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In a time of persistent uncertainty, fragile eco-structures, the politics of populism, and limits in institutional leadership, The Caribbean on the Edge acts as an analytical roadmap to a challenging era of globalization for the countries on the edge of history in the Caribbean, those often at a policy standstill pondering which way and how to turn. Winston Dookeran traces ideas that have evolved in development and diplomacy over the last decade to identify the path for new analytical leadership. The Caribbean on the Edge deeply engages the political issues involved in development, governance, and diplomacy. Examining various schools of thought that influence policy choices, The Caribbean on the Edge discusses new approaches and risk factors that are aligned with the current realities in the region. Above all, this book is about the development of a new mindset that will usher in a radical shift in thinking, policy, and practice in order to unlock the paralysis of a Caribbean on the edge.

Songs of The Tiger Lillies, a \"punk cabaret\" group from London, entered the Polish-speaking culture mostly through the translations by Roman Kołakowski. Translation formed just one of many fields of artistic activity of Kołakowski, who was also a poet, a songwriter, a performer, and a theatre director. There exists, however, a striking contrast between the style of the Kołakowski's own oeuvre and his translation choices. His poetry is mostly religious, patriotic, marked by a solemn tone and elevated register, while The Tiger Lillies delight in ridicule, irony, and perversion, mocking religion in an almost blasphemous way. The paper is an attempt at analysing this contrast and searching for its assumed sources. The target texts are found to be marked by significant semantic and stylistic modifications when compared to the original songs. Amplification of religious tropes and of negative views on modern society is identified as the main form of the translator's interventions. Based on the comparison of Kołakowski's translations with his own poetry, it is posited that their ostensible discrepancy may be explained by perceiving the translations as a subsidiary field of artistic expression, where the translator pursues his interests in grimmer aspects of morality and society, expressing them in a form that would not be coherent with his own poetry. Consequently, Kołakowski's translations of The Tiger Lillies' songs are considered appropriations in a sense that the translational choices are directed by the translator's own interests, ideological stance, and sensibilities, rather than by any attempted equivalence with the source texts. It is to be hoped that the paper will form an invitation to further investigations of translational agency in the field of song translation.