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"Morrison, Anthea"
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Reach to Golden Spring
Among major poets of the region who have memorably explored the place of the natural world in Caribbean-and in their own- experience, one might cite Derek Walcott, Aimé Césaire, Kamau Brathwaite, Edouard Glissant, Olive Senior and Mark McWatt (and this list is certainly not exhaustive). Specifically, for both Goodison and McWatt, learning to immerse oneself in river water, to overcome the terror of the unknown so as to confirm a necessary intimacy with one's native land, was a virtual rite of passage in childhood. The article chooses as an epigraph a section of the long poem that makes up Grace Nichols's Startling the Flying Fish (beginning with the words \"Mi dear, times hard / but things lush-lush here\"), the importance of which deCaires Narain underlines by stating that it \"acknowledges the enduring image of the land-as-Eden in Caribbean poetry but it does so with a knowing wariness [...] characteristic of women's poetry\" (41). The latter term, as well as the expression \"Before day morning,\" emblematic of her ability to marry Standard Jamaican English with Creole and with creative neologisms,5 confirms Jahan Ramazani's description of one aspect of Goodison's prodigious gift as \"the suppleness of her poetry's turns between Standard English and Jamaican Creole\" (560): Before day morning, at cockcrow and firstlight, our island is washed by the sea which has been cleaning itself down with foamweed and sponge.
Journal Article
“Remember Us in Motherland”: Africa Revisited in Goodison’s Oracabessa
Perhaps what it is essential to remember is that this discourse of identity allows for contradiction and also for changing emphases and attitudes. [...]in discussing Goodison's approach to Africa - the continent, its past and its present - I hope to trace a genealogy of this preoccupation in her work, and to nuance what might have initially seemed to be an Afrocentric position. (47) That the poem ends by reworking, in memorable style (the stone, though initially hidden from view, bears a seal difficult to erase), the mother-child trope frequently deployed to discuss the relation between the continent of origin and the Caribbean makes it clear, however, that the poet/persona can never leave Africa behind. [...]she will, if necessary, excavate the past on which her self-identification is based. [...]the nuanced portrayal of the young man who jumped from ship to city streets in \"O Lisboa,\" and who is memorable because he embodies both vulnerability and resilience, for he is boy and also barnacle. [...]the \"I\" of the last few lines of \"Remember Us in Motherland\" is the great granddaughter of the beloved, quasi-mythical Guinea woman, but also the \"ordinary\"9 [move to end of sentence] Jamaican who identifies, however tentatively, and without benefit of certified family tree, with African forebears.
Journal Article
Of Home Soil and Rainbows: Rooted Travelers in Curdela Forbes' \A Permanent Freedom\
The male protagonist of the \"Prologue\" will reappear several stories further on, if we are to be guided by the discreet clues linking the two texts. [...]the town-based visitor of the first story becomes the rooted traveler through urban landscape of the penultimate tale \"For Ishmael,\" a poignant narrative which in several ways seems antithetical to the relatively serene \"Prologue,\" but which deploys tropes indicating and supporting thematic continuities. For dream he does, of returning the soil to its source, \"... one day, when he got back to his own country, whenever that would be\" (157). [...]the yearning for home is a sometimes silenced subtext in this narrative of wandering. [...]were it not for the echoes of the \"Prologue,\" the reader might have no idea of the nationality of the protagonist, since there is little reference to Jamaica, Jamaicans, or to Jamaican place names. (164) J. seems drawn to particular individuals who share his sense of isolation, an isolation which may be that of the reluctant migrant barely skimming the surface of the new society which is his temporary home, but which may also evoke other, less easily definable solitudes. [...]the Jamaican priest establishes a crucial bond with another traveler, an African-American who seems no more at home in urban space than he, the father of the child to whom the title alludes.
Journal Article
'Americanité' or 'Antillanité'? Changing perspectives on identity in post-négritude Francophone Caribbean poetry
Analysis of Francophone Caribbean poetry focusing on the notions of Antillanité and Américanité as they relate to the work of Sonny Rupaire and Alfred Melon-Degras. The author emphasizes the varying impulses and allegiances which may confront the Francophone Caribbean writer wrestling with his identity.
Journal Article
Emancipating the Voice: Maryse Condé's \La vie scélérate\
The emancipation of the female voice is at the center of Maryse Conde's novel the \"Tree of Life.\" The \"muffled voice\" of the narrator at first submerged by the collective din is at the end liberated in a self-conscious reflection on the power of words.
Journal Article
Olive Senior's The Pain Tree: Tales of Flight and of Belonging
[...]she had endured in silence the news that the son who had volunteered to fight in a distant war was lost at sea: I can still see myself reading to Larissa about the loss of Zebedee Breeze. The brief narrative \"Coal\", for example, recalls the colonial phenomenon of West Indians volunteering to go off to join \"the Contingent\", to fight in a distant European war; the historical context lends poignancy to the sudden disappearance of the orphaned Vincent called \"Boy\", who leaves the two women (Sarah and her long-time employee Doll) who had given him a home wondering if he too has gone \"Over There\": This boy dead. There is also an element of farce as well as pathos in the scene describing Mrs F's final casting out of the young competitor/niece Rose, in a memorable if manufactured drama complete with conveniently missing jewellery and difficult-to-close suitcase thrown in the front yard: \"She [Rose] found herself pitched out of the house by Mrs F, her bag and belongings following, till every single individual item of clothing or whatever else she possessed was scattered across the paved forecourt of the Fennel's neo-Georgian home\" (136). According to the grandmother YaYa, that ability was taken from him by a well-intentioned priest in what some - but not the voice of the community - would call an exorcism, taken from him at the behest of his mother, a decisive step which has left his entire young life unmoored, without purpose.
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