Louis J. Parascandola and Carl A. Wade, eds, Eric Walrond: The Critical Heritage. Kingston: University West Indies Press, 2012. 246 pp.a superb and comprehensive collection scholarship, Eric Walrond: The Critical Heritage makes an invaluable contribution to Caribbean, American, African diaspora, British, and Latin American literary studies, and to the study literature generally, because Eric Walrond was a journalist and literary writer singular calibre who lived in and portrayed these regions with keen attention to cultural specificity and a no-holds-barred critique human and power relations.A migrant many times over, Walrond was a quintessentially international black subject, and an outsider in nearly all the many places he lived. Born in 1898 in British Guiana, Walrond migrated with his mother first to Barbados in 1906 when his father went to Panama and ceased supporting the family, then to Panama in 1910 in search his father. As a Guyanese in Barbados, he was derided as a mud-head; in Colon (the setting many his works) he was black and British among colour-conscious Panamanians, in the segregated world the US Canal Zone, and the divided, multinational Canal workforce. In 1918, having established himself as a journalist in Panama, he arrived in Brooklyn - where he was West Indian, among (US) African-Americans and black in a white-dominated society. Yet, despite significant racial discrimination, Walrond rose quickly. By 1925 he had moved to Harlem, where in addition to publishing short stories, he was editor the National Urban League's journal Opportunity. He reached the pinnacle his public recognition in 1926, with the publication his masterpiece Tropic Death,1 which depicted in virtuoso high modernist aesthetics, the impossible combination horror, tragedy and beauty that characterised the lives Afrodescended people in Latin America and the Caribbean archipelago. Tropic Death won for Walrond the Harmon Award, a Guggenheim fellowship, and a scholarship to the University Wisconsin. Then in 1929, Walrond boarded a boat to England and disappeared from the scholarly radar.There was virtually no scholarship on Walrond until Kenneth Ramchand's 1970 Savacou article calling for recognition Walrond as one the most imaginative and technically accomplished writers ever to come out of the Caribbean (34).2 Then again silence, until 1988, when Robert Bone dedicated a chapter his book on the Afro-American short story to Walrond, presenting Tropic Death as a notable achievement the Harlem Renaissance (34).3 Then again, silence until 1999. However, since 2000 (mostly since 2010), more than ten articles have been published, in addition to the eight original essays in this collection - and James Davis's biography Walrond is forthcoming. Walrond had to wait nearly ninety years after the publication Tropic Death, but finally the scholarly world is taking note his great significance.As Parascandola and Wade explain, Walrond has become visible in the twenty-first century because American and African-American studies have become transnational fields - and, I would add, because Caribbean studies has addressed its close relations to Latin America and Latin American studies is now placing more emphasis on race and Afro-descended peoples. The surge in Walrond studies would not have happened without critique the nationalist framework for literary and cultural studies. However, little new scholarship could have been written without the painstaking work Parascandola and Wade. With his 1998 Walrond reader,4 Parascandola laid the foundations for this new generation scholarship by republishing a broad selection Walrond's work, including stories from Tropic Death. Parascandola and Wade's 2011 collaboration on Walrond's later writings3 presented unknown journalism and fiction Walrond wrote after leaving the United States, including a significant corpus fiction and essays published in the 19 50s in Roundway Review when Walrond was a patient in the Roundway (psychiatric) hospital in Wiltshire, UK. …