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There's a New Sheriff in Town: Caribbean Rewriting of The THERE’S A NEW SHERIFF IN TOWN: CARIBBEAN REWRITING OF THE AMERICAN WESTERN IN PERRY HENZELL AND MICHAEL THELWELL’S THE HARDER THEY COME AND PAULE MARSHALL’S PRAISESONG FOR THE WIDOW by Paula J. Wilson A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida December 2015 Copyright 2015 by Paula J. Wilson ii ACKNOWLEDGEMENTS I would like to thank Professors Regis Fox and Mary Ann Gosser-Esquilín, who served as readers on my thesis committee. Thank you for taking the time to invest in my writing, and for encouraging me to constantly expand my thoughts in current and future scholarship. I would especially like to acknowledge the support, encouragement, and guidance from Professor Elena Machado, my thesis chair. I would not be who I am as a scholar without her unfailing confidence in me. There have been many times during this process when I doubted myself, and I appreciated her simple, but poignant, reminders to take it one page at a time and to celebrate each accomplishment along the way. I would also like to recognize my family for all they have done to support me. I thank my parents for always fostering a home of learning, and to my dear husband, thank you for being my backbone through it all. Finally, I thank and praise my God, who has given me overwhelming strength. iv ABSTRACT Author: Paula J. Wilson Title: There’s A New Sheriff in Town: Caribbean Rewriting of the American Western in Perry Henzell and Michael Thelwell’s The Harder They Come and Paule Marshall’s Praisesong for the Widow Institution: Florida Atlantic University Thesis Advisor: Dr. Elena Machado Degree: Master of Arts Year: 2015 The purpose of this investigation is to analyze the ways in which the American Western genre has been reworked in an Anglophone Caribbean context. This paper focuses on the role of the cowboy figure as it pertains to both a postcolonial Jamaican context a more globalized, diasporic Anglophone Caribbean setting. The Western genre, while not typically associated with the Caribbean, has tropes that certainly occur in both film and literature. There is not much scholarship that details the importance of this reimagination as a positive association in the region, and I have chosen both the film and novel The Harder They Come by Perry Henzell and Michael Thelwell, respectively, and Praisesong for the Widow by Paule Marshall to trace these ideas. Together, these works provide a multifaceted understanding of how the American Western helps to interpret the Anglophone Caribbean as a participant in an increasingly globalized world. v THERE’S A NEW SHERIFF IN TOWN: CARIBBEAN REWRITING OF THE AMERICAN WESTERN IN PERRY HENZELL AND MICHAEL THELWELL’S THE HARDER THEY COME AND PAULE MARSHALL’S PRAISESONG FOR THE WIDOW Introduction ..................................................................................................................... 1 Chapter One: Ridin’ With Rhygin: Reappropriation of the American Western in The Harder They Come .............................................................................................. 9 Part I: Crossing Semi-aquatic Landscapes ................................................................ 15 Part II: The Use of the Western Genre in The Harder They Come ............................ 23 Chapter Two: These Boots Were Made for Un-Docking: Paule Marshall’s Use of the Cowboy Trope in Praisesong for the Widow .................................................... 40 Part I: The Cowboy Figure as (Time) Traveller ........................................................ 41 Part II: Marshall’s Interplay of the Cowboy Figure and Landscape Through Memory ............................................................................................................ 52 Part III: The Female Cowboy ................................................................................... 58 Part IV: Expansion of the Cowboy Through Language............................................. 61 Conclusion: Cyber-Cowboy: Imagining the Future of the Caribbean Cowboy ................ 66 Works Consulted ........................................................................................................... 