Evidence for this claim can be drawn from Martine's suicide, seen as a tragic exhibition of freedom, releasing her body, and mind, from its past traumas [i].

Finally, Danticat's work, The Farming of Bones, speaks to the stories of those who survived the 1937 massacre, and the effects of that trauma on Haitian identity [iv].

Scholars agree that Danticat manages her relationship with her Haitian history and her bicultural identity through her works by creating a new space within the political sphere.

In Breath, Eyes, Memory, Danticat employs the "idea of mobile traditions" as a means of creating new space for Haitian identity in America, one that is neither a "happy hybridity" nor an "unproblematic creolization" of Flatbush Brooklyn (28) [ix].

Suggestive of the Haitian literary movement Indigenism, in which works sought to connect to the land of Haiti and the "plight of the peasant class" (55) [x], Sophie's complex reality in Breath, Eyes, Memory encapsulates the transnational experience (61) [x].

Translations of Breath, Eyes, Memory, especially those in France, contain slight alterations and "clumsy" replacement of creol/Caribbean terms that shift the empowered stance of Danticat's works to one of victimization, mirroring the fight authors face for a new political space in which dual Caribbean identity is accepted (68) [x].

demonstrates "a symbolic weaving together" of her works and the transnational communities, including "Haitians, immigrants, women, [and] mothers and daughters," that she attempts to unite (75) [xi].

Danticat's short stories uphold an undivided experience, one that politically aligns itself with an "egalitarian regime of rights and the rule of law" (81) [xi].

She believes it provides readers with an inside look and feel of Haiti's cultural legacy, practices related to Lent, its Carnival, and the Haitian Revolution.

The New York Times has remarked on Danticat's ability to create a "moving portrait and a vivid illustration" as an "accomplished novelist and memoirist".

Published in 2015 by Penguin Random House, the children's book tells "a touching tale of parent-child separation and immigration...with stirring illustrations...and shows how every child has the power to make a difference.

"[26] A review in The New York Times said that Mama's Nightingale "will inspire not just empathy for the struggles of childhood immigration, but admiration" of Danticat and Staub, too.

Girl Rising was defined by The Washington Post as "a lengthy, highly effective PSA designed to kickstart a commitment to getting proper education for all young women, all over the globe".

"[30] NPR positively reviewed Create Dangerously and the journey through "looming loss [which] makes every detail and person to whom we are introduced more luminous and precious.

The Dew Breaker is a collection of short stories that can either be read together or separately, and detail the intermingled lives of different people in Haiti and New York.

Writing in The New York Times, Michiko Kakutani said: "Each tale in 'Dew Breaker' can stand on its own beautifully made story, but they come together as jigsaw-puzzle pieces to create a picture of this man's terrible history and his and his victims' afterlife.

Brother, I'm Dying is an autobiographical novel that tells her story of being in Haiti and moving to the United States, falling in love, and having a child.

For Jess Row of The New York Times, it is "giving us a memoir whose cleareyed prose and unflinching adherence to the facts conceal an astringent undercurrent of melancholy, a mixture of homesickness and homelessness".

is a collection of short stories of women in Haiti, their trials and tribulations, which The Washington Post Book World called: "virtually flawless.

It tells the story of a girl, a child of rape, as she moves from Haiti to New York City and discovering the traumatic experience her mother endured, and many other women did.