DOCSLIB.ORG

Information to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 TAKING EVERYTHING IN; POETIC PERSONA AND POETIC VOICE IN THE POEMS OF DEREK WALCOTT DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State Universit\ By Anne L. Knee, M.A. ***** The Ohio State Universitv 1998 Dissertation Committee Approved by Jessica Prinz, Adviser Jeredith Merrin Adviser Valerie Lee Department of Englis' UMI Number: 9900859 UMI Microform 9900859 Copyright 1998, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ABSTRACT Derek Walcott's career as a poet and dramatist, from 1948 to the present, spans the formative years of West Indian history and places him among the founding fathers of West Indian literature. His work is therefore inevitably judged by Caribbean critics and theorists as it defines and contributes to a characteristically West Indian literature. In his early poems, Walcott s commitment to a literary apprenticeship, based on the imitation of recognized poets, and his appropriation of styles and techniques adapted initially from the British tradition, lays his work open to the criticism that it is derivative and Eurocentric. Much of this criticism centers upon the persona presented in the poems and the poetic voice through which it finds expression. A study of his poems up to the publication o ï Another Life in 1973, shows Walcott adopting the post-colonial strategies of mapping and of engaging metropolitan voices in productive debate in an attempt to produce a West Indian poetry independent of the British tradition, while the style and language of those poems declare their dependence on that tradition, and the persona is a contemporary version of the romantic concept of self derived from that tradition. In Another Life he re-evaluates his poetic practice in the light of his mentor Harrold Simmons, accepting the need for his work to be rooted in a local materiality and to represent more fully the people of his region. Subsequent work from 1976 onwards demonstrates a concern to produce a poetic voice that represents the orality of West Indian culture, through a series of linguistic experiments, including code shifting and the exploitation of a varietv of vernacular codes into his work. During this period, dramatic monologue becomes a dominant genre in his poetry. The assimilation of West Indian voices into his poetiy' leads finally to the emergence of a multi vocal, inclusive voice, exemplified in Omeros ( 1990). This study traces the development of poetic voice and poetic persona in Walcott's work through these four stages of development, arguing that Walcott's contribution to a West Indian aesthetic lies in his creation of successive paradigms of the West Indian artist. Ill Dedicated to mv familv IV ACKNOWLEDGMENTS 1 wish to thank my adviser, Jessica Pnnz. for her unfailing support and encouragement at all stages of this project. I am also grateful to my committee members; to Ruth Lindeborg for her willingness to read and discuss my work at the draft stage and for the acute and penetrating questions that sent me back to think harder: to Jeredith Merrin for her helpful suggestions and patient correction of my errors of style: and to Valerie Lee for being prepared to take me on at a late stage in the project. 1 am very much indebted to Antonia MacDonald-Smythe for stimulating discussion of my dissertation topic, for giving me access to her own unpublished work and to other materials that were hard to find, and for making me really think about the West Indies. VITA February 7, 1945 ....................................Bom — Shefïleld, U.K. 196 6 ......................................................... B.A./ M.A. English Literature and Language, St. Anne's College, Oxford, U.K. 196 7 ........................................................ Graduate Certificate in Education, University of Hull, U.K. 1967-68 ...................................................Assistant Teacher of English, Sir Leo Schultz High School, Hull, U.K. 1974-197 5............................................... Temporary Assistant Teacher of English. Clare Park High School, East Mailing, Kent, U.K. 1975-198 3............................................... Assistant Teacher of English, Maidstone Grammar School for Girls, Maidstone, Kent, U.K. VI 1983-1985...................................................Second in English Department. St. Simon Stock R.C. High School, Maidstone. Kent. U.K. 1985- 1986 ..................................................Substitute Teacher, West Kent Area. 1986- 1988..................................................Second in English Department. Gravesend Girls' Grammar School. Gravesend, Kent, U.K. 1989 - ......................................................... Graduate Teaching Associate. The Ohio State University. Vll TABLE OF CONTENTS Patze Abstract..................................................................................................................................... ii Dedication ................................................................................................................................ iv Acknowledgments ................................................................................................................... v Vita............................................................................................................................................vi Chapters; Introduction ............................................................................................................................... 1 1. "Braving New Water in an Antique Hoax: " The Early Poems of Derek Walcott............................................................................. 6 2. "Where Else to Row, But Backward'.