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Archiving Memories Orality in the Body of the Archive: Memorialising Representations of Creole Language and Culture in the Technologised Word A thesis submitted by Marl’ene Edwin in the fulfilment of the requirement for the degree of Doctor of Philosophy in English and Comparative Literature, Goldsmiths, University of London, 2016 I hereby declare that this thesis is my own work. Marl’ene Edwin 2 Dedicated to the memory of my beloved mother and father Linnette (1933-1996) and George (1925-1998) 3 ACKNOWLEDGEMENTS Too many people to mention here, Who have helped me along the way. However, there are a few things I find I must say. Overwhelming thanks to Professor Joan Anim-Addo, Supervisor, mentor and critical friend Without your pushing and pulling, This project would never have made it to the end. My colleagues in CELAW you know who you are. Natasha and fellow students in the Centre for Caribbean and Diaspora Studies, This is not the end by far! To my upgrade examiners, Clea Bourne and Geri Popova, Much food for thought And time to work my thesis over. For her quick reading and mock exam I extend my warmest regards To Maria Helena Lima and Our network of women in Europe and afar. For conducting the final examination, Viv Golding and Pia Pichler, I’ve run out of words and my face Must have been a picture! To my friends and family who have been with me to the end, Special thanks to Karol and Deirdre, two very good friends, Brothers and Sisters how could I miss you out Estola, Jasper, Marcia, Sandra, Yvette and Dave, there is no doubt This thesis is for us all, whether from a big island or small!! Jo and Steve, what can I say, Our weekend jaunts certainly saved the day. Finally, to my husband, Amos, ou we mannie mwen enmen ou, And to my children, Harlem and Quba, love you loads, I do! I thank you all for your love and patience. We made it!! 4 ABSTRACT This thesis begins with a re-reading of selected texts by Caribbean writers, specifically, Joan Anim-Addo, Olive Senior and Merle Collins and in so doing argues that literary fiction can and does function as a ‘creolised archive’. I argue that a historic marginalisation, which has barred Caribbean scholars from entering ‘formal’ archival spaces, has created an alternative discourse. Consequently, Caribbean writers have chosen the imagined landscapes of literature, a new archival space for the Caribbean, within which to document and preserve Caribbean cultural traditions. If as I suggest, fiction allows for the safeguarding of traditions, how then should we read Caribbean literature? The combination of a physical and a virtual archive questions the literary and linguistic interface that such a mingling entails in a preservation of Caribbean culture. I argue for an appreciation of orality as performance, primary and technologised, as well as the reading of texts as ‘creolised archive’. Drawing on interlinked theoretical works including that of Kamau Brathwaite, Édouard Glissant and Antoinette Burton, I attempt to establish the performativity of the ‘creolised archive’ in twentieth and twenty-first century Caribbean literature, defined as oral in this research. I suggest that the ‘creolised archive’ has a plurality of sources/resources enabling the preservation of aspects of Creole culture. I begin by exploring the literary representation and imagining of black female subjectivity to highlight a reading of the black female 5 body as archive. The selected short stories provide a starting point from which the history and construction of the Creole voice is explored to determine the representation and preservation of Caribbean Creoles archived within the literary text. In considering the World Wide Web as archive, I examine how the World Wide Web might most effectively serve as an interactive archive for Caribbean oral literature. Additionally, I interrogate how the Web might be seen and experienced as a literary interface – a creolised archive – enabling Caribbean Creole languages and literature to be represented. 6 TABLE OF CONTENTS Dedication 3 Acknowledgements 4 Abstract 5 Performativity, Performance, Narratology | Technauriture: Traversing the oral-literacy- techno continuum | Reconfiguring the Archive: The Beginnings | Caribbean Archives | Creole and Introduction Creolisation: A Multiplicity of Lines | Literary Creole: I am a memory that does not Constructing a Creole 10 reach the threshold Identity | Grenadian Creoles | Jamaican Creole | A Limitless Métissage: Creolisation as Cultural Creativity | Caribbean Voices: Twentieth Century Literary Creole Community | Space, Place, Dis-sp[l]ace | Parameters Transcultural Chorality: On board the ‘Nightmare Canoe’ | Reputation of [her] pen: Refiguring a Double Archive Chapter One | Imoinda’s Generational Imoinda or She Who: Conversation | Imagining Creolising the Double Archive the Past: Collective 93 Remembering | Alter(native) Imoinda’s: Will the real Imoinda please stand up? | Staging Imoinda: Towards a Live Performance | Critiquing Imoinda: Workshops, Museums and Classrooms 7 ‘A Story you a tell me’: Jack Mandora me nuh choose none | Pickney should be seen and not heard | A Monument for Miss Chapter Two Rilla: Praise-song and Ballad | Short Fiction Verb and Things: Noticeable Features of Creole | Performing 143 Archiving Voices: Madness | Yu tink I Mad, Miss? Is Performativity of Mad dem Mad! | Dis/functional Madness and the Heart: This Functional Heart | Discerner of Hearts Creole Experience Angel as an Archive of Feelings | Revolution Reality: Self-discovery and Positive Action | Butterfly Chapter Born: Memories and M(other)ing Three | We speak in headlines: 190 Language of Resistance | Text as Riffing on Orality Testimony: Speak(ing) in codes and Archiving about 1983 | Griots: Cultural and Feelings: Literary Mothers Memorialising Her(story) in Merle Collins’ Angel Negotiating the Contact Zone | Theorising Space and Cyberspace | CCDS: A Microhistory | CCDS: Chapter Politics of the Archive | Digital Four Cosmopolitans: Creolising the Web | Creole Bytes: A Virtual 253 Creole Archiving, Learning Environment | Beyond Diaspora and the Text: Writing for a Digital World | A Centre of Interpretation: Academy: Space, Conferences, Courses and Place and Symposiums | CCDS: A Way Cyberspace Forward Conclusion A Creolised 313 Conclusion: Is information we want, an we want it clear and simple! 8 Books | Chapters and Essays | Articles | Theses, Conference Bibliography Proceedings and Conference 320 Papers | Web sites Appendix One: Imoinda: Trans- global Conversations | Appendix Two: Imoinda’s Children | Appendix Three: Sample Lesson Appendices Plan | Appendix Four: News 357 Review – V S Reid | Appendix Five: Caribbean Centre – Five Year Plan | Appendix Six: POUT Analysis image Figure 1: Original Centre for Caribbean Studies Website | Figure 2: New Centre for Caribbean and Diaspora Studies Website | Figure 3: Welcome Map for International Students | Figure 4: Map of the World| Figure 5: Sample of CCDS VLE Figures page | Figure 6: Love Duet | 376 Figure 7: Olive Senior reading from ‘You Think I Mad, Miss?’ | Figure 8: Olive Senior reading from ‘The Case Against The Queen’ | Figure 9: Dramatisation by Rhoma Spencer | Figure 10: Professor Maria Helena Lima – Keynote Lecture | Figure 11: Marlene Nourbese Philip – Zong! | Figure 12: POUT Analysis image 9 Imoinda or She-Who: Creolising the Double Archive Introduction: I am a memory that does not reach the threshold1 1 Aimé Césaire, ‘The Griffin’. In Arnold, James and Clayton Eshleman, (eds) Solar Throat Slashed: The Unexpurgated 1948 Edition, Connecticut: Wesleyan University Press, 2011, p25. 10 Imoinda or She-Who: Creolising the Double Archive Cameroonian intellectual Achille Mbembe notes that, traditionally, the term ‘archive’ first refers to a building, a symbol of a public institution, which is one of the organs of a constituted state’2. Moreover as I address in Chapter One, Mbembe suggests that there cannot be a definition of the archive which does not encompass both the building and the documents stored there. If Mbembe’s view might be relied upon, does it mean that for a community denied access to such public spaces of power, they have no archive? Where are their nuanced and complex experiences archived? It is the question of access that has led me to this research and lies at the centre of this thesis. Drawing on Mbembe’s critique of the ‘traditional archive’ in relation to societies less well resourced than in the west, I seek to interrogate the relationship between the Caribbean subject and the archival practices through which he/she is constructed. I posit that in relation to the Caribbean, with its complex and pathologised political and historical legacy, notions of the archive should be characterized as a more fluid space than a building or public institution. Moreover, I argue that the history of the transatlantic slave trade and the slave plantation that shapes the foundations of Caribbean spaces and diaspora renders its archive a very fluid space because of the many absences, silences, and ruins consequent upon that history.3 Importantly, I suggest that Caribbean literature, particularly the register of the oral tradition recorded within it and thus, archived in the 2 Achille Mbembe, ‘The Power of the Archive and its Limits’ in Hamilton, Carolyn et al. Refiguring the Archive, Netherlands: Kluwer Academic Publishers, 2002, p19. 3 Édouard Glissant, Poetics of Relation, USA: University of Michigan Press, 1997. 11 Imoinda or She-Who: Creolising the Double Archive written texts and indeed the bodies of the
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