Journal articles: 'Caribbean poetry'

1

King, Bruce, Stewart Brown, and Jennifer Northway. "Caribbean Poetry Now." World Literature Today 61, no. 3 (1987): 479. http://dx.doi.org/10.2307/40143480.

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Putte-de Windt, Igma van, and Monique S. Pool. "Caribbean Poetry in Papiamentu." Callaloo 21, no. 3 (1998): 654–59. http://dx.doi.org/10.1353/cal.1998.0174.

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RODRÍGUEZ, EMILIO JORGE. "Oral Tradition and Recent Caribbean Poetry." Samuel Beckett Today / Aujourd'hui 12, no. 1 (December 8, 2002): 1–12. http://dx.doi.org/10.1163/18757405-90000114.

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RODRÍGUEZ, EMILIO JORGE. "Oral Tradition and Recent Caribbean Poetry." Matatu 12, no. 1 (April 26, 1994): 1–12. http://dx.doi.org/10.1163/18757421-90000074.

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Neumann, Birgit, and Jan Rupp. "Sea passages: cultural flows in Caribbean poetry." Atlantic Studies 13, no. 4 (September 23, 2016): 472–90. http://dx.doi.org/10.1080/14788810.2016.1216765.

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Westall, Claire. "The Her-story of Caribbean Cricket Poetry." Sport in History 29, no. 2 (June 2009): 132–49. http://dx.doi.org/10.1080/17460260902872586.

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Morrison, Anthea. "'Americanité' or 'Antillanité'? Changing perspectives on identity in post-négritude Francophone Caribbean poetry." New West Indian Guide / Nieuwe West-Indische Gids 67, no. 1-2 (January 1, 1993): 33–45. http://dx.doi.org/10.1163/13822373-90002672.

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Analysis of Francophone Caribbean poetry focusing on the notions of Antillanité and Américanité as they relate to the work of Sonny Rupaire and Alfred Melon-Degras. The author emphasizes the varying impulses and allegiances which may confront the Francophone Caribbean writer wrestling with his identity.

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Ramazani, Jahan. "The Wound of History: Walcott's Omeros and the Postcolonial Poetics of Affliction." PMLA/Publications of the Modern Language Association of America 112, no. 3 (May 1997): 405–17. http://dx.doi.org/10.2307/462949.

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The figure of the wound is central to Derek Walcott's Omeros, one of the most ambitious works of postcolonial poetry. Walcott grants a European name to the primary bearer of the wound, the black fisherman Philoctete, who allegorizes African Caribbean suffering under European colonialism and slavery. This surprisingly hybrid character exemplifies the cross-cultural fabric of postcolonial poetry but contravenes the assumption that postcolonial literature develops by sloughing off Eurocentrism for indigeneity. Rejecting a separatist aesthetic of affliction, Walcott frees the metaphoric possibilities of the wound as a site of interethnic connection. By metaphorizing pain, he vivifies the black Caribbean inheritance of colonial injury and at the same time deconstructs the experiential uniqueness of suffering. Knitting together different histories of affliction, Walcott's polyvalent metaphor of the wound reveals the undervalued promise of postcolonial poetry.

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Caulfield, Carlota, and Lee M. Jenkins. "The Language of Caribbean Poetry. Boundaries of Expression." Hispania 89, no. 4 (December 1, 2006): 894. http://dx.doi.org/10.2307/20063412.

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Gallagher, M. "Contemporary French Caribbean Poetry: The Poetics of Reference." Forum for Modern Language Studies 40, no. 4 (October 1, 2004): 451–62. http://dx.doi.org/10.1093/fmls/40.4.451.

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Styles, Morag. "The Power of Caribbean Poetry: Word and Sound." Bookbird: A Journal of International Children's Literature 51, no. 1 (2013): 51–59. http://dx.doi.org/10.1353/bkb.2013.0012.

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Ware, Tessa. "Becoming a Cultural Tourist: Explorations in Caribbean Poetry." Changing English 22, no. 1 (January 2, 2015): 38–49. http://dx.doi.org/10.1080/1358684x.2014.992213.

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Hurley, E. Anthony. "Loving Words: New Lyricism in French Caribbean Poetry." World Literature Today 71, no. 1 (1997): 55. http://dx.doi.org/10.2307/40152567.