^ ” Walcott’s Re-evaluation of Early Influences ............................................................53 3. From Castaway to Fortunate Traveller .....................................................................103 4. Many Journeys, Diverse Voices: The Multiple Narratives of Omeros ........................................................................... 151 5. "The Poet C arrying Entire C 'uitures on his Back. ” ........................................... 192 Bibliography.........................................................................................................................233 V lll INTRODUCTION Derek Walcott's career as a poet and dramatist spans the years of struggle and planning towards independence in the West Indies, the abortive attempt to create a West Indian Federation, and the years of economic and social change which followed the Federation's collapse. It thus places him among the founding fathers of West Indian literature. Whether he were conscious of this role at the outset, and every indication in both his poetry and in published interviews indicates that he was, his work is inevitably judged by Caribbean critics and theorists as it serves the project of defining and contributing to a characteristically West Indian aesthetic. Edward Baugh remarks somewhat tartly in a review of the collection Sea (îrapes that “Walcott’s binding theme is Walcott, the pursuit and delineation of a fictive character based on an actual person named Derek Walcott." Sandra Pouchet Paquet, however, in her essay on West Indian autobiography, examines autobiographical and semi-autobiographical works by C.L.R. James, George Lamming, and V S. Naipaul alongside VJa.\cott's Another Life in order to demonstrate that in these works, which she describes as “the canonical texts of West Indian literature, " each author is engaged in the production of a version of self representative of the region from which he originates, and that each constructs the representative in a different way. My argument in this dissertation is that Walcott’s contribution to the West Indian aesthetic is to create successive paradigms of the West Indian artist, and that as his work develops over time he aims to become
Load more

Recommended publications
  • Swanzy, Henry Valentine Leonard (1915–2004) Gabriella Ramsden Published Online: 12 November 2020
    Swanzy, Henry Valentine Leonard (1915–2004) Gabriella Ramsden https://doi.org/10.1093/odnb/9780198614128.013.57680 Published online: 12 November 2020 Swanzy, Henry Valentine Leonard (1915–2004), radio producer, was born on 14 June 1915 at Glanmire Rectory, Glanmire, co. Cork, Ireland, the eldest son of the Revd Samuel Leonard Swanzy (1875–1920), rector of Glanmire, and his wife, Joan Frances, née Glenny (1888–1975). His brothers John and Leonard were born in 1917 and 1920 respectively, the latter after the death of their father. The family subsequently moved to England. Henry attended Wellington College and won a scholarship to New College, Oxford, achieving first-class honours in modern history. In order to pursue a career in the civil service, he learned French and German, and he travelled around Europe. After four years in the Colonial Office, where he progressed to assistant principal, he joined the BBC in 1941. On 12 March 1946 Swanzy married Eileen Lucy (Tirzah) Ravilious, née Garwood (1908–1951), daughter of Frederick Scott Garwood, an officer in the Royal Engineers, and widow of the painter, designer, book engraver, and war artist Eric Ravilious. Following her death in March 1951, on 22 July 1952 Swanzy married Henrietta Theodora Van Eeghan (1924–2006), with whom he had two sons and a daughter. Swanzy began his career as a producer for the general overseas service, but it was his involvement in the radio programme Caribbean Voices between 1946 and 1954 that he was best known for. He encouraged writers from the Caribbean to contribute stories and poems. This fostered the careers of many notable West Indian writers, two of whom, Derek Walcott and V.
    [Show full text]
  • Tory of the Anglophone Caribbean
    Book Reviews 365 Glyne A. Griffith, The BBC and the Development of Anglophone Caribbean Litera- ture, 1943–1958. Basingstoke, U.K.: Palgrave Macmillan, 2016. xi + 230 pp. (Cloth US$99.99) Postwar Sunday evenings have become an iconic moment in the literary his- tory of the Anglophone Caribbean. Glyne A. Griffith’s study returns us to the 1940s and 1950s to reassess Caribbean Voices, the weekly radio program broad- cast from London to the West Indies that has become synonymous with the rise of contemporary Caribbean writing. Although any study of Anglophone Caribbean letters will acknowledge the program’s importance, this is the first time it has received a book-length treatment. What Griffith finds is “a vir- tual community … produced by the intersection of radio broadcast and let- ter writing” (p. 118). In its approach, the study complements recent analyses of the intersection between broadcasting technologies and national/transna- tional cultural production, fromTodd Avery’s Radio Modernism (2006) to Emily C. Bloom’s The Wireless Past: Anglo-Irish Writers and the BBC, 1931–1968 (2016). This turn to the cultural practices of sound is part of a challenge to the primacy of textual cultural studies, but the irony for Griffith to negotiate is that only the scripts of Caribbean Voices remain. The focus on a “Critics’ Circle” and “A Sustaining Epistolary Community” (Chapters 2 and 4) enables Griffith to trace the central role of Irish editor Henry Swanzy in shaping Caribbean letters, and to attend to the transnationalism and migrant aesthetics that were central to the formation of Caribbean Voices.
