Thiefing Sugar Quotes

“No Language not only imagines a sexual politics as West Indian as the Caribbean Sea but also charts complex relationships between eroticism, colonialism, militarism, resistance, revolution, poverty, despair, fullness, and hope that explore the pliability necessary to imagine Caribbean same-sex loving politics differently, postcolonially. Myriam Chancy, in the first study of Brand’s poetry, writes her artistic vision as a rescripting of traditional poetics into poelitics: “A fusion of politics and poetry that recalls Lorde, who once wrote of the transformative power of poetry as ‘a revelatory distillation of experience’ and as an act of fusion between ‘true knowledge’ and ‘lasting action.’ ”8 Brand vocalizes quite lucidly the threat that this infusion of politics into poetics poses to both revolutionary and neocolonial Caribbean thinkers: “To dream about a Black woman, even an old Black woman, is dangerous even in a Black dream, an old dream, a Black woman’s dream, even in a dream where you are the dreamer,” she writes of reactions to her black lesbian feminist revolutionary artistic work by Marxists and conservatives alike. “Even in a Black dream, where I, too, am a dreamer, a lesbian is suspect; a woman is suspect even to other women, especially if she dreams of women.”
― Omise'eke Natasha Tinsley, Thiefing Sugar: Eroticism between Women in Caribbean Literature

“North American LGBT activists, wedded to epistemologies of the closet, often implicitly or explicitly equate this culture of semivisibility with the Global South’s lack of progress. In Sirena Selena, the Puerto Rican novelist Mayra Santos-Febres parodies the North’s conflation of “developing” nations’ electrical power outages and their lack of sexual enlightenment through the words of a Canadian tourist in Santo Domingo. He sighs, “I don’t want to criticize, you know — with all the problems these islands have, it’s understandable that they’re less evolved. . . . You can’t compare our problems with the atrocities a gay man has to face in these countries. . . . It’s all hanky-panky in the dark, like in the fifties in Canada.”5 But the “dark” or semivisibility of Caribbean same-sex sexuality can be something other than a blackout. It can also read as the “tender and beautiful” night that Ida Faubert imagines in “Tropical Night,” a space of alternative vision that nurtures both eroticism and resistance. The tactically obscured has been crucial to Caribbean and North American slave societies, in which dances, ceremonies, sexual encounters, abortions, and slave revolts all took place under the cover of night. Calling on this different understanding of the half seen, Édouard Glissant exhorts scholars engaging Caribbean cultures to leave behind desires for transparency and instead approach with respect for opacity: a mode of seeing in which the difference of the other is neither completely visible nor completely hidden, neither overexposed nor erased.6 The difference that Glissant asks us to (half ) look at is certainly not that of sexuality (since it is never mentioned) nor of gender (since he includes in his work a diatribe against feminism).”
― Omise'eke Natasha Tinsley, Thiefing Sugar: Eroticism between Women in Caribbean Literature

“North American LGBT activists, wedded to epistemologies of the closet, often implicitly or explicitly equate this culture of semivisibility with the Global South’s lack of progress. In Sirena Selena, the Puerto Rican novelist Mayra Santos-Febres parodies the North’s conflation of “developing” nations’ electrical power outages and their lack of sexual enlightenment through the words of a Canadian tourist in Santo Domingo. He sighs, “I don’t want to criticize, you know — with all the problems these islands have, it’s understandable that they’re less evolved. . . . You can’t compare our problems with the atrocities a gay man has to face in these countries. . . . It’s all hanky-panky in the dark, like in the fifties in Canada.”
― Omise'eke Natasha Tinsley, Thiefing Sugar: Eroticism between Women in Caribbean Literature

“What undercuts the power of women’s anger in the end is not the melancholy that Butler charts, but material realities — economics, not psychology. While Em fantasizes about the possibility of Afro- and Euro-Jamaican women building partnerships to work for each other, she seems to understand that she has no concrete possibilities for realizing this fantasy in 1920s Jamaica.”
― Omise'eke Natasha Tinsley, Thiefing Sugar: Eroticism between Women in Caribbean Literature

“the specter of sexual miscegenation lurks tantalizingly. Details of Long’s description suggest that this luxurious scene may be one in which not only white women’s identification but also their desire veers off course, circulating among black women when it should go straight to white men. Long’s association of black women and transgressive sexuality throughout his text — his worries that slaves’ promiscuity may corrupt white women from breast-feeding onward — construct black female bodies as contaminants that infect surrounding bodies with unruly sexuality.38”
― Omise'eke Natasha Tinsley, Thiefing Sugar: Eroticism between Women in Caribbean Literature

“erotic autonomy, on how same-sex eroticism enters into the history of sexual labor in the Caribbean as a practice by which women take control of sexuality as a resource they share with each other.”
― Omise'eke Natasha Tinsley, Thiefing Sugar: Eroticism between Women in Caribbean Literature