LEGACY OF SLAVERY IN LEON FOREST’S TWO WINGS TO VEIL MY FACE

Authors

  • Asha P R Reg. No:18223064012003, PhD Research Scholar, Department of English & Research Centre, Nesamony Memorial Christian College, Marthandam, Kanniyakumari District, Tamilnadu- 629 165. (Affiliated to Manonmaniam Sundaranar University, Abishakepatti, Trinelveli- 627 012, Tamilnadu)
  • Dr R David Raja Bose Research Supervisor, Principal, St. Teresa Arts and Science College for Women, Mangalakundu, Kanniyakumari District, Tamilnadu- 629178 (Affiliated to Manonmaniam Sundaranar University, Abishekapatti, Trinelveli-627 012, Tamilnadu
  • Dr. S. Sunitha Co-Research Supervisor & Assistant Professor, Department of English & Research Centre, Nesamony Memorial Christian College, Marthandam, Kanniyakumari District, Tamilnadu- 629 165. (Affiliated to Manonmaniam Sundaranar University, Abishekapatti, Trinelveli-627 012, Tamilnadu

DOI:

https://doi.org/10.29121/shodhkosh.v5.i3.2024.2997

Keywords:

Identity, Family, History, Trauma, Redemption

Abstract [English]

Leon Forrest is one of the foremost African American novelists. He has always been concerned with the problem of identity, specifically the fragmented identity of man living in the postcolonial era. Such characterization is evident in his Forest County trilogy. This article attempts to demonstrate the legacy of slavery in Sweetie Reed, Nathaniel Witherspoon, and Angelina in Two Wings to Veil My Face. Social, historical, and psychological factors influence the misery and suffering of these Black slaves. They often engage in the struggle to find out their final image of self as they are entangled in the web of slavery and traumatic experiences of the community’s past.

References

Forrest, Leon. Two Wings to Veil My Face. Random House, 1983.

Freire, Paulo, Pedagogy of the Oppressed, Continuum, 1993

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Published

2024-03-31

How to Cite

Asha P R, Bose, D. R. D. R., & Sunitha, S. (2024). LEGACY OF SLAVERY IN LEON FOREST’S TWO WINGS TO VEIL MY FACE. ShodhKosh: Journal of Visual and Performing Arts, 5(3), 718–722. https://doi.org/10.29121/shodhkosh.v5.i3.2024.2997