Caribbean Eyes

Author(s):  
William Ghosh

Travel writing in English has historically been seen as a genre in which British travellers visit and write about colonized places. This chapter, by contrast, reads a number of works in which Caribbean travellers describe their experiences in Africa. It examines Lamming’s Pleasures of Exile, V.S. Naipaul’s writings on Zaire and the Ivory Coast, Shiva Naipaul’s North of South, and Maryse Condé’s La Vie sans fards in detail. In these works, the writers revisit and revise the British tradition. Travel writing was a genre through which Caribbean writers thought through and articulated the position of the Caribbean within the new postcolonial world.

1969 ◽  
Vol 11 (2) ◽  
pp. 245-271 ◽  
Author(s):  
Roy Preiswerk

For the leaders and people of every new state of Asia, Africa and the Caribbean, independence has brought about a dramatic awakening with respect to the conceptualization of their position in world affairs. The loosening of ties with the metropolis, which had been the primary aim of the struggle for independence, suddenly appears in a double perspective. On the one hand, it contains the threat of distintegration of the established social and economic order and, on the other hand, it opens prospects for new bonds and opportunities. After decades or centuries of predominantly bilateral relationships between colony and metropolis, historical links are confronted with the pressures resulting from geographic proximity .The diversification of foreign contacts is a phenomenon of the very recent past. The leaders and inhabitants of Ghana and the Ivory Coast, Nigeria and Niger, Trinidad and Venezuela, or Guyana and Brazil are only now realizing the full impact of their relationship as neighbours.


Author(s):  
Gigi Adair

This chapter is the first of two on recent novels which rewrite and write back to key texts of anthropology. It first examines the way Kincaid’s 1996 novel conceptualizes postcolonial kinship and its understanding of the destruction, perversion and exploitation of intimate bonds by colonial rule. It then turns to the novel’s engagement with the tradition of ethnographic travel writing on the Caribbean, particularly that of Froude and Lévi-Strauss, to argue that the novel demonstrates the strategic use of a discourse of failure. By embracing, rather than rejecting, colonial accusations of civilizational lack in the Caribbean, the novel is able to effectively reflect back and thereby sabotage such imperialist ideologies. Nonetheless, the limits of this strategy of become clear in the novel’s imagination of the figure of Xuela’s Carib mother. Here, the novel’s embrace of a discourse of failure echoes, rather than undermines, colonial and anthropological accounts of Caribbean indigenous groups and their supposedly inevitable demise, and thus it also partly reproduces the ethnographic gaze.


1991 ◽  
Vol 18 ◽  
pp. 137-141
Author(s):  
P.E.H. Hair

Writing in the 1590s about Sierra Leone, André Alvares de Almada, a Cape Verde Islands trader who had probably at one time visited Sierra Leone, commended its peoples for being “unfriendly to the English and French,” not least by fighting John Hawkins—the latter remark obviously a reference to Hawkins' well-known visit in 1567/68. But when did the French visit Sierra Leone? Elsewhere I have cited the evidence for three French voyages to the Sierra Leone estuary in the later 1560s, probably in 1565, 1566, and 1567. I now analyze archive material published in two French works that appeared long ago but are probably little known to Africanists, since both concentrate on voyages to the Americas. The first source calendars items in the registres de tabellionage (notarial registers) of the Normandy port of Honfleur relating to intercontinental voyages, the items being mainly financial agreements made before or after voyages. Dates, names of ships, and destinations are supplied for the period from 1574 to 1621: what proportion of all intercontinental voyages from Honfleur during that period is represented in the registers is uncertain. But in the eleven years between 1574 and 1584, there are recorded 24 voyages to both Guinea and America, the ships proceeding across the Atlantic from Africa. The American destination is usually described as “Indes de Pérou,” meaning the Caribbean. The African destination of 15 named vessels making 19 voyages is “Serlione” or “coste de Serlion,” in 15 instances given singly, otherwise with the addition of “et Guinée,” “et Guinée et coste de Bonnes-Gens,” or “et cap de Vert et coste de Mina.” The remaining voyages were to “Guinée,” to “cap de Vert [Cape Verde, i.e. Senegal],” to “cap des Bonnes-Gens” [Ivory Coast], or to more than one of these.