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Vernon, Evie. "Grandy Nanny Dream Me." Modern Believing 65, no. 1 (December 14, 2023): 22–34. http://dx.doi.org/10.3828/mb.2024.3.

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Moore, Schontal, and Georgina Horrell. "Foreword." Caribbean Journal of Education 43, no. 1 (September 30, 2021): i—ii. http://dx.doi.org/10.46425/c014301j184.

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Poetry is multifaceted and timeless. Resultantly, its subject and its crafting provide a rich array of possibilities for engagement and use. Within this edition, poetry is presented as powerful, with the kinetic energy to teach, transform, and heal, even while revealing, subverting, and problematizing. These seven narratives from across the Caribbean region and beyond share the writers’ personal and professional encounters with poetry, and, as such, are strategically situated within this edition to chronicle the multiple perspectives of composition, pedagogy, culture, recitation, performance, gender, and therapy.

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Dabydeen, Cyril, and E. A. Markham. "Hinterland: Caribbean Poetry from the West Indies & Britain." World Literature Today 64, no. 4 (1990): 683. http://dx.doi.org/10.2307/40147049.

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Howley, Ellen. "The Mythic Sea in Contemporary Irish and Caribbean Poetry." Comparative Literature 74, no. 3 (September 1, 2022): 306–25. http://dx.doi.org/10.1215/00104124-9722363.

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Abstract Myths of the sea are some of the most enduring cultural associations with oceanic spaces. In particular, literature written from islands and coastal locations often shares an interest in these mythic narratives. With a focus on this comparative element, this article investigates how contemporary poets from Ireland and from the Anglophone Caribbean engage with the myths of the sea in their work. It examines the poetry of Lorna Goodison (Jamaica), Seamus Heaney (Northern Ireland), Eiléan Ní Chuilleanáin (Republic of Ireland), and Derek Walcott (Saint Lucia), demonstrating the ways in which a contemporary engagement with the myths of the sea transforms and translates understandings not only of the present moment but also of traditional ideas of linear time. Specific myths of the sea become a tool with which to mine the past and present as they allow these poets to reflect on beginnings, endings, and the repetition of cycles. The critiques that these poets level in their work are also considered through a gendered lens here, as the association between woman and sea, as well as the mythologization of woman is discussed. This article analyzes key poems from these writers to draw out rarely evinced transatlantic routes of correspondence between the four poets. In doing so, it also emphasizes the connective properties of the sea’s cultural, artistic, and imaginative resonances.

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Burns, Heather, and Ramabai Espinet. "Creation Fire: A CAFRA Anthology of Caribbean Women's Poetry." Callaloo 16, no. 3 (1993): 729. http://dx.doi.org/10.2307/2932300.

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McMorris, Mark. "Discrepant Affinities in Caribbean Poetry: Tradition and Demotic Modernism." Contemporary Literature 47, no. 3 (2006): 505–22. http://dx.doi.org/10.1353/cli.2007.0008.

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Raussert, Wilfried. "Jamaican-Canadian ‘Poetics of Relations’: Dub Poetry, Musical Rhythm, and Flows of Transnational Black Consciousness." Perspectivas Afro 3, no. 2 (June 4, 2024): 274–93. http://dx.doi.org/10.32997/pa-2024-4731.

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The article places dub poetry in the context of traveling sounds of music and oral poetry between the Caribbean, Canada, and England. Looking at dub poetry from a hemispheric and transnational perspective and through the lens of Glissant’s ‘poetics of Relations,’ the article puts focus on Canadian dub poetry and relates it to Jamaican beginnings and diasporic extensions in Britain. As the article shows, dub poetry plays a key role as transnational and transgeneric sound archive (Antwi) and as poetic form of yearning for completion, thus adding new narratives to a larger discourse of Black transnationalism that is by no means limited or necessarily linked to “pan-Africanism or other kinds of Black-isms”. Instead, dub poetry also responds to all kinds of international movements such as anti-colonialism, socialism and feminism to create transnational imaginaries and historiographies of diasporic Black cultures.

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Ochoa Roa, Ana Carolina. "“La fijeza”: the hope of the temporary progression through the image of the Caribbean location." Catedral Tomada. Revista de crítica literaria latinoamericana 3, no. 5 (January 7, 2016): 118–29. http://dx.doi.org/10.5195/ct/2015.97.

