Évelyne Trouillot – författare

Lisette, a Saint-Domingue-born Creole slave and daughter of an African-born bossale, has inherited not only the condition of slavery but the traumatic memory of the Middle Passage as well. The stories told to her by her grandmother and godmother, including the horrific voyage aboard the infamous slave ship Rosalie, have become part of her own story, the one she tells in this haunting novel by the acclaimed Haitian writer Évelyne Trouillot.Inspired by the colonial tale of an African midwife who kept a cord of some seventy knots, each one marking a child she had killed at birth, the novel transports us back to Saint-Domingue, before it became Haiti. The year is 1750, and a rash of poisonings is sowing fear among the plantation masters, already unsettled by the unrest caused by Makandal, the legendary Maroon leader. Through this tumultuous time, Lisette struggles to maintain her dignity and to imagine a future for her unborn child. In telling Lisette’s story, Trouillot gives the revolution that will soon rock the island a human face and at long last sheds light on the invisible women and men of Haitian history.The original French edition of Rosalie l’infÂme received the Prix Soroptimist de la romanciÈre francophone, honoring a novel written by a woman from a French-speaking country which showcases the cultural and literary diversity of the French-speaking world.

Winner of the prestigious Prix Carbet--an award won by such distinguished authors as Maryse Condé, Jamaica Kincaid, and Raphaël Confiant-- Memory at Bay is now available in an English translation that brings to life this powerful novel by one of Haiti’s most vital authors, Évelyne Trouillot. Trouillot introduces us to a bedridden widow of a notorious dictator (in effect, a portrait of Papa Doc Duvalier) and the young émigré who attends to her needs but who harbors a secret--the bitter loss she feels for her mother, a victim of the dictator’s atrocities. The story that unfolds is a deftly plotted psychological drama in which the two women in turn relive their radically contrasting accounts of the dictator’s regime. Partly a retelling of Haiti’s nightmarish history under Duvalier, and partly an exploration of the power of memory, Trouillot’s novel takes a suspenseful turn when the aide contemplates murdering the old widow. Memory at Bay was praised by the Prix Carbet committee for the way it treats the enigmas of destiny and for a pairing of characters whose voices bring the narrative to the edge of the ineffable.

The newest English translation of one of Haiti’s most powerful literary voicesDÉsirÉe Congo is a riveting, powerful, and profoundly original novel set in the final years of the Haitian Revolution at the dawn of the nineteenth century. In this richly textured work, Trouillot—one of the leading voices of the francophone literary world—constructs an intricate narrative web from the varied experiences of freedmen and women, maroons, enslaved African people and their Creole children, as well as French planters and white smallholders in colonial Saint-Domingue at a historical moment of unthinkable upheaval. It is a moving, lyrical book whose strikingly realized characters enrich our understanding of the last confrontations between the Haitian revolutionaries and Napoleon’s imperial forces—a conflict that resulted in the success of the largest slave revolt in recorded history and the independence of the first Black state in the western hemisphere.

The newest English translation of one of Haiti’s most powerful literary voicesDÉsirÉe Congo is a riveting, powerful, and profoundly original novel set in the final years of the Haitian Revolution at the dawn of the nineteenth century. In this richly textured work, Trouillot—one of the leading voices of the francophone literary world—constructs an intricate narrative web from the varied experiences of freedmen and women, maroons, enslaved African people and their Creole children, as well as French planters and white smallholders in colonial Saint-Domingue at a historical moment of unthinkable upheaval. It is a moving, lyrical book whose strikingly realized characters enrich our understanding of the last confrontations between the Haitian revolutionaries and Napoleon’s imperial forces—a conflict that resulted in the success of the largest slave revolt in recorded history and the independence of the first Black state in the western hemisphere.