Popular Music ◽  
2000 ◽  
Vol 19 (3) ◽  
pp. 265-292 ◽  
Author(s):  
Kenneth Bilby

IntroductionBorn in mortal opposition to the peculiarly modern forms of slavery that helped to usher in a new era of European world domination, the Maroon societies of the Americas have long provided theorists of identity operating in the realm that has come to be known as the Black Atlantic with a potent symbolic currency. Nowhere has this currency acquired higher value than in the Caribbean region, where questions of identity are so fundamentally bound up with histories of plantation slavery.The runaway slave has had a special place in the literature of the anglophone Caribbean; and francophone, hispanophone and Dutch-speaking Caribbean writers have all displayed a similar fascination with the Maroon epic. In more recent times, popular music – a medium that has played a primary role in the constitution of a truly diasporic sense of identity spanning the Black Atlantic – has helped to carry consciousness of a heroic Maroon past across the globe. Both practitioners of Caribbean (or other Afro-American) popular musics and those who write about them continue to reference the Maroons of yore, often tracing the rebellious thrust of much of today's music to these original Black warriors, whose defiant spirit, it is felt, continues to inhabit and motivate the collective memory (Aly 1988, pp. 55–7, 65; Zips 1993, 1994; Leymarie 1994).


2011 ◽  
Vol 8 (1) ◽  
pp. 237-251
Author(s):  
LESLIE BUTLER

In the winter of 1859, the Boston poet Julia Ward Howe sailed for Cuba; and in the winter of 1860, Ticknor and Fields published an account of her travel.A Trip to Cubaappeared only months after the same firm had published Richard Henry Dana's story of his “vacation voyage,”To Cuba and Back. These two narratives responded to a burgeoning American interest in the Caribbean island that promised recuperation to American invalids and adventure for military “filibusters.” Howe's narrative demonstrated a self-conscious familiarity with antebellum travel writing more broadly, however, as she playfully resisted yet ultimately upheld various conventions of a genre that had become a staple of the American literary marketplace. “I do not know why all celebrated people who write books of travel begin by describing their days of seasickness,” she noted, before discussing her own shipboard illness. She followed similar cues as she blended elements of autobiography, the social sketch, nature writing, and political and social commentary. Across 250 “sprightly” pages, readers were offered a familiar melange of humorous portraits, detailed descriptions of “foreign” institutions, and extensive commentary on local customs and social mores.


Author(s):  
Angelique V. Nixon

This chapter considers the work of three Caribbean writers Michelle Cliff, Oonya Kempadoo, and Christian Campbell, who grapple with the complexity of culture, race, and sex within the overwhelming context of neocolonial tourism and globalization. Cliff’s novel No Telephone to Heaven represents post-independence Jamaica from the 1960s to the 1980s during the rise of tourism as the model for development. The novel carefully exposes the exploitative cultural and sexual consumption of the Caribbean through representing the ways in which Jamaica and its people are packaged and sold in the film and tourist industries. Kempadoo’s novel’s Tide Running offers a seductive challenge to neocolonialism through a sharp critique of the sexual and cultural politics of tourism and the adverse effects of globalization on the island of Tobago. Through subtle and powerful metaphors, Campbell’s poems, “Groove” and “Welcome Centre” reveal the profound influence of tourism on Caribbean sexual and cultural identity, unsilencing the sexual/gendered aspects of tourist exploitation in the Bahamas.


Author(s):  
Hannah Regis

This paper argues that a selection of Caribbean writers has engaged an aesthetic that spotlights the idea of a living or divine landscape through a deployment of folkloric, mythological, magical or spiritual epistemological frames. This aesthetic foregrounds the expansive possibilities of nature and other life forms in the wake of empire and global modernity. By an engagement with these tools, the creative writer deconstructs the limits of colonial ecological damage and modern-day agricultural devastation, while simultaneously affirming the Caribbean landscape as an active and creative agent within articulations of community and belonging. Through a blend of eco-criticism as examined by Elizabeth DeLoughrey and Wilson Harris's formulations of the "living landscapes" and Caribbean mythologies, this essay seeks to interrogate the manner in which Caribbean poet, Olive Senior, consciously deploys the literary imagination as a platform to plant seeds of reform and activism in the trail of environmental destruction. Senior accomplishes this through notions of mythic time and space that are unfettered by monolithic ideologies and linearity. This signposts an effort to posit a reliance on a spirit-infused universe—a deeply felt ideology which is pivotal to acts of environmental healing and societal recuperation.


Author(s):  
Tilar J. Mazzeo

This article examines Samuel Taylor Coleridge's travels. It suggests that Coleridge's passion for travel and travel writing began in his small-town childhood, where he passed the first decade of his life never voyaging more than a dozen miles from his hometown. The article discusses Coleridge's travel to Wales in 1794, to the British Midlands in 1796, to Germany from 1798 to 1799, to the Caribbean and the Continent from 1800 to 1802, and to Italy and Malta from 1804 to 1806.


Sign in / Sign up

Export Citation Format

Share Document