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This is a text derivated from the presentation “La fijeza: tiempo y espacio insulares”, in the 38th Conference of the Caribbean Studies Association, on June 4th, 2013 at Grenada Grand Beach Resort, Grand Anse, Grenada.Lezama Lima was a Cuban poet, essayist, and novelist considered as well as Alejo Carpentier, one of the greatest figures of the Caribbean island literature. His detailed knowledge of the baroque literature specially Góngora’s poetry, and also his necessity of fixing a Cuban identity, allowed him to propose a very innovative esthetic which goes beyond the disenchantment proper of the baroque. The verses of “La fijeza” are some examples of this vision. In this order of ideas, the purpose of this work in to present the analysis of some poems of “La fijeza” in order to explain the manner in which Lezama distances himself from the baroque disenchantment conception of the world and how, at the same time, he presents verses of hope, identity and universalism by means of presenting the poetic image of the Caribbean scenery and its spatio-temporal relationships in a way to explain a vision of the poetry as privileged way to re-create the world.

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Cater, Suzy. "Uneasy Landscapes." CLR James Journal 26, no. 1 (2020): 51–66. http://dx.doi.org/10.5840/clrjames202112775.

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This article offers an unprecedented close reading of the poetic texts created by the Martinican author René Ménil, whose poetry has been almost entirely neglected by scholars to date and who is better known for his philosophical and political writings than for his verse. I pay particular attention to Ménil’s treatment of geographical and cultural spaces in his published poetry from 1932 to 1950, and place that verse in dialogue with a text by another Martinican author at work around this period: Edouard Glissant, and his first poetry collection, Un champ d’îles (1952). Despite their otherwise dissimilar literary approaches, I show how both Ménil and Glissant created verse in these years where landscapes shift unpredictably, where human subjects are often overwhelmed, and where bewildering, vertiginous contact between Europe and the Caribbean is emphasized. This stands in contrast to more descriptive or directly political depictions of local nature created by other Afro-Caribbean poets during the period, and, I argue, underscores the complexities of the unsettling encounters between places and peoples occurring with increasing frequency in these years of rapid change around the Second World War.

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Rosenblatt, Eli. "A Sphinx upon the Dnieper: Black Modernism and the Yiddish Translation of Race." Slavic Review 80, no. 2 (2021): 280–89. http://dx.doi.org/10.1017/slr.2021.79.

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This article examines the context and content of the 1936 Soviet Yiddish publication of Neger-Dikhtung in Amerike, which remains to this day the most extensive anthology of African-Diasporic poetry in Yiddish translation. The collection included a critical introduction and translations of nearly one hundred individual poems by twenty-nine poets, both men and women, from across the United States and the Caribbean. This article examines the anthology's position amongst different notions of “the folk” in Soviet Yiddish folkloristics and the relationship of these ideas to Yiddish-language discourse about race and racism, the writings of James Weldon Johnson and W.E.B. Du Bois, with whom Magidoff corresponded, and the Yiddish modernist poetry of Shmuel Halkin, who edited the book series in which the anthology appears. When placed alongside Du Bois's and others’ visits to the Soviet Union in the 1930s, the appearance of African-American and Caribbean poetry in Yiddish translation shows how a transatlantic Jewish avant-garde interpreted and embedded itself within Soviet-African-American cultural exchange in the interwar years. Magidoff served as a Soviet correspondent for NBC and the Associated Press from 1935. He was accused of espionage and expelled from the USSR in 1948.

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Hokin, Tess. "Divided to the Vein." Groundings Undergraduate 9 (April 1, 2016): 32–46. http://dx.doi.org/10.36399/groundingsug.9.196.

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This article explores the development of West Indian cultural identity through its expression in poetry from and about the West Indies. Early forms of cultural expression from the Anglophone Caribbean were frequently realised through mimicry of British poetic forms, themes, and language. Later post-Independence poetry frequently denounced such reverence and aimed to identify the West Indian poetic voice with a conception of ‘Africa’ as an alternative parent culture. Ultimately however, neither Africa nor Britain provides a suitable comparison for the fragmented and diverse West Indies. Rather, the most apt expressions of West Indian cultural identity are found in poetry which focuses on racial hybridity, West Indian landscapes, and local dialects.

