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Vol 25 / No. 2 / November 2017 Volume 24 Number 2 November 2017 1 Vol 25 / No. 2 / November 2017 Volume 24 Number 2 November 2017 Published by the discipline of Literatures in English, University of the West Indies CREDITS Original image: Self-portrait with projection, October 2017, img_9723 by Rodell Warner 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 © 2017 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. It reflects the continued commitment of those who followed their lead to provide a forum in the region for the dissemination and discussion of our literary culture. Initially featuring contributions from scholars in the West Indies, it has become an internationally recognized peer-reviewed academic journal. The Editors invite the submission of articles in English that are the result of scholarly research in literary textuality (fiction, prose, drama, film, theory and criticism) of the English-speaking Caribbean. We also welcome comparative assessments of non- Anglophone Caribbean texts provided translations into English of the relevant parts of such texts are incorporated into the submission. JWIL will also publish book reviews. Submission guidelines are available at www.jwilonline.org. Table of Contents Introduction 7 Glyne A. Griffith Ctrl + Alt/HyperText: Toward a Remediated Caribbean Literary Aesthetic 9 Jarrel De Matas Thelwell “Vershann”: Adaptation and Michael Thelwell’s The Harder 28 They Come Rachel Moseley Wood Words Are Not Enough 45 Jean Antoine Dunn “This thing is very much alive”: Louise Bennett on Audio-Visual Media 63 Alejandra Bronfman Great Adaptations: Green Days by the River Moves to Screen 82 Patricia Mohammed Austin Clarke and the Canadian Broadcasting Corporation: An 108 Interview with Austin Clarke Michael Bucknor Book reviews Peelin Orange: The Collected Poems of Mervyn Morris 117 Edward Baugh Philip Nanton, Frontiers of the Caribbean 125 Bridget Brereton Rhonda Cobham-Sander, I and I: Epitaphs for the Self 128 in the Work of V.S. Naipaul, Kamau Brathwaite, and Derek Walcott Sarah Phillips Casteel Green Days by the River 131 Jean Antoine Dunn Gabrielle Jamela Hosein and Lisa Outar, Indo-Caribbean Feminist Thought: 134 Genealogies, Theories, Enactments. J. Vijay Maharaj 115 Notes on contributors 7 Introduction Glyne A. Griffith Guest Editor, Special Issue on Trans-Media: The Audio-Visual Platforms of Anglophone Caribbean Literature Radio, television, film, and the internet have served, and continue to serve, as a means of transmitting literature. For many years now, electronic audio and audio-visual media platforms have helped disseminate literature to diverse audiences and in various forms such as the radio drama, the literary radio program, etc. In turn, literature as printed text has long provided substantive broadcast content for these various electronic media, extending and enhancing their perception as modern and post-modern disseminators of mass-market literate and literary culture. In the context of Anglophone Caribbean literature, early and mid-20th-century radio programmes such as the BBC Caribbean Voices, broadcast from London to the region over a 15-year period, or Alfred Pragnell’s vivid readings of short-stories by Jeannette Layne-Clarke and Timothy Callender on Barbados Rediffusion helped to extend the reach and impact the shape of creative writing in the region. During the 1970s, Louise Bennett’s Jamaican children’s television show Ring Ding employed the influential medium of television to foreground Jamaican folklore as an aspect of post-colonial cultural enterprise in the new nation. The essays in this volume of JWIL are all thematically linked by their investment in analyses at the crossroads of print literature, radio and television broadcast, film, and the world of digital communication. If the spider figure Anansi—also JWIL’s logo— represents that folkloric trickster figure transported from West African to Caribbean shores via the Middle Passage, then the literary and cultural analyses offered in this issue might be interpreted symbolically as contemporary explorations reminiscent of another West African and New World figure, Papa Legba, the loa that is representative of the crossroads. Each of these essays, in diverse ways, examines the inter-connections and interstices that characterize Anglophone Caribbean literature and literary production at the crossroads of print and audio-visual technologies. In “Toward A Remediated Anglophone Caribbean Aesthetic,” Jarrel De Matas references Bolter and Grusin’s concept of remediation to argue that in Kamau Brathwaite’s later poetry and in Robert Antoni’s novel, As Flies To Whatless Boys, the reader experiences multimodal discursive platforms that enhance the comprehension of Anglo-Creole culture, history, and subjectivity. Rachel Moseley Wood’s “Thelwell ‘Vershann’: Adaptation and Michael Thelwell’s The Harder They Come” references Mikhail Bakhtin’s concept of the novel as a particular representational form that developed by means of rhetorical contact with other extra-literary forms such as diaries and letters in order to examine the ways in which the Perry Henzell film and the Michael Thelwell novel function as versions that exhibit Bakhtinian “plasticity.” 8 In “Words Are Not Enough: Kamau Brathwaite, Derek Walcott And The Filmic,” Jean Antoine Dunn stresses the importance of film technique as a critical element in the poetry of Kamau Brathwaite and Derek Walcott. Referencing the work of Gilles Deleuze, she examines the traces of historical trauma in the Caribbean present and each poet’s concern with space and mapping as expressive of the desire to give shape to the processes of memory through the use of cinematic effects in their poetry. Alejandra Bronfman’s essay, “‘This Thing Is Very Much Alive’: Louise Bennett on Audio-Visual Media,” examines Louise Bennett’s literary work in radio and particularly in television. Bronfman argues that Bennett possessed a keen awareness of the advantages and limitations of radio and television and used her 1970s children’s television programme, Ring Ding to subtly critique the Eurocentricism undergirding Jamaican electronic media of the period. Patricia Mohammed’s “Great Adaptations: Michael Anthony’s Green Days by the River Moves to Screen” examines Michael Mooleedhar’s recent film production based on Anthony’s novel. Mohammed suggests that novel and film each participate in a process of remediation to offer up “new vistas for memory” in the Anglophone Caribbean. In “Austin Clarke and the Canadian Broadcasting Corporation, Michael Bucknor provides JWIL readers a portion of the interview he conducted in 2011 with Barbadian/Canadian novelist Austin Clark. The interview offers insight into Clarke’s beginnings as a writer in Toronto, Canada and presents details of his television work with the Canadian Broadcasting Corporation. We conclude this issue with reviews of the following recent publications: Peelin Orange: The Collected Poems of Mervyn Morris, Philip Nanton’s Frontiers of the Caribbean, Rhonda Cobham-Sander’s I and I: Epitaphs for the Self in the Work of V.S. Naipaul, Kamau Brathwaite, and Derek Walcott, Michael Mooleedhar’s film, Green Days by the River, and Indo-Caribbean Feminist Thought: Genealogies, Theories, Enactments, edited by Gabrielle Hosein and Lisa Outar. And so, to the crossroads. 9 Ctrl + Alt/HyperText: Toward a Remediated Caribbean Literary Aesthetic Jarrel De Matas Source: bbc.com, What if the internet stopped for a day? What we need, now, to go along with the liberation, is a re-orientation of criticism, an aesthetic, that will help us to redefine our current pseudo-classical notions of literature. Kamau Brathwaite (History of the Voice) Kamau Brathwaite’s injunction, quoted in the epigraph, is a useful starter for my discussion of the remediated Caribbean alternative text (alt-text). When I use the term alt-text I mean those pathways offered by writers through a hypertextual manipulation of print narratives.1 Referencing Bolter and Grusin’s definition of remediation as “the representation of one medium in another” (45)
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