I have reviewed (and summarised) this book extensively (see below) and so I will only talk about the new realisations I had during my reread.įirst and foremost, this time around, I read the book in its English translation. In 2020, I first read I, Tituba in the original French and fell in love with its titular character, the narrative as a whole, and the postcolonial practice of writing back that Maryse Condé, a Black writer from Guadeloupe, implemented in this book. In March 2007, Condé was the keynote speaker at Franklin College Switzerland's Caribbean Unbound III conference, in Lugano, Switzerland. She had previously taught at the University of California, Berkeley, UCLA, the Sorbonne, The University of Virginia, and the University of Nanterre. In 2004 she retired from Columbia University as Professor Emeritus of French. In addition to her writings, Condé had a distinguished academic career. In 1981, she divorced, but the following year married Richard Philcox, English language translator of most of her novels.Ĭondé's novels explore racial, gender, and cultural issues in a variety of historical eras and locales, including the Salem witch trials in I, Tituba: Black Witch of Salem and the 19th century Bambara Empire of Mali in Segu. After graduating, she taught in Guinea, Ghana, and Senegal. In 1959, she married Mamadou Condé, an Guinean actor. In 1953, her parents sent her to study at Lycée Fénelon and Sorbonne in Paris, where she majored in English. Maryse Condé was born as Maryse Boucolon at Pointe-à-Pitre, Guadeloupe, the youngest of eight children. Maryse Condé is a Guadeloupean, French language author of historical fiction, best known for her novel Segu.
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