By April Shemak
Supplying the 1st interdisciplinary examine of refugees within the Caribbean, principal the United States, and the us, Asylum audio system relates present theoretical debates approximately hospitality and cosmopolitanism to the particular stipulations of refugees. In doing so, the writer weighs the questions of fact valueassociated with numerous modes of witnessing to discover the functionality of testimonial discourse in developing refugee subjectivity in New international cultural and political formations. by means of analyzing literary works by way of such writers as Edwidge Danticat, Nikl Payen, Kamau Brathwaite, Francisco Goldman, Julia Alvarez, Ivonne Lamazares, and Cecilia Rodr¡guez Milans, theoretical paintings through Jacques Derrida, Edouard Glissant, and Wilson Harris, in addition to human rights records, govt files, images, and ancient reviews, Asylum audio system constructs a posh photo of recent global refugees that expands present discussions of diaspora and migration, demonstrating that the peripheral nature of refugee testimonial narratives calls for us to reshape the bounds of U.S. ethnic and postcolonial reviews.
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Additional info for Asylum Speakers: Caribbean Refugees and Testimonial Discourse
119 Translation is particularly relevant for refugees because to be cast out of a nation often means being forced to encounter a foreign language. To require a translation means that a refugee does not “naturally” belong to a host nation and thus highlights the refugee’s alterity. As they negotiate between “native” and “foreign” languages, translators carry the suspicion of impeding communication or intentionally misleading one or both agents in the linguistic transaction. Thus, translators become caught in a linguistic field of allegiance, betrayal, and lie.
Asylum process. ” I draw upon Harris’s notion of the “limbo gateway” to analyze how writers attempt to narrate the often-silenced transnational experiences of Haitian refugees, who exist as “limbo citizens” outside the boundaries of the nation-state. In Nikòl Payen’s autobiographical essays “Lavalas” and “Something in the Water . . Reflections of a People’s Journey,” translation becomes a limbo space of unmaking and remaking language and meaning for Haitian asylum seekers detained at Guantánamo.
Well-Founded Fear reveals the extreme weight that is placed upon the clarity and linearity of the story an applicant tells, a process that cleanses individual’s stories of the havoc that trauma, stress, and memory can wreak and also reveals the economic bias of the asylum process. The documentary depicts how asylum officers attempt to bring order to the disorder that refugee testimonies represent. One way of doing this is by categorizing them and placing them into genres of what they have already heard—the “same tall tale”—so that specific traits are attributed to applicants from particular nations even though the asylum officer may have little knowledge of the region from which an applicant comes.