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Huang, Kristina. "Carnivalizing Imoinda’s Silence." Eighteenth-Century Fiction 34, no. 1 (September 1, 2021): 61–86. http://dx.doi.org/10.3138/ecf.34.1.61.

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In this essay, I analyze Joan Anim-Addo’s libretto Imoinda, or She Who Will Lose Her Name (2008) and illustrate how its narrative poetry generates a speculative, gendered history around the slave past. Informed by Srinivas Aravamudan’s observation of parodic subversion in the afterlives of Aphra Behn’s Oroonoko (1688), I return to Anim-Addo’s oeuvre in order to read Imoinda as a work that counter-writes the colonial gaze of “Western” knowledge. By centering on Caribbean carnival as the performance context for the libretto, I examine how histories of rebellion and survival carried out by enslaved Africans and their descendants unfold through the libretto’s narrative poetry. I argue that Imoinda, under the guise of artistic forms associated with “the West,” breaks from Eurocentric perspectives that misrepresented subaltern struggles while ushering forth the question of “who speaks?” in critical discourses. I conclude by aligning Anim-Addo’s Imoinda in relation to Sylvia Wynter’s conceptualization of “demonic grounds” to highlight a transformative epistemic space of Caribbean women’s literature.

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Howerton, Alex. "Toward a Poetics of Allyship: Rajiv Mohabir’s Radical, Animal Coolitude." MELUS 46, no. 1 (March 1, 2021): 1–23. http://dx.doi.org/10.1093/melus/mlaa063.

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Abstract I offer one alternative to media depictions of migrant bodies as animalistic threat by tracing animal movement in Rajiv Mohabir’s poetry. Mohabir is a queer Indo-Caribbean American poet whose poetry depicts animals’ fettered movement, often a consequence of heteropatriarchal and nationalist operations of power. Mohabir suggests that such artistic productions might align and thus ally themselves with disparate imperiled bodies due in part to the ethics of Coolitude, or, the state of having descended from Indo-Caribbean coolies. Mohabir has revitalized the term in a series of manifestos and craft essays published on Jacket2, where he claims Coolitude poetics as a corrective to the kind of nationalist mindset that would condemn imperiled migrants. Mohabir’s poetry prominently features two kinds of creatures: those who enjoy conditional movement, such as the whales that populate verse from across his career, which denotes a subject’s attempts to free themselves from the conscripts of heterosexual or imperial legacies; and those such as the taxidermied wren or coyotes that adorn his first published collection, The Taxidermist’s Cut (2016). These figures best describe political subjects who have internalized the resentment of their political environment and are consequently destroyed. Mohabir does, however, offer one other figure: the unfettered whale of “Why Whales are Back in New York City” (2017). The whales of this poem represent a subject that succeeds in defending itself from the oppression that distinguishes the rest of his poetry; the poem thus serves as a model of sanctuary.

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Narain, Denise deCaires. "The politics and poetics of belonging in Caribbean women's poetry." Wasafiri 18, no. 38 (March 2003): 13–19. http://dx.doi.org/10.1080/02690050308589820.

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Müller, Timo. "Forms of exile: Experimental self-positioning in postcolonial Caribbean poetry." Atlantic Studies 13, no. 4 (September 23, 2016): 457–71. http://dx.doi.org/10.1080/14788810.2016.1220790.

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Ripert, Yohann C. "When Is Poetry Political? Césaire on the Role of Knowledge in 1944." Small Axe: A Caribbean Journal of Criticism 25, no. 1 (March 1, 2021): 1–14. http://dx.doi.org/10.1215/07990537-8912743.

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This essay investigates a moment for Caribbean knowledge production in which intellectuals, gathered in Haiti in 1944 for an International Congress of Philosophy, questioned whether to politicize knowledge or to seclude it from politics. Focusing on Aimé Césaire’s “Poetry and Knowledge,” the author compares the 1944 conference paper with the version published in Tropiques in 1945 to show a feedback loop between poetry and politics. The war, the isolation, and the intellectual evolution of Tropiques coalesced to form a new environment that prompted Césaire to rethink the relation between poetic practice and political relevance. Illuminating the relation between poetry and politics, “Poetry and Knowledge” is symptomatic of an epistemological shift from poetic writing geared toward political actions to poetic knowledge uncorrupted by political considerations that prepared Césaire for undertaking in 1945 a new literary and political trajectory.