77 vi INTRODUCTION This study is the intersection of various academic conversations about diasporic Caribbean identity, globalization, and popular culture. More specifically, I seek to analyze the role of the cowboy figure as well as the Western genre itself as one possible symbol of late 20th century Anglophone Caribbean identity in the context of that region’s diaspora. My distinct analysis focuses on ways in which the Western/cowboy aesthetic is reappropriated positively in the Caribbean context, and also how this aesthetic can be applied as commentary beyond just traditional masculinity. The cowboy trope figures positively into a postcolonial Caribbean by providing a model of individual strength in light of a bleak socio-political environment. The trope later functions as a cite of cultural exchange in an increasingly globalized society. I will focus on Perry Henzell’s 1972 film, The Harder They Come, as well as Michael Thelwell’s 1980 novel, which was adapted from the film, in conjunction with Paule Marshall’s 1983 novel Praisesong for the Widow. For many critics, The Harder They Come examines the ways in which the film represents an empowered postcolonial Caribbean. In reference to the novel, Sheri-Marie Harrison notes that “modes of cultural self-fashioning like the ruud bwoy, or community theater emerge as spaces for negotiating self, identity, survival, and self-determination among the working class” (i-ii). In a different way, Ulrick Charles Casimir argues that the film itself may be problematic in some ways through the overemphasis of Blackness and says: “So while the film permitted a ‘positive’ viewing experience for its black 1 Jamaican audience, it also allowed a ‘positive’ viewing experience for its predominantly white international audience” (52-53). In much of the scholarship about both works, there is a focus on the ways in which pan-African symbols and an emphasis of the “Black self” are used as empowerment in a Caribbean context. Many critics of Paule Marshall’s work agree that African rootedness becomes replicated in the New World, and specifically, through the Black female. Courtney Thorsson posits that, through writing, authors such as Marshall create “an African-informed space as a seat of feminine power specifically useful for black American women” (644) whereas Piper Kendrix Williams aims to complicate connections between the African diaspora and consumerism through the Black female protagonist’s “cultural reconnection” (103). The emphasis of my study is to introduce ways in which Marshall’s text can be seen to “write back” to The Harder They Come through the cowboy figure/Western genre. This is significant since both works are seldom discussed in connection to one another. Contravening existing research, I argue that the cowboy figure and the Western genre, commonly seen as being part of a quintessential American image, become a positive addition to the postcolonial and diasporic Caribbean consciousness, which can be seen in both The Harder They Come and Praisesong for the Widow. Like Casimir, I would posit the idea that the inclusion of the spaghetti Western genre in The Harder They Come offers the example of a Caribbean connection to a largely white international audience; however, this connection becomes very multifaceted. This thesis studies the interactions between the typical “American” genre of the Western, while focusing specifically on the figure of the cowboy, with the Caribbean 2 both through globalization and the Caribbean diaspora. Regarding the Western genre, I will substantially reference the “spaghetti western,” which is the primary focus of the film The Harder They Come (which specifically references the 1966 Sergio Corbucci film Django). In his article, “Western, Go Home! Sergio Leone and the ‘Death of the Western’ in American Film Criticism,” William McClain asserts that: When Italian director Sergio Leone’s A Fistful of Dollars arrived in the United States in early 1967, the American film industry and the critics who observed it were in a state of ferment. Critics could sense that the American cinema was changing and that its old pieties and genres, often spoken of in the same breath, were in a vital sense dying out. Among them, the Western was perhaps the greatest barometer—the genre long seen as most uniquely American, most assuredly linked to the national character and mythology, seemed to be evolving into a new, rougher beast. (52) In this discussion, the critic makes it clear that the spaghetti Western differs from the traditional American Western that precedes it. It is also clear that the spaghetti Western differs in terms of its “roughness” or increased violence. In this way, the cowboy figure will be understood in the context of the spaghetti Western genre, which I think is significant because this marks the expansion of the genre to a global arena. Discussion of the Caribbean diaspora is also a crucial part for this analysis. According to historical accounts, a Caribbean diaspora occurred most notably following World War II, in which many individuals living in the Caribbean became more dissatisfied with the colonial government, and moved abroad as a result. Paule Marshall’s Praisesong for the Widow, published in 1983,
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