Lucayos -- Issue 2 -- Water

full name / name of organization: 
The College of The Bahamas, School of English Studies
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A journal published by The College of The Bahamas
School of English Studies


Lucayos is looking for submissions of papers 20-25 pages in length on art, film, literature and culture of the postcolonial world. The journal also invites submissions of creative pieces, specifically poetry, life writing, essays, and short stories. Submit works in full by March 30, 2010.

Submissions may be made in three ways: directly to the journal's
website ( after registering an account; by email to; or by post to Lucayos, School of English Studies, The College of The Bahamas, P.O. Box N-4912, Nassau, Bahamas. Please include a 100 word bio with submissions.

ISSUE 2 -- Water

Water is the source of life. It enables existence, survival
fertility. It is a space of movement, creating communities and
cultures. It is a site of trade and transport, of transactions of goods services and people. A site of cross-cultural encounters, it
bridges differences of class, ethnicity, race, religion and gender. It
is a location of possibility, affording opportunity for new ways of
seeing and being. Travelling on, through, over or under water has
forever altered the way we perceive our world, our planet. It is
revered, a sacred space, a signifier of the spirit, and the sublime.
Its influence on our material and spiritual selves is represented in
texts and testimonials of all sorts, in art, film, literature, media,

Water is its own paradox. It can be both literal and metaphoric
bridge, yet often constitutes a physical and cultural barrier. It can
impede the unfortunate traveler, individual or tribe. Bodies of water
which traditional ferried people and goods to and from their homelands
have undergone radical changes as technology, complicit in humankind's
insatiable thirst for progress (or what the West has defined as
progress), has forever altered the flow of water in counties,
countries, continents. Its scarcity heralds increasing tensions among
ethnic and national communities. It is, as it has always been, both
source and site of conflict. History, variously defined, attests to
that. How then does the artist represent the Manichean character of
water? How does the artist celebrate its beauty while conscious of
its power and ability to consume, destroy? How does the postcolonial
scholar read water's claim on identity formation? What, the, is an
"Is/land"? How does water complicate our ability to articulate who we
are? How does the writer re-conceptualise water? How does the artist
represent the problematic relationship of people to water?

Possible points of departure:

  • Islands
  • Birth and Baptism
  • Tidal Movements
  • Rivers and Transition
  • Spirits and Myths of the Sea
  • Lakes and Ponds
  • Life under Water
  • Flood
  • Waves
  • Rain and Snow
  • Voyages
  • Beaches