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Porter, Gerald, and Christian Habekost. "Verbal Riddim: The Politics and Aesthetics of African-Caribbean Dub Poetry." Journal of American Folklore 107, no. 425 (1994): 458. http://dx.doi.org/10.2307/541709.

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Harris, Mark. "Alternative Soundscape Paradigms from Kamau Brathwaite and the Mighty Sparrow." Small Axe: A Caribbean Journal of Criticism 25, no. 2 (July 1, 2021): 16–35. http://dx.doi.org/10.1215/07990537-9384184.

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This essay asks how the soundscapes represented in Caribbean literature and music provide alternative paradigms for conceptualizing noise and silence. As American and European sound studies have drawn from the writings of John Cage, Murray Schafer, and Jacques Attali to articulate alternative practices of listening and soundmaking, they have marginalized black experience. Caribbean noise, formed out of resistance to slavery and colonialism, has been excluded from informing those alternative practices. The depths of sonic experience revealed by soundscapes of Kamau Brathwaite’s poetry and the Mighty Sparrow’s calypsos concern the impact of centuries of Atlantic slavery on black hearing and speaking. They expose the racial and economic determinants of sound studies’ advocacy of indifferent listening and pure sound environments. In contrast, Caribbean histories of resourceful hearing and soundmaking bring distinctive sonic cultures to challenge established listening practices and provide ways of questioning canonical definitions of noise and silence.

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Lewis-Fokum, Yewande, Schontal Moore, and Aisha T. Spencer. "Talk the Poem: Re-positioning Poetry Recitation as Transformative Pedagogy." Caribbean Journal of Education 43, no. 1 (May 13, 2021): 85–108. http://dx.doi.org/10.46425/c064301y823.

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Poetry is often perceived by many as the genre of Literature, which is only accessible to specific kinds of individuals, with special artistic sensibilities. As much as we have moved away from formalistic notions of engaging with poetry, the text or written word itself, continues to be treated as an isolated substance, awaiting profound interpretation from those who are gifted with the skills of response. This article explores the importance of offering encounters with poetry which will enable sustainable transformation and growth for both teachers and students. The Talk the Poem (TTP) National Poetry Project was established to provide secondary students from across the island with the space and opportunity to engage with and recite Caribbean and British poetry, through interactive workshops and a national recitation competition. Through a series of critical self-reflective moments, core members of the TTP project attempted to determine the role and scope of the project in the lives of the secondary school teachers and students. This article reports findings on the positive and insightful outcomes of the TTP experience for teacher and student participants, deciphered through document analysis, team discussions, interviews, and surveys.

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Harding, Warren. "Absence and Disappearance." Small Axe: A Caribbean Journal of Criticism 26, no. 1 (March 1, 2022): 1–15. http://dx.doi.org/10.1215/07990537-9724009.

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This essay argues for a comparative approach to studying and reading Black Caribbean women’s poetry. In particular, it focuses on the works of Cuban Soleida Ríos and Tobagonian Canadian M. NourbeSe Philip in their publications at the close of the 1980s. The essay asks, How does a recuperation of a poetics between Ríos and Philip enhance a study of the body? Through a close reading of two poems, it points to instances of absence and disappearance as generative signals that enable these women to transgress the silences that structure imaginative and lived experiences. In doing so, language, interiority, and grammar become critical spaces for readers to witness the transformative subjectivities that abound when journeying with these women’s poetry.

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Mohabir, Rajiv. "“We Are Animal. So What?”." Small Axe: A Caribbean Journal of Criticism 27, no. 2 (July 1, 2023): 167–76. http://dx.doi.org/10.1215/07990537-10795363.

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This essay is a reading of Andil Gosine’s Nature’s Wild: Love, Sex, and Law in the Caribbean (2021) that thinks through the author’s contributions on LGBTQ+ history, art, and activism in the Caribbean. It begins with a look at how the animal is wielded discursively to deride queerness and thinks through the constructions of animality. Central to much of the essay is the framing of how for queer people Gosine’s ideas of either rejecting the animal or reclaiming it can be read in Colin Robinson’s poetry, and how liberation for the queer subject comes at a fraught cost. The essay concludes by looking at Gosine’s notions of “wrecking work” and uses them to read the history of Indian indenture in the literary arts.