    [Show full text]
  • Laurence A. Breiner October 2013
    Laurence A. Breiner October 2013 Department of English Boston University 236 Bay State Road Boston, MA 02215 (617) 358-2544 [email protected] Boston College B.A. (English, summa cum laude) 1968 Yale University M.Phil. (Comparative Literature) 1971 Yale University Ph.D. ( " " ) 1973 Dissertation: The Development of a Language of Representation for Science: 1550-1650 Academic Positions 2004 -Visiting Professor, American Studies, University of Tokyo 2000- - Professor of English 1981-2000 - Associate Professor of English, with tenure 1980-81 - Fellow, National Endowment for the Humanities 1976-78 - Research Fellow, University of the West Indies, Mona (Jamaica) 1973-81 - Assistant Professor of English, Boston University 1972-73 - Instructor, Boston University Fall, 1971 - convener, "Introduction to Comparative Literature," Hall seminar in Yale's Branford College Spring, 1971 - teaching assistant, "Classical Comedy," Yale University Grants and Fellowships Henderson Senior Fellow, Humanities Foundation, Boston University, 2010-2011 Grant-in-Aid, Folger Institute, March, 2001 Senior Fellow, Society of Fellows, Boston University, 1998-99 Rockefeller Fellow, Center for the Study of Black Literature and Culture, University of Pennsylvania, 1991-1992 Senior Fellow, Society of Fellows, Boston University, 1989-90 Seed grant, Boston University Graduate School, June 1988 ACLS Grant-in-Aid for research in Venice, 1984 National Endowment for the Humanities Grant, 1980-81 Joint Committee on Latin American Studies, ACLS/SSRC, 1976-77 Woodrow Wilson Fellow, 1968
    [Show full text]
  • Henry Swanzy, the BBC, and the Development of Caribbean Literature
    "This is London calling the West Indies:" Henry Swanzy, the BBC, and the development of Caribbean literature Glyne Griffith (Do note quote or paraphrase without requisite citation) Introduction Glyne Griffith (Do not quote or paraphrase without requisite citation) Let us begin near the end, that is to say the end of the BBC Caribbean Voices radio program. The end would eventually come in April, 1958, but there is much to be told and much to be written before we arrive at an ending. The year is 1953 and Henry Swanzy, the editor of the BBC Caribbean Voices literary radio program sends a letter dated November 271h from his Oxford Street office in London to his submissions agent, Gladys Lindo in Jamaica. The letter seeks Mrs. Lindo's advice on the appropriateness of editorial comments which Swanzy intends to make during the next scheduled summary of the previous six months of Caribbean Voices broadcasts to the Caribbean. The following extract indicates some of the concerns which Swanzy conveys to Mrs. Lindo: . ..On wider details, I am thinking of referring in the next summary to the death of Seepersad Naipaul, and to the illness of Sam Selvon, and the failure to send [Derek] Walcott to Europe. The last two would be critical remarks, and perhaps you think they would not be suitable in a thing like a summary. It does seem to me that the powers- that-be ought to be made aware of the value of literary work, from the prestige point of view, and the neglect of West Indian writers is really shocking.
