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Dr. Jerry Ward on Edwidge Danticat

[By Jerry W. Ward, Jr]

It is hard to classify Edwidge Danticat,
to map where her imagination is located between the future and the past. She writes well.  This adverbial compliment identifies her as a
successful rebel. She satisfies the demands of commerce and undermines those demands
in her critiques of banality.

Is she an American writer?
Yes. She writes in and about the
Americas.
Is she a Haitian writer?
Yes. 
She knows the anatomy of the womb wherein the primal horror of her
native land gestated. Aimé Césaire”s Cahier d’un retour au pays natal enjoys
conversations with her works.

Is she a Caribbean writer?
Yes. 
She is aware that the beauty of Nature and human nature is malevolent
and compassionate.
Is she an African American writer?
Enjoy the pleasure of paradox: no and
yes.
Branding is less important than the
quality of the product offered for consumption.
Read The Dew Breaker.  New York: Alfred A. Knopf, 2004.
The interrelated tales in The Dew
Breaker cast light on why some contemporary fiction writers have minimized the
traditional formats of the novel. They want to intensify the reader’s
participation in constructing the knowledge that a story can offer. They expose
the value of narratology. As a meditation on the physical and spiritual
aspects of torture, Danticat’s book invites us to think profoundly about why
terrorism and pain are slightly more attractive than peace and love, especially
if we are dealing with the subject of torture in transnational historical
spaces.