Vol. 6 (2014) | pp. 305-327 http://dx.doi.org/10.5209/rev_AMAL.2014.v6.46527 TRANSATLANTIC MERMAIDS: LITERARY AND CULTURAL FANTASIES FROM COPENHAGEN TO HAITI AND THE UNITED STATES BETSY NIES UNIVERSITY OF NORTH FLORIDA
[email protected] Article received on 14.02.2014 Accepted on 07.07.2014 ABSTRACT The mermaid functions as a transatlantic figure, travelling from European shores to Africa and the Caribbean Islands. This article explores her literary configurations from Hans Christian Andersen’s “The Little Mermaid” (1836) to Rosa Guy’s revision of Andersen’s tale set in Haiti, My Love, My Love: The Peasant Girl (1985) and lyricist Lynn Ahrens and composer Stephen Flaherty revision of Guy’s tale as a Broadway musical, Once on this Island (1990). Instead of offering wealth and transformation, she signals the inaccessibility of wealth to those born in the lower classes; she is linked to broader histories of colonialism and imperialism. In Andersen’s story, she represents the radical class divisions of nineteenth- century Danish society. In Guy’s story, she symbolizes the ongoing class and color struggle of Haiti’s postcolonial nation. In the Broadway hit Once on This Island, she becomes an imperial mirage that veils the ongoing troubled relationship between Haiti and the United States. Through all these stories, the mermaid serves as a fantasy that elides imperialist and colonialist histories, promising wealth and material gain, but often referencing the opposite—poverty, classism, and histories of colonial and imperial aggression. KEYWORDS Mermaid, Haiti, Hans Christian Andersen, “The Little Mermaid”, Rosa Guy, My Love, My Love orThe Peasant Girl, Lynn Ahrens, Stephen Flaherty, Once on This Island.