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Conceptual Residues of Imperialist Ruination
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Journal Article
Conceptual Residues of Imperialist Ruination
2020
Overview
The necessary confrontation with the epistemological legacy of imperialism is one of the main interventions of postcolonial criticism.1 For postcolonial ecocritic Elizabeth DeLoughrey, imperialism led to, among other things, conceptual corrosion: the \"erasure of indigenous knowledges\" (and knowledge systems) and the \"erection of a hierarchy of species\" (\"Ecocriticism\" 265). The idea of the Caribbean woman as 'miracle worker' is suggested in the ability to \"make something from nothing,\" but it also calls up the biblical Creation story, whereby the world was created from nothing.3 In this regard, there is not only a creative impulse associated with 'making do,' as expressed in the description of \"cutting, carving and contriving,\" but also a transformative imagination to see value where others saw nothingness or worthlessness. In Black Sand, Baugh ironically begins with \"End Poem,\" in which, as I have argued before,4 he \"signals the importance of using poetry to shine light on the left-behind-life's detritus, 'the rubbish heap of history,' if you may, on which Caribbean creative endeavour thrives-making 'rubble' and 'weed' 'central tropes of creative expression'\" (Bucknor). The diction here in the phrase \"strike music\" connotatively implies 'striking gold,' more in line with Walcott's idea of the \"Adamic elation\" of a creative breakthrough, as opposed to a Christopher Columbus colonial mode of discovery (\"Muse\" 36-37): [A]nd when that daring song tower falls, may goats and children know delight poking round each rubble height and sunlight strike bright music from shards of weed-grown walls.