    [Show full text]
  • Notes on Contributors, Index
    Kunapipi Volume 20 Issue 1 Article 30 1998 Notes on Contributors, Index Anna Rutherford Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Rutherford, Anna, Notes on Contributors, Index, Kunapipi, 20(1), 1998. Available at:https://ro.uow.edu.au/kunapipi/vol20/iss1/30 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Notes on Contributors, Index Abstract NOTES ON CONTRIBUTORS, Index This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol20/iss1/30 Notes on Contributors 151 NOTES ON CONTRIBUTORS JOHN AGARD'S many collections of poems include Mangoes and Bullets. He is the recipient of the Casa de las Americas Prize for Literature, and is currently Writer-in-Residence at the BBC. JAMES BERRY Jamaican black British poet awarded OBE in 1994. See Stewart Brown' s article for pubications. ANNE BOLT, who died in 1996 at the age of 84, was a travel photographer and writer and also a leading member o.f the National Union of Journalists and campaigner on copyright. The Anne Bolt Memorial Award, for photojournalists under 25, has been set up in her memory, with the first award to be made in July. vERONIQUE BRAGARD, from Belgium, was a research student at Warwick and is presently doing a Ph.D dissertation on women' s writing at the University of Lou vain. YVONNE BREWSTER is the leading Caribbean theatre director in Britain. Her company, Talawa, has received critical praise throughout Europe.
    [Show full text]
  • Vol 23 / No. 1 & 2 / April/November 2015
    1 Vol 23 / No. 1 & 2 / April/November 2015 Volume 23 Nos. 1 & 2 April/November 2015 Published by the discipline of Literatures in English, University of the West Indies CREDITS Original image: Nadia Huggins Anu Lakhan (copy editor) Nadia Huggins (graphic designer) JWIL is published with the financial support of the Departments of Literatures in English of The University of the West Indies Enquiries should be sent to THE EDITORS Journal of West Indian Literature Department of Literatures in English, UWI Mona Kingston 7, JAMAICA, W.I. Tel. (876) 927-2217; Fax (876) 970-4232 e-mail: [email protected] OR Ms. Angela Trotman Department of Language, Linguistics and Literature Faculty of Humanities, UWI Cave Hill Campus P.O. Box 64, Bridgetown, BARBADOS, W.I. e-mail: [email protected] SUBSCRIPTION RATE US$20 per annum (two issues) or US$10 per issue Copyright © 2015 Journal of West Indian Literature ISSN (online): 2414-3030 EDITORIAL COMMITTEE Evelyn O’Callaghan (Editor in Chief) Michael A. Bucknor (Senior Editor) Glyne Griffith Rachel L. Mordecai Lisa Outar Ian Strachan BOOK REVIEW EDITOR Antonia MacDonald EDITORIAL BOARD Edward Baugh Victor Chang Alison Donnell Mark McWatt Maureen Warner-Lewis EDITORIAL ADVISORY BOARD Laurence A. Breiner Rhonda Cobham-Sander Daniel Coleman Anne Collett Raphael Dalleo Denise deCaires Narain Curdella Forbes Aaron Kamugisha Geraldine Skeete Faith Smith Emily Taylor THE JOURNAL OF WEST INDIAN LITERATURE has been published twice-yearly by the Departments of Literatures in English of the University of the West Indies since October 1986. Edited by full time academics and with minimal funding or institutional support, the Journal originated at the same time as the first annual conference on West Indian Literature, the brainchild of Edward Baugh, Mervyn Morris and Mark McWatt.
    [Show full text]
  • An Assessment of Henry Swanzy's Contribution to the Development of Caribbean Literature
    Kunapipi Volume 20 Issue 1 Article 7 1998 What Does Mr Swanzy Want? Shaping or Reflecting? An Assessment of Henry Swanzy's Contribution to the Development of Caribbean Literature Philip Nanton Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Nanton, Philip, What Does Mr Swanzy Want? Shaping or Reflecting? An Assessment of Henry Swanzy's Contribution to the Development of Caribbean Literature, Kunapipi, 20(1), 1998. Available at:https://ro.uow.edu.au/kunapipi/vol20/iss1/7 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] What Does Mr Swanzy Want? Shaping or Reflecting? An Assessment of Henry Swanzy's Contribution to the Development of Caribbean Literature Abstract In November 1954, after a period of eight years as editor of the BBC radio programme Caribbean Voices, Henry Swanzy left London for Accra to take up a further appointment in broadcasting. Those eight years established for him a unique position in Caribbean literature. He had presided over a series of regular weekly programmes, at first lasting 20 minutes and then 29 minutes after 1947. These programmes became, perhaps, the most important focus for the development and promotion of the region's literary output. Swanzy estimated that the programmes' first six years introduced to its audience over 150 d1fferent contributors from the English-speaking Caribbean. This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol20/iss1/7 What Does Mr Swanzy Want? 11 PHILIP NANTON What Does Mr Swanzy Want? Shaping or Reflecting? An Assessment of Henry Swanzy's Contribution to the Development of Caribbean Literature In November 1954, after a period of eight years as editor of the BBC radio programme Caribbean Voices, Henry Swanzy left London for Accra to take up a further appointment in broadcasting.