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Yaa de Villiers, Phillippa. "Give the ball to the poet: a new anthology of Caribbean poetry." Scrutiny2 21, no. 2 (May 3, 2016): 110–12. http://dx.doi.org/10.1080/18125441.2016.1240913.

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Jill S. Kuhnheim. "Performing Poetry, Race, and the Caribbean: Eusebia Cosme and Luis Palés Matos." Revista Hispánica Moderna 61, no. 2 (2008): 135–47. http://dx.doi.org/10.1353/rhm.2008.0010.

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Shaffer, Kirwin. "By Dynamite, Sabotage, Revolution, and the Pen: Violence in Caribbean Anarchist Fiction, 1890s-1920s." New West Indian Guide / Nieuwe West-Indische Gids 83, no. 1-2 (January 1, 2009): 5–38. http://dx.doi.org/10.1163/13822373-90002457.

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From the 1890s to the 1920s, anarchist groups and movements emerged in Puerto Rico and Cuba. They promoted the traditional anarchist agenda against governments, militarism, capitalism, and organized religion. While research on anarchists has often focused on their activities in strikes, uprisings, educational experiments, and other counter-cultural activities, this article illustrates how Caribbean-based anarchists used their fiction to promote the anarchist agenda. A central theme in much of the fiction (plays, poetry, novels, and short stories) revolved around violence leveled against society especially by governments. Just as interesting is how this fiction described—even praised—anarchist violence against authority. Thus, even while Caribbean anarchists only rarely resorted to physical violence, anarchist fiction often condemned authoritarian violence while celebrating the violence of revolution, the strike, bombings, and assassination to promote the anarchist cause of universal freedom.

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Westall, Claire. "An interview with Olive Senior." Journal of Commonwealth Literature 54, no. 3 (August 10, 2017): 475–88. http://dx.doi.org/10.1177/0021989417723070.

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Olive Senior has become a significant literary voice within Caribbean literature and the Caribbean diaspora, often providing light, sharp, subtle, and emotionally laden stories and poems of childhood and belonging. As she describes here, her work remains “embedded” in Jamaica, including its soundscape and its ecology, and stretches across fiction, non-fiction, poetry, and children’s literature. For decades she has enjoyed a growing international audience, and her work is taught in schools in the Caribbean as part of an evolving literary curriculum. Senior’s short stories, the primary focus of this discussion, are especially well known for their enchanting, vibrant, and insightful children and child narrators — a trait that situates Senior’s work in relation to other famed Caribbean authors (Sam Selvon, Michael Anthony, Jamaica Kincaid, Merle Collins, and many more). In this interview, explorations of some of her young female voices are set within Denise DeCairns Narain’s sense of Senior’s “oral poetics”, and are also explored in relation to issues of wealth, privilege, and emotional sincerity. Senior’s work — fictional and non-fictional — is also heavily invested in ideas of land, labour, and migrancy, and so her recent and striking short story “Coal”, from her latest collection The Pain Tree (2015), is considered alongside her enormously impressive historical study of the role of West Indian migrant labourers in the building of the Panama Canal, entitled Dying to Better Themselves (2014).

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Gyssels, Kathleen. "His Master's Voice: avons-nous écouté Damas?" Dossier spécial Léon-Gontran Damas, no. 116 (August 13, 2020): 9–17. http://dx.doi.org/10.7202/1071040ar.

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As many critics have seen, the musicality of Damassian poetry would be the expression of “negro” rhythm, and of the poets of his generation, he would have been the most jazzy. The poetry of Damas deserves better: it is enough to listen to it set to music by Pigments - The Clarinet Choir, to understand how it transcends Black Africa and the Caribbean, because, through the added value of an instrumental interpretation and a rare poetic recitation, these are the dramas of the individual uprooted and demotivated by a social body and an hostile environment. Drama of loneliness and drama of incomprehension, hope for reconciliation and rage against the impasse of the racial question in a supposedly multicultural France take turns. In three excerpts from their amazing project, Pigments - The Clarinet Choir offer a breathtaking score of the “Master’s Voice”.

