this approach, Chancy revisits the concept of "interpretive communities" from a distinctively African diasporic point of view. She uses concepts derived from contemporary philosophical approaches to subjectivity that revise-and mostly discard-Hegelian principles in order to assert less Eurocentric approaches. Building from these, she develops her neologism autochthonomy (aw-tok-ton-nuh-mee), which describes a practice of subjectivity and agency employed by African diasporic artists. Those artists chosen for this study bring together the experiences, movements, and knowledge of populations of African descent both on the continent and dispersed throughout Europe and the Americans in order to emphasize transnational interactions between African cultural producers and sites."--