    [Show full text]
  • The Ambivalent Aesthetic of Eric Roach
    The Ambivalent Aesthetic of Eric Roach LAURENCE A. BREINER ELRIC ROACH of Tobago shared the common Anglophone dis• taste for explicit ideology, but his forthright objection to the Savacou anthology of new poetry in 1970 produced the most public statement of his thinking about the nexus of craft, expres• siveness, and political engagement in Caribbean poetry. The en• suing debate has remained important to the development of indigenous literary criticism, and that is one reason to consider Roach's catalytic contribution to the discussion. But what I want to draw attention to here is the fact that his position vis-à-vis this anthology was not his only position on the nature of poetry. A divergence between theory and practice is hardly unusual ; the case of Roach is interesting because the divergence is located else• where. In his criticism, he championed a view of the poem as a well-wrought artifact, built to endure, and with very few excep• tions his own poems in fact exemplify such an aesthetic. What comes as a great surprise is the conception of poetry projected within these poems, where the account of what a poet does, and indeed of what he is, seems quite at odds with both Roach's position as a critic and his practice as a poet. After sketching his pivotal position in the debate over the anthology, then, this paper will consider Roach's paradoxical ideas about the nature of the poet and the poem, first as those were crystallized under the pressure of the Savacou debate, and then as they are implicit in the body of his published poetry.
    [Show full text]
  • University of Dundee 'Read! Learn!' Low, Gail
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Dundee Online Publications University of Dundee ‘Read! Learn!’ Low, Gail Published in: The Global Histories of Books DOI: 10.1007/978-3-319-51334-8_5 Publication date: 2017 Document Version Peer reviewed version Link to publication in Discovery Research Portal Citation for published version (APA): Low, G. (2017). ‘Read! Learn!’: Grobalisation and (G)localisation in Caribbean Textbook Publishing. In E. Boehmer, R. Kunstmann, P. Mukhopadhyay, & A. Rogers (Eds.), The Global Histories of Books: Methods and Practices (pp. 99-127). (New Directions in Book History). Palgrave Macmillan. https://doi.org/10.1007/978-3-319- 51334-8_5 General rights Copyright and moral rights for the publications made accessible in Discovery Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from Discovery Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain. • You may freely distribute the URL identifying the publication in the public portal. Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 23. Jun. 2020 SECTION: GLOBAL GENRES ‘Read! Learn!’: Grobalisation and (G)localisation in Caribbean Textbook Publishing Gail Low, University of Dundee In V.
    [Show full text]
  • Odysseus and Oedipus in the Black Atlantic Crossroads in the Black Aegean
    New West Indian Guide Vol. 83, no. 3&4(2009), pp. 281-289 URL: http://www.kitlv-journals.nl/index.php/nwig/index URN:NBN:NL:UI:10-1-100126 Copyright: content is licensed under a Creative Commons Attribution 3.0 License ISSN: 1382-2373 EMILY GReeNWOOD A TALE OF TWO O’S: ODYSSEUS AND OEDIPUS IN THE BLACK ATLANTIC Crossroads in the Black Aegean: Oedipus, Antigone, and Dramas of the African Diaspora. BARBARA GOFF & MICHAEL SIMPSON. Oxford: Oxford University Press, 2007. xii + 401 pp. (Cloth US$ 150.00) Romare Bearden: A Black Odyssey. RO be RT G. O’MEALLY. New York: DC Moore Gallery, 2007. 116 pp. (Cloth US$ 45.00). Commenting on cultural imperialism under European colonialism, Frantz Fanon (1990:39) remarked that “The settler makes history; his life is an epoch, an Odyssey.” In Fanon’s analysis the settler’s sense of history derived from the history of the “mother country,” rather than the history of the colony that he or she inhabited. But history did not stop here: the reference to the Odyssey reminds us that behind the modern colonial metropolis was a fic- tional line of descent reaching back to a Greco-Roman cradle, such that the European settler could lay claim to an even more ancient cultural inheritance. The two books examined here make short work of these classical imperial fictions; O’Meally demonstrates how Romare Bearden’s collages of the Odyssey collaborate with Homer, jazz style, to produce an epic that Black America can recognize as its own. If the voyage of Odysseus is sometimes taken to symbolize the migration of ancient Greek civilization toward the West, Barbara Goff and Michael Simpson interject the troubled figure of Oedipus, who plays Poseidon to the settler’s Odyssey, disrupting the voyage and confusing the trajectory (p.
