The Black Atlantic

Afrocentrism, Eurocentrism, Caribbean Studies, American Studies. To the forces of cultural nationalism trapped in their respective camps, this bold book sounds a liberating call. There is, Paul Gilroy tells us, a culture that is not specifically African, American, Caribbean, or British, but all of these at once; a black Atlantic culture whose themes and techniques transcend ethnicity and nationality to produce something new and, until now, unremarked. Challenging the practices and assumptions of cultural studies, The Black Atlantic also enriches our understanding of modernism.

In this ground-breaking work, Paul Gilroy proposes that the modern black experience can not be defined solely as African, American, Carribean or British alone, but can only be understand as a Black Atlantic culture that transcends ethnicity or nationality. This culture is thorough modern and, often, overlooked but can deeply enriches our understanding of what it means to be modern. This condition comes out of historical transoceanic experience, established first with the slave trade but later seen in the development of a transatlantic culture. And Gilroy takes us on a tour of the music that, for centuries, has transmitted racial messages and feeling around the world, from the Jubilee Singers in the nineteenth century to Jimi Hendrix to rap. He also explores this internationalism as it is manifested in black writing from the "double consciousness" of W. E. B. Du Bois to the "double vision" of Richard Wright to the compelling voice of Toni Morrison. As a consequence, Black Atlantic charts the formation of a nationalism, if not a nation, within this shared, disasporic culture.

In this ground-breaking work, Paul Gilroy proposes that the modern black experience can not be defined solely as African, American, Carribean or British alone, but can only be understand as a Black Atlantic culture that transcends ethnicity or nationality. This culture is thorough modern and, often, overlooked but can deeply enriches our understanding of what it means to be modern. This condition comes out of historical transoceanic experience, established first with the slave trade but later seen in the development of a transatlantic culture. And Gilroy takes us on a tour of the music that, for centuries, has transmitted racial messages and feeling around the world, from the Jubilee Singers in the nineteenth century to Jimi Hendrix to rap. He also explores this internationalism as it is manifested in black writing from the "double consciousness" of W. E. B. Du Bois to the "double vision" of Richard Wright to the compelling voice of Toni Morrison. As a consequence, Black Atlantic charts the formation of a nationalism, if not a nation, within this shared, disasporic culture.