The narrative of Caryl Phillips, a writer born in St. Kitts, opens the way to the reflection on the literary production that is born in the European and North American metropolis product of the migration. The work of this author speaks of diversity and the crossing of borders. Travel is one of the recurring motives. Novels cross the time and space to describe different faces and listen to the multiples of slaves and their descendants, throughout more than two hundred years of existence of the African Diaspora and its expansion by the confines of Europe and America. The rewriting of History marks the narrative of this author. Based on the reading of three of his works, Cambridge, Higher Ground and Crossing the River, the present work analyzes
The novels of this author open the way to a reflection on the narrative that is born in the European and North American metropolis. Its creation speaks in itself of the diversity and the crossing of borders. Phillips navigates through several genres: dramaturgy, essay, and narrative. His plays are his first experience in the literary field. His writing on those pieces is full of strength, confusion, and bitterness; Shows racial, gender and generational conflicts; between women and men of the West Indies, between parents and children (King, 2004: 212-213). In these works, however, the themes that will be deepened in his later narrative work are outlined, according to the critics: exile, the place of the blacks in white-dominated societies, the return to the land of Origin, the rescue of history as a way to restore fragmented culture (Patterson, 1998: 116). His first two works, The Final Passage (1985) and A State of Independence (1986) present the problem of migration to England in the first and return to the islands in the second. From his third novel, Higher Ground (1995a, originally published in 1989), followed by Cambridge (1992, originally published in 1991) and Crossing the River (1995b, originally published in 1993), writing transits through Bifurcated paths of history, from a set of characters whose stories are giving shape to the different experiences of those whose origin lies on the African continent. Novels cross the time and space to describe the different faces and listen to the multiple voices of the slaves and their descendants throughout more than two hundred years of existence of the African Diaspora and its expansion by the confines of Europe and America. The literary creation allows the author to retract the stories of historiography, to excavate among its ruins and to rescue fragments,
Laurence Hill’s novel, The Book of Negroes, uses first-person narrator to depict the whole life ofAminata Diallo, beginning with Bayo, a small village in West Africa, abducting from her family at eleven years old. She witnessed the death of her parents with her own eyes when she was stolen. She was then sent to America and began her slave life. She went through a lot: she lost her children and was informed that her husband was dead. At last she gained freedom again and became an abolitionist against the slave trade. This book uses slave narrative as its genre to present a powerful woman’s life.She was a slave, yes, but she was also an abolitionist. She always held hope in the heart, she resist her dehumanization.
Emancipation was a persistent issue in the twentieth century as was the problem of the color line. Many writers like DuBois argue that in both a conscious and sub conscious way the color line denotes limitations but also sets standards for African American people during this time. Through the use of the main characters and secondary characters as well as foreshadowing Chestnut in his book The Marrow of Tradition depicts the color line in Wilmington, North Carolina. The theory of the color-line refers fundamentally to the role of race and racism in history and civilization. Through the analysis of The Marrow of Tradition readers can recognize and understand the connection of race and class as both a type of supremacy and as an approach of confrontation on a domestic level during the twentieth century for African Americans.
“I like to repeat that I write neither in French nor in Creole. I write in Maryse Conde,”1 (“Liaison dangereuse,” 2007) is a statement that could not be less accurate for the Guadeloupean writer. Writing in French is especially problematic for post-colonialist Francophone authors; using the language of the colonizer while attempting to dismantle cultural and linguistic hierarchy seems to be an act of futility. To be sure, Conde, the author of Crossing the Mangrove, apparently writes in the French language but she capably deconstructs the notion that a language must be necessarily tied to the culture and history it traditionally represents. Through careful practice of intertextuality (the shaping of one text's meaning through reference or application of a previous text) and narrative experimentation in Crossing the Mangrove, Conde demonstrates that objectivity in every sense is impossible. Using the French language is not an act of capitulation to the colonizer and acceptance of all things “French” in the same way that one person's retelling of an event is not the ultimate truth. In Crossing the Mangrove, Conde presents the strange and dark history of Francis Sancher from multiple perspectives and simultaneously works in aspects of the Western literary canon (specifically, William Faulkner). This emphasis on literary and real-life incoherency is iterated by the symbolic motif of trees and their roots throughout the novel. In analyzing Crossing the Mangrove, it is evident that the amalgamation of intertextuality, shifting narrative perspectives, and the motif of trees and their roots contextualizes the fragmented nature of diasporic identity. Truly, it i...
Anne Moody’s Coming of Age in Mississippi and Mark Mathabane’s Kaffir Boy are both coming-of-age narratives that were written through the eyes and experiences of young people who grew up in a world of apartheid. Although, it should be noted that they both have parallels in their stories as well as distinctions one should take into account the times and places in which each occurred. While Coming of Age in Mississippi occurred during a Jim Crow era in the American South, between 1944 and 1968, Kaffir Boy’s autobiographical narrative occurred in the regime of South Africa’s apartheid struggle from 1960 to 1978 in the town of Alexandra. During the late 20th century both narratives offer a framework of racism, a value and yearn for education and the struggle and will to survive. This essay will compile how both narratives experienced their areas race-relations given the time and place that they are in.
James, Johson Weldon. Comp. Henry Louis. Gates and Nellie Y. McKay. The Norton Anthology of African American Literature. New York: W.W. Norton &, 2004. 832. Print.