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DORCHIN, Uri. "IN SEARCH OF CREATIVE EXPRESSION: THE DIALECTICS OF RACE, POLITICS, AND LITERATURE IN CARIBBEAN DUB POETRY / IEŠKANT KŪRYBINĖS IŠRAIŠKOS: RASĖS, POLITIKOS IR LITERATŪROS DIALEKTIKA KARIBŲ DUB ŽANRO POEZIJOJE." Creativity Studies 10, no. 2 (December 21, 2017): 159–73. http://dx.doi.org/10.3846/23450479.2017.1361875.

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This article examines dub poetry as an artistic form located along several borderlines, both spatial and cultural. Formulated by poets of African descent, the creative language of dub poets was often conceptualized through the framework of identity politics and an anti-colonial approach. Yet from the 1980s, dub poetry became institutionalized simultaneously within the pop culture industry and in “respectable” venues such as academic research, a process that calls its initial political orientation into question. In light of its differentiated formations, audiences, mediating devices, and forms of reception, however, we might view and evaluate dub poetry not exclusively through the prism of political speech, but also as a cultural form. Based on texts, recordings and performance analysis this article is a call to acknowledge dub poetry, and artistic expression in general, as the result of aesthetic decisions rather than exclusively moral ones.

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Hickling, Frederick W., Hilary Robertson-Hickling, and Debbie-Ann Chambers. "Collective Poetry Making in the Poesis of Psychohistoriographic Cultural Therapy." Caribbean Journal of Education 43, no. 1 (May 13, 2021): 151–73. http://dx.doi.org/10.46425/c094301k913.

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Psychohistoriographic Cultural Therapy (PCT), pioneered in Jamaica in 1978, is a post-colonial model of group psychotherapy that privileges the use of the poetic to heal historical traumas. Embedded in PCT is a technique of collective poetry making. In this paper, the process is chronicled in five case studies: Madnificent Irations at the Bellevue Mental Hospital (Jamaica); Rethinking Cultural Diversity at the Cooperative Association of States for Scholarship (Georgetown University, Washington); Windows for Wavelengths at the Maudsley Hospital (London, UK); Identity and Achievement at the Afro-Caribbean Mental Health Centre (Wolverhampton, UK); and Mite de La Laine at the McGill University, (Montreal, Canada). An analysis of the PCT process and the collaborative poems created highlights how this model accelerates insight and resilience, confronts stigma, and facilitates rehabilitation and productivity.

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Dill, LeConte J., Bianca Rivera, and Shavaun Sutton. "“Don’t Let Nobody Bring You Down”." Ethnographic Edge 2, no. 1 (October 18, 2018): 57. http://dx.doi.org/10.15663/tee.v2i1.30.

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This paper explores the engagement of African-American, Caribbean-American, and immigrant West African girls in the critical analysis and writing of poetry to make sense of their multi-dimensional lives. The authors worked with high-school aged girls from Brooklyn, New York who took part in a weekly school-based violence prevention program, and who became both ‘participants’ in an ethnographic research study with the authors and ‘poets’ as they creatively analyzed themes from research data. The girls cultivated a practice of reading and writing poetry that further explored dating and relationship violence, themes that emerged from the violence prevention program sessions and the ethnographic interviews. The girls then began to develop ‘poetic knowledge’ grounded in their lived experiences as urban Black girls. The authors offer that ‘participatory narrative analysis’ is an active strategy that urban Black girls enlist to foster individual and collective understanding and healing.

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Reiss, Timothy J. "Kamau Brathwaite, a Memoir." Small Axe: A Caribbean Journal of Criticism 26, no. 1 (March 1, 2022): 111–23. http://dx.doi.org/10.1215/07990537-9724121.

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This essay tracks Kamau Brathwaite’s life, his poetic and critical writing, and his travails and thinking, from youth and early career—in Barbados, England, Ghana, and the Caribbean, but mainly from his arrival at New York University in 1991—through his retirement in 2013 and return to Barbados, up to his death in 2020. It especially follows Kamau from his low “time of salt” of the late 1980s in Jamaica through the stunning critical and poetic burgeoning from the 1990s on, with such works as Barabajan Poems; the two-volume MR; the prize-winning Born to Slow Horses; and Elegguas and his unpublished third poetry trilogy, Missa Solemnis, Rwanda