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Timing to Descant: the Colonial Ear and Afro-Caribbean Women Writers' Decolonial Soundscapes by Petal K. Samuel Dissertation

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Timing to Descant: the Colonial Ear and Afro-Caribbean Women Writers' Decolonial Soundscapes by Petal K. Samuel Dissertation Timing to Descant: The Colonial Ear and Afro-Caribbean Women Writers’ Decolonial Soundscapes By Petal K. Samuel Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in English August 2016 Nashville, Tennessee Approved: Colin Dayan, Ph.D. Hortense Spillers, Ph.D. Kathryn Schwarz, Ph.D. Ifeoma Nwankwo, Ph.D. Peter James Hudson, Ph.D. Copyright © 2016 by Petal K. Samuel All Rights Reserved iii For my family, who make me brave: Laurina, Heneith, Nat, Steven. iv ACKNOWLEDGEMENTS This project and I have gone through many metamorphoses, and there have been a number of colleagues, mentors, friends, and family members whose steadfast support has carried me through the seasons. I thank the department of English at Vanderbilt for its enriching intellectual environment and support for my work. I’m especially grateful to Mark Schoenfield, Dana Nelson, and Mark Wollaeger—in their respective capacities as department chair and/or DGS during my time at Vanderbilt—for approving my requests for additional funding when traveling to conferences in the Caribbean; because of your support, I never felt in danger of missing professional and networking opportunities which were integral to my growth as a scholar. I also thank Donna Caplan for keeping me on schedule, making sure I dotted my i’s and crossed my t’s, and always having a word of encouragement for me whenever I came into the office. Many thank also to Janis May for being a wonderful and efficient resource, and a joy to talk to. While at Vanderbilt I was the recipient of a few grants and fellowships that made my work possible. Thank you to the College of Arts and Sciences for the Provost’s Graduate Fellowship, Summer Research Award, and for the Outstanding Graduate Student Teaching Award—all three of which gave me the critical resources to deepen my work. I also thank the Department of English for the Robert Manson Meyers First Chapter Award, which both made possible research for future chapters and affirmed for me in the formative early stages of my project that I was on the right track. I am also grateful to the Robert Penn Warren Center for the Humanities for awarding me a dissertation completion fellowship, which offered me the time, space, and community to successfully complete my dissertation. I am especially grateful for the v support of the Center’s directors and administrators: Mona Frederick, Edward Friedman, Terry Tripp, and Joy Ramirez. No dissertation takes shape without the careful guidance of a committee, and to say that my committee was stunningly, embarrassingly fantastic would be a gross understatement. To Hortense Spillers: You lifted my spirits when I thought my project was too esoteric to be realized, and reminded me that “good work forges its own audience”—thank you for reviving my sense of possibility. Also, I was fortunate to attend two ICI conferences during my time here, and both events renewed and broadened my sense of community; you have brought together, and held together, generations of scholars. To Kathryn Schwarz: When I think about the kind of scholar, colleague, and mentor I want to be in academia, I think of you. Thank you for your open door, for teaching me to theorize both the quotidian and the unorthodox, for your contagious enthusiasm and curiosity, for making me laugh out loud, and for helping me to grow in compassion and understanding. Every time we talk, I’m reminded of why I love this work. To Ifeoma Nwankwo: Thank you for everything you’ve done to make my path through academia smoother and more humane—both the things we all can see, and the things no one will ever know. Because of you, I met and worked closely with one of my literary idols, Erna Brodber, and the time I spent with her in Jamaica might have been the single most important experience of my graduate career. You taught me to search wider and deeper for the kind of work that doesn’t get celebrated in journals and symposia. To Peter Hudson: Thank you and your amazing wife, Jemima Pierre, for opening your home to me, for teaching me by example to be a fair and rigorous reader and critic, for always having a meal prepared for a starving graduate student, for introducing me to countless colleagues and collaborators, and for remembering my birthday when I was far from home, family, and friends. Thank you, most of all, for bringing me vi to and keeping me grounded in the black radical tradition, and for always being available to advise or