Wilson Harris:

2021 ◽  
pp. 42-76
Keyword(s):  
Author(s):  
Hannah Lutchmansingh

This paper examines certain choices that Caribbean-born women make in forming and or rejecting connections to various foreign communities. Migration is examined as a stimulus to creative vision. By analyzing the literary evocations of Caribbean women’s struggle with issues of displacement, refusal and their desire to find a place of their own, this paper explores the psycho-social impacts of empire and exile on black female bodies. In the selected narratives, there is the possibility for liberation that is afforded through a spatialization of memory, which bears the potential to confront and exorcise buried hurts and anxieties. As such, specific focus is given to the correlation between material and spirit dimensions in Erna Brodber’s novel, Myal (1988) and Patricia Powell’s short-story, “Travelling” (2015). The inquiry demonstrates how a return to timeless and all-pervasive ancestral presences may lead to an awakening from spiritual paralysis of essentialist and material ideologies. Moreover, the project scrutinizes how a comingling of carnal and divine realms influences woman’s quality to forgive. This pursuit is achieved through a methodological approach of qualitative content analysis. Fittingly, it draws on mythic notions of time and collective memory, as espoused by Wilson Harris in The Womb of Space.


1995 ◽  
Vol 69 (1-2) ◽  
pp. 103-109
Author(s):  
A. James Arnold

[First paragraph]The Repeating Mand: The Caribbean and the Postmodern Perspective. ANTONIO BENITEZ-ROJO. Durham NC: Duke University Press, 1992. xi + 303 pp. (Cloth US$ 49.95, Paper US$ 15.95)Myth and History in Caribbean Fiction: Alejo Carpentier, Wilson Harris, and Edouard Glissant. BARBARA J. WEBB. Amherst: University of Massachusetts Press, 1992. x + 185 pp. (Cloth US$ 25.00)Caribbean literature has been overtaken of late by the quarrels that have pitted postmodernists against modernists in Europe and North America for the past twenty years. The modernists, faced with the fragmentation of the region that hard-nosed pragmatists and empiricists could only see as hostile to the emergence of any common culture, had sought in myth and its literary derivatives the collective impulse to transcend the divisions wrought by colonial history. Fifteen years ago I wrote a book that combined in its lead title the terms Modernism and Negritude in an effort to account for the efforts by mid-century Caribbean writers to come to grips with this problem. A decade later I demonstrated that one of the principal Caribbean modernists, Aimé Césaire, late in his career adopted stylistic characteristics that we associate with the postmodern (Arnold 1990). The example of Césaire should not be taken to suggest that we are dealing with some sort of natural evolution of modernism toward the postmodern. In fact the two terms represent competing paradigms that organize concepts and data so differently as to offer quite divergent maps of the literary Caribbean.


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