On my intervention I will elaborate on Black Vancouver’s Afroperipheralism and urban experience through critical analysis of Wayde Compton’s The Outer Harbour, a short story collection in which characters and the urban space merge to make narrative exploring identity, place, gentrification and racism through blueprints, grant applications and straight prose. Places speak in the way that they
... [Show full abstract] shape us.
The key element of the collection is the geological development of a volcanic island in Vancouver’s harbor and how different individuals and collectives claim this space throughout a twenty-four years span, becoming the site for a radical First Nations, to a luxury apartment tower and finally a prison for illegal immigrants. This claiming for a racialized space in the city stems from the invisibilization and uprootedness of the black community after the demolition of Hogan’s Alley, the only black neighborhood, during the urban renewal of the 1970s. This claims for local Canadian, Vancouverite roots, far from the Pan-African discourse and writing against elision by the national narrative is reflected on the dis/embodied urban encounters, the use of holograms and the superimposition of racialized imaginary spaces and alternative realities in the actual space of the city through live action role playing-games. Finally, the confusion of holograms with immigrants reveal the nation-state discourse failure to recognize racialized bodies in the post-colonial world.
Stemming from urban theories of space such as David Harvey’s 9-way matrix, Edward Soja’s Thirdspace, Doreen Massey’s progressive sense of place and Odile Hoffman’s vision of spatial capital, I will analyze the dis/location of the racialized body in the city and the performance of-through urban space to disrupt the dominant metanarrative reflected in Compton’s work and I will develop the concept of Afroperipheralism from a former assimilationist community demanding a place of their own in the national narrative.