Being abroad gave Baldwin a perspective on the life he’d left behind and a solitary freedom to pursue his craft. “Once you find yourself in another civilization,” he notes, “you’re forced to examine your own.” In a sense, Baldwin’s travels brought him even closer to the social concerns of contemporary America. In the early 1960s, overwhelmed by a sense of responsibility to the times, Baldwin returned to take part in the civil rights movement. Traveling throughout the South, he began work on an explosive work about black identity and the state of racial struggle, The Fire Next Time (1963). This, too, was a bestseller: so incendiary that it put Baldwin on the cover of TIME Magazine. For many, Baldwin’s clarion call for human equality – in the essays of Notes of a Native Son, Nobody Knows My Name and The Fire Next Time – became an early and essential voice in the civil rights movement. Though at times criticized for his pacifist stance, Baldwin remained an important figure in that struggle throughout the 1960s.
John Demos’s “the Unredeemed Captive” is a story about a man named John Williams, and his five children who were captured by Indians during a war in 1704. John Williams and his children are eventually released, but much to his disappointment, his youngest daughter Eunice remained with her captors, and married an Indian man. This story has a captivating storyline, and makes for a very compelling narrative. In this paper I will attempt to make a critical analysis of John Demos’s work. The major areas I am looking at are the evolution or the piece, from beginning to end, what the major sections of the book are and how they flow together, and how this work is and isn’t a conventional narrative.
Slavery is a term that can create a whirlwind of emotions for everyone. During the hardships faced by the African Americans, hundreds of accounts were documented. Harriet Jacobs, Charles Ball and Kate Drumgoold each shared their perspectives of being caught up in the world of slavery. There were reoccurring themes throughout the books as well as varying angles that each author either left out or never experienced. Taking two women’s views as well as a man’s, we can begin to delve deeper into what their everyday lives would have been like. Charles Ball’s Fifty Years in Chains and Harriet Jacobs Incidents in the Life of a Slave Girl were both published in the early 1860’s while Kate Drumgoold’s A Slave Girl’s Story came almost forty years later
In this paper I will talk about some information that I have obtained from reading Mary Piphers, Reviving Ophelia, Saving the Selves of Adolescent Girls and give my view on some of her main points and arguments. I also will discuss why I feel Mary Pipher’s views on the toxic influence of media are accurate, and that it does affect adolescent girls. This paper will also point out the importance of Mary Pipher’s studies on the problems that today’s female teens are facing and why I feel they are important and cannot be ignored.
...n. The European's once prized light skin has become a sign of illness and he has adopted a stereotypical insensitivity that prevents him from being human. Colonial literature's other, the native, did not end with colonialism. Instead, part of him became the new other, the post-colonial European, while the other part of him remained the native and became the new self. The colonial native is the root of post-colonial characters and, as such, continues to be an integral part of post-colonial literature.
Since Carraway’s voyeuristic ways allow him to fill in so many blanks that he otherwise would have had no knowledge of (particularly his knowledge of the cigarettes Gatsby smoked during the war, or how Jordan Baker was, in addition to being a liar, an occasional shoplifter), it is fitting that African-Ameri...
Margolies, Edward. “History as Blues: Ralph Ellison’s Invisible Man.” Native Sons: A Critical Study of Twentieth-Century Negro American Authors. J.B. Lippincott Company, 1968. 127-148. Rpt. in Contemporary Literary Criticism. Ed. Daniel G. Marowski and Roger Matuz. Vol. 54. Detroit: Gale, 1989. 115-119. Print.
To summarize, the story, “The Day They Burned the Books” by Jean Rhys is a story is about a childhood acquaintance with a light-skinned boy named, Eddie who has an English father and a mulatto mother. It all began when Mr. Sawyer was rewarded to leave England and move to Dominican Republic because he gave his family an awful status or reputation. He then married a woman of African American color and had a baby boy named, Eddie. Nonetheless, Eddie’s father was insolent to his mother; he would torture her and do everything possible to assure that she felt less of a woman, who is not able to dominate. The fact was that Mr. Sawyer did not want to inhabit in a new place he did not fond nor did he want to marry a woman of another race. In addition, the point of view of this stor...
Postcolonial authors use their literature and poetry to solidify, through criticism and celebration, an emerging national identity, which they have taken on the responsibility of representing. Surely, the reevaluation of national identity is an eventual and essential result of a country gaining independence from a colonial power, or a country emerging from a fledgling settler colony. However, to claim to be representative of that entire identity is a huge undertaking for an author trying to convey a postcolonial message. Each nation, province, island, state, neighborhood and individual is its own unique amalgamation of history, culture, language and tradition. Only by understanding and embracing the idea of cultural hybridity when attempting to explore the concept of national identity can any one individual, or nation, truly hope to understand or communicate the lasting effects of the colonial process.
Both Ben Okri and Segun Afolabi also engage with the theme of migration in several levels. First, both authors were born in Nigeria and have relocated to the metropolis. Second, the main characters depicted in their stories, in Okri’s ‘A Hidden History’ and Afolabi’s ‘Moses’ have similarly crossed borders into the UK but, quite in contrast to the writers are condemned to what Bhabha calls ‘ a life lived on the cultural margins of modern society.’ Third, a main thematic concern in the stories is the sessions between the protagonists’ place of liminality and the cultural, political, and social main stream.