offer an encouraging word, whether we were in the same city or on opposite ends of the country. And last, but certainly not least—to my chair, Colin: I knew long before I came to Vanderbilt that I wanted you to direct this project. Thank you for teaching me by example to be a fearless thinker and disciplined writer, for advocating for me tirelessly, for introducing me into your networks, for reading every single word on every page (over the course of multiple drafts) no matter how busy you were, for opening your home to me, for being always accessible, and for never faltering in your belief in me and my work. You have taught me to live and write with flair and to be confident and steadfast in the face of seemingly insurmountable odds. Thank you for encouraging me not to limit myself and giving me the latitude to work freely and imaginatively. Finally, thank you for constantly reminding me of what was important, and seeing to it that I kept my eye on the prize. To my Committee: There were so many ways I could have fallen through the cracks; there are so many reasons why I shouldn’t have made it this far. You took a chance on me, created the conditions for me to work well, and protected me without fail whenever anything threatened to drive me off course. I promise I will pay it forward. Thank you to my Vanderbilt colleagues both inside and outside of my department who were in the trenches with me, who offered me their precious time and energy to read drafts of abstracts, chapters, grants, seminar papers, and everything in between. Special thanks to my longstanding writing group buddies, Kathleen and Annette, for never saying no to reading something for me and for allowing me to read and learn from your work. Thank you, Faith, for your amazing friendship and insight, for making me burst into laughter, for reading nearly my entire dissertation and being excited about it when I couldn’t be, for picking up the phone when I vii called, for making sure I knew I wasn’t in it alone, and for sharing with me your brilliant mind and kind heart. Thank you to those people of color who came to Vanderbilt before me and worked hard to make a way for those who would come after them: Destiny, Donika, Nafissa, Derrick, Nikki, and Deborah. Thank you for befriending me when I was a lost and timid first year, for checking in on me, for making sure I kept my creative writing alive, for having me over for a meal, for making my sides hurt with laughter, and for letting me know that I wasn’t crazy, and that I wasn’t alone. In response to the isolation of grad school, you formed a web of outstretched hands—I’m forever grateful. Deborah, thank you for your always open door and for never hesitating to help me access any resource I needed; if I develop even a fraction of the power of your memory, I’ll be happy! To Nikki Spigner: I knew from the moment we met that our friendship would be a lifelong one; thank you for being the constant in the shifting sands of grad school, for your incredible generosity, for feeding me and opening your home to me, and for staying close even when you moved on to greener pastures. To my treasured colleagues in the years below me: Chelsea, Joseph, Mariann, Nadejda— thank you for making sure I emerged from my dissertation writing hole every once in a while, for understanding when I couldn’t be available, for lifting my spirits even when you didn’t know I was struggling, and for caring for each other. To my colleagues and friends from other departments, especially my Caribbean sistren Roxane and Danyelle: Thank you for your kindness and generosity, for the notes of encouragement you left at my carrel, and for always making time to grab a meal or a coffee and catch up even when the semester got hectic. To my musical family: Gabrielle, Jodine, Jared, Israel, Janée, Jon, Kristan, Morgan, Malcolm, Nicole, Nina, Sam, and all my other loved ones from Inspiration; our shared love for black music and culture, hilarious and encouraging conversations, and time singing together viii sustained and inspired me over the course of writing this dissertation on sound. It has been especially wonderful that many of us have chosen paths through academia—seeing you at conferences, talking to you on the phone about my project, and commiserating about the trials of grad life have made even the hardest tasks and the most anxiety-filled moments so much kinder and more bearable. You are the most talented people I know—making music with you is a gift. Before my grad career and project were even shadows of ideas, there were a group of mentors who shaped my thinking and changed my career path for good: Herman Beavers, Thadious Davis, Salamishah Tillet, Tsitsi Jaji, Tanji Gilliam, and Jemima Pierre.
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