By Denise deCaires Narain;
Contemporary Caribbean Women's Poetry offers precise readings of person poems by way of ladies poets whose paintings has no longer but obtained the sustained serious consciousness it merits. those readings are contextualized either inside Caribbean cultural debates and postcolonial and feminist serious discourses in a full of life and engaged method; revisiting nationalist debates in addition to topical matters concerning the functionality of gendered and raced identities inside of poetic discourse. Newly on hand in paperback, this booklet is groundbreaking analyzing for all these drawn to postcolonialism, Gender reports, Caribbean stories and modern poetry.
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Extra info for Contemporary Caribbean Women's Poetry: Making Style
Contrasts, p. 11) The ambivalent way in which the speaker both aﬃrms and rejects traditional accounts of History suggests that the poem is a kind of internal dialogue, in which ‘the enemy’ being addressed is the ‘other self’ of the speaker. While in ‘Ghosts in a Plantation House’ the presence of a violent colonial past haunts the present, it is ‘Small wonder the slave girl moans and the French priest talks’ as the absentee landlord puts oﬀ the moment of occupation until his ‘youngling son inherits’.
Here, Marson seems to rehearse Fanon’s insights in Black Skin, White Masks about the splitting of ‘self ’ under the colonial gaze: Black girl – what a burden – But your shoulders Are broad Black girl – what a burden – But your courage is strong – Black girl your burden Will fall from your shoulders For there is love In your soul And a song In your heart. (The Moth, p. 93) The shift in tone eﬀects a kind of up-beat closure which sits rather uneasily with the mournful and resigned tone of the rest of the poem.
The jaunty tone, combined with the adherence to a tight rhythm and rhyme which does not easily accommodate the Jamaican Creole of the speaker, results in some rather unwieldy images, such as, ‘An’ talkin ’bout de Bobbie dem,/Dem is nice as nice can be,/An’ some o’ dem is tall me boy/‘Mos’ like a coconut tree’. These lines make for uneasy reading; not U. S. Allfrey 27 simply because of the post-Lawrence suspicion surrounding the Metropolitan Police Force in Britain in the ‘new’ millennium but because social history of the 1940s would suggest a decidedly less ‘jolly’ relationship between the police and black male ‘arrivants’ than Marson suggests.