Abstract:This paper analyzes Dionne Brand's novel Love Enough (2014) and Wayde Compton's short-story collection The Outer Harbour (2014) through a theoretical framework that establishes a three-way conversation with Rosi Braidotti's thinking on the interconnection of space, subjectivity, and ethical consciousness; Wayde Compton's theorization of black Canadian spatiality in terms of what he calls "assertive Afroperipheralism"; and Hortense Spillers's notion of black diasporic culture. It suggests that within a postmodern scenario of apocalyptic crises and generalized awareness of failing illusions, these works spell out a new black diasporic actuality in the cities of Vancouver and Toronto by connecting current theoretical speculations on the achievement of equality and environmental sustainability to specific social realities.

中文翻译：

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加拿大本土城市的非洲外围主义与黑人流散文化的转换：康普顿的外港和布兰德的爱够了

摘要：本文通过与 Rosi Braidotti 关于空间、主体性和相互联系的思考建立三向对话的理论框架，分析了 Dionne Brand 的小说 Love Enough (2014) 和 Wayde Compton 的短篇小说集 The Outer Harbor (2014)。伦理意识；韦德·康普顿 (Wayde Compton) 以他所谓的“自信的非洲外围主义”(assertive Afroperipheralism) 对加拿大黑人空间性的理论化；和 Hortense Spillers 的黑人流散文化概念。它表明，在世界末日危机和对失败幻觉的普遍意识的后现代情景中，