Nalo hopkinson biography for kids
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Women’s History Month – Nalo Hopkinson
Nalo Hopkinson, born in Jamaica, has lived in Jamaica, Trinidad and Guyana and for 35 years in Canada. (1) She was raised in a literary environment; her mother was a library technician and her father a Guyanese poet, playwright and actor who also taught English and Latin. bygd virtue of this upbringing, Hopkinson had access to writers like Derek Walcott during her formative years, and could read Kurt Vonnegut’s works by age six. Hopkinson’s writing fryst vatten influenced bygd the fairy and människor tales she read at a ung age, which included Afro-Caribbean stories like Anansi, as well as Western works like Gulliver’s Travels, the Iliad, the Odyssey (2)
As an author, Hopkinson often uses themes of Caribbean folklore, Afro-Caribbean culture, and feminism. She is historically conscious and uses knowledge from growing up in Caribbean communities in her writing, including the use of Creole and character backgrounds from Caribbean countries inclu
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Nalo Hopkinson
Jamaican Canadian writer (born 1960)
Nalo Hopkinson (born 20 December 1960) is a Jamaican-born Canadian speculative fiction writer and editor. Her novels – Brown Girl in the Ring (1998), Midnight Robber (2000), The Salt Roads (2003), The New Moon's Arms (2007) – and short stories such as those in her collection Skin Folk (2001) often draw on Caribbean history and language, and its traditions of oral and written storytelling.
Hopkinson has edited two fiction anthologies: Whispers from the Cotton Tree Root: Caribbean Fabulist Fiction and Mojo: Conjure Stories. She was the co-editor with Uppinder Mehan of the 2004 anthology So Long Been Dreaming: Postcolonial Visions of the Future, and with Geoff Ryman co-edited Tesseracts 9.
Hopkinson defended George Elliott Clarke's novel Whylah Falls on the CBC's Canada Reads 2002. She was the curator of Six Impossible Things, an audio series of Canadian fantastical fiction on CBC Radio One.
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As a genre, speculative fiction challenges the preconceptions we’ve internalized about what is known, what is possible, whose experiences are important. From the most frivolous story to the most rigorous, it does so by stepping outside the borders of reality to imagine alternate ways of being. As such, it can be an extremely important mode of fiction for audiences, authors, and communities that experience institutionalized oppression. It’s certainly been the genre that allowed me to find my voice, my courage as a queer, Black woman writer living with the legacy of colonization. It’s given me new paradigms in a world that sorely needs them, and the conceptual tools with which to consider them. Reading and writing in this mode has brought me so much joy, hope, wonder, intellectual engagement, and artistic delight. It is my privilege when I can bring readers any of those gifts. Yet for all its revolutionary potential, speculative fiction—science fiction, fantasy, horror, etc.—are frequ