The newest English translation of one of Haiti’s most powerful literary voices Désirée Congo is a riveting, powerful, and profoundly original novel set in the final years of the Haitian Revolution at the dawn of the nineteenth century. In this richly textured work, Trouillot—one of the leading voices of the francophone literary world—constructs an intricate narrative web from the varied experiences of freedmen and women, maroons, enslaved African people and their Creole children, as well as French planters and white smallholders in colonial Saint-Domingue at a historical moment of unthinkable upheaval. It is a moving, lyrical book whose strikingly realized characters enrich our understanding of the last confrontations between the Haitian revolutionaries and Napoleon’s imperial forces—a conflict that resulted in the success of the largest slave revolt in recorded history and the independence of the first Black state in the western hemisphere.

What is home? The answer seems obvious. But Telling Our Stories of Home, an international collection of eleven plays by and about women from Lebanon, Haiti, Venezuela, Uganda, Palestine, Brazil, India, UK, and the US, complicates the answer.The "answer" includes stories as far-ranging as: enslaved women trying to create a home, one by any means necessary, and one in the ocean; siblings wrestling with their differing devotion to home after their mother’s death; a family wrestling with the government's refusal to allow the burial of their soldier-son in their hometown; a young scholar attempting to feel at home after studying abroad; a young man fleeing home due to his sexual orientation only to discover the difficulty of creating home elsewhere, and Siddis (Indians of African descent) continuing to struggle for acceptance despite having lived in India for over 600 years.These are voices seldom represented to a larger audience. The plays and performance pieces range from 20 to 90-minute pieces and include a mix of monologue, duologue, and ensemble plays. Short yet powerful, they allow fantastic performance opportunities particularly in an age of social-distancing with flexible casts that together invite the theme of home to be performed and studied on the page.The plays include: The House by Arzé Khodr (Lebanon), Happy by Kia Corthron (US), The Blue of the Island by Évelyne Trouillot (Haiti), Nine Lives by Zodwa Nyoni (UK), Leaving, but Can't Let Go by Lupe Gehrenbeck (Venezuela), Questions of Home by Doreen Baingana (Uganda), On the Last Day of Spring by Fidaa Zidan (Palestine) Letting Go and Moving On by Louella Dizon San Juan (US), Antimemories of an Interrupted Trip by Aldri Anunciação (Brazil), So Goes We by Jacqueline E. Lawton (US), and Those Who Live Here, Those Who Live There by Geeta P. Siddi and Girija P. Siddi (India)

What is home? The answer seems obvious. But Telling Our Stories of Home, an international collection of eleven plays by and about women from Lebanon, Haiti, Venezuela, Uganda, Palestine, Brazil, India, UK, and the US, complicates the answer.The "answer" includes stories as far-ranging as: enslaved women trying to create a home, one by any means necessary, and one in the ocean; siblings wrestling with their differing devotion to home after their mother’s death; a family wrestling with the government's refusal to allow the burial of their soldier-son in their hometown; a young scholar attempting to feel at home after studying abroad; a young man fleeing home due to his sexual orientation only to discover the difficulty of creating home elsewhere, and Siddis (Indians of African descent) continuing to struggle for acceptance despite having lived in India for over 600 years.These are voices seldom represented to a larger audience. The plays and performance pieces range from 20 to 90-minute pieces and include a mix of monologue, duologue, and ensemble plays. Short yet powerful, they allow fantastic performance opportunities particularly in an age of social-distancing with flexible casts that together invite the theme of home to be performed and studied on the page.The plays include: The House by Arzé Khodr (Lebanon), Happy by Kia Corthron (US), The Blue of the Island by Évelyne Trouillot (Haiti), Nine Lives by Zodwa Nyoni (UK), Leaving, but Can't Let Go by Lupe Gehrenbeck (Venezuela), Questions of Home by Doreen Baingana (Uganda), On the Last Day of Spring by Fidaa Zidan (Palestine) Letting Go and Moving On by Louella Dizon San Juan (US), Antimemories of an Interrupted Trip by Aldri Anunciação (Brazil), So Goes We by Jacqueline E. Lawton (US), and Those Who Live Here, Those Who Live There by Geeta P. Siddi and Girija P. Siddi (India)