"Set within the Caribbean, Panama, the united states, and England, [Walrond’s] fiction captures the reviews of working-class peoples, usually migrants, as they confront the depredations of colonialism, racial prejudice, and fiscal exploitation. . . . an important and engaging collection."--African American Review

"Brings jointly a few attention-grabbing items of fiction and non-fiction through this Guyana-born, Barbados- and Panama-bred author."--New West Indian Guide

"Forms a part of a steady rehabilitation of Walrond’s paintings that has been happening in fresh years."--Caribbean evaluation of Books

"Place[s] Walrond squarely at the map. . . . looking for Asylum couldn't have arrived at a extra propitious time."--sx salon

"A big breakthrough for black diaspora and black transnational literary studies."--Gary Edward Holcomb, writer of Claude McKay, Code identify Sasha

"Fills an important void in our knowing of the lifestyles and literary profession of Eric Walrond. via accumulating, for the 1st time, the writings Walrond produced following his departure from the U.S. in 1928, Parascandola and Wade have performed students a wealthy service."--Heather Hathaway, writer of Caribbean Waves

Eric Walrond is without doubt one of the nice underexamined figures of the Harlem Renaissance and the Caribbean diaspora. little or no of his later paintings has been therefore released or made on hand to American students. His writings, set within the Caribbean, the USA, and Europe, talk about imperialism, racism, the function of the black author, black id, and immigration--all subject matters of important hindrance today.

Born in British Guiana (now Guyana), Walrond moved to long island urban in 1918 the place he labored in short for Marcus Garvey and have become a protégé of Charles S. Johnson. in the course of that point, he wrote brief fiction in addition to nonfiction and won a degree of reputation for his 1926 assortment, Tropic Death.

In seek of Asylum compiles Walrond’s ecu journalism and later fiction, in addition to the items he wrote in the course of the Nineteen Fifties at Roundway sanatorium in Wiltshire, England, the place he was once a voluntary sufferer. Louis Parascandola and Carl Wade have assembled a suite that eventually fills within the biographical gaps in Walrond’s lifestyles, delivering insights into the contours of his later paintings and the cultural climates within which he functioned among 1928 and his demise in 1966.