    [Show full text]
  • Mervyn Morris Bibliography
    Mervyn Morris Bibliography By Mervyn Morris Poetry Examination Centre . London: New Beacon Books. 1992. I been there, sort of : New and Selected Poems . Manchester: Carcanet, 2006. On Holy Week: a sequence of poems for radio. London: New Beacon Books. 2016. Previously published by Sangster’s, Kingston, 1976; Earle Publishers, Brown’s Town, 1983; Pathways Number 10, April 1988, Kingston; Dangaroo Press, Sydney, 1993. Peelin Orange : Collected Poems . Manchester: Carcanet Press. 2017. Shadowboxing. London: New Beacon Books. 1979. The Pond. London: New Beacon Books. 1973. The Pond (Revised Edition). London: New Beacon Books: 1997. Vestiges . Erlagen, 1996. Vestiges/Spuren . Limted edition of 100 copies with paintings by Ulla Schoedel, translated in German by Wolfgang Binder. Erlagen, 1996. Morris, Mervyn, Basil McFarlane, and Dennis Scott. Poems from "On the offbeat" read at the Barn Theatre, October-November, 1966 . N.p. 1966. Short Story “A Death” in Caribbean Prose , edited by Andrew Salkey. London: Evans, 1967, pp. 105-112. Reprinted in That Once Was Me , Penguin English Project Stage 2, 1973, pp. 56-61. Non-Fiction A Study Guide to ‘Old Story Time ’. San Juan, Harlow: Longman, 1995. Focus 1983: An Anthology of Contemporary Jamaican Writing . Kingston, Jamaica: Caribbean Authors Publishing Co.,1983. Is English We Speaking: West Indian Literature . London: The British Library, 1993. ‘Is English We Speaking’ and Other Essays . Kingston, Jamaica: Ian Randle Publishers, 1999. Making West Indian Literature . Kingston, Jamaica: Ian Randle Publishers, 2005. Miss Lou: Louise Bennett and Jamaican Culture . Kingston, Jamaica: Ian Randle Publishers, 2014; Oxford: Signal Books, 2014. 1 Book Chapters “A Letter from England” in Writing Black Britain, 1948-1990: An Interdisciplinary Anthology.
    [Show full text]
  • Kamau Brathwaite's Prose/Poetry As Sound-Space," Anthurium: a Caribbean Studies Journal: Vol
    Anthurium: A Caribbean Studies Journal Volume 1 | Issue 1 Article 5 December 2003 Tidalectic Lectures: Kamau Brathwaite's Prose/ Poetry as Sound-Space Anna Reckin [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/anthurium Recommended Citation Reckin, Anna (2003) "Tidalectic Lectures: Kamau Brathwaite's Prose/Poetry as Sound-Space," Anthurium: A Caribbean Studies Journal: Vol. 1 : Iss. 1 , Article 5. Available at: http://scholarlyrepository.miami.edu/anthurium/vol1/iss1/5 This Essay is brought to you for free and open access by Scholarly Repository. It has been accepted for inclusion in Anthurium: A Caribbean Studies Journal by an authorized editor of Scholarly Repository. For more information, please contact [email protected]. Reckin: Tidalectic Lectures: Kamau Brathwaite's Prose/Poetry as ... This paper looks at the ways in which Kamau Brathwaite draws on spatial paradigms in his work, in particular, paradigms that call attention to dynamic, sonic, and performative aspects of spatiality. I am interested in bringing together and overlaying some ideas about the key words in my title: Kamau Brathwaite's use of the term "tidalectic" and the notion of a sound-space. Three works, "History of the Voice," Barabajan Poems, and ConVERSations with Nathaniel Mackey, are discussed here as examples of a particular kind of sound-space, the transcribed lecture: an all-too familiar cultural space in the academy and the literary world that Brathwaite transforms into a venue for a dazzling performance on the page that encompasses drama, bibliography, autobiography, poetry, polemic, geography, literary theory, history, and much else besides. Key to an understanding of this kind of space are its dynamic qualities.
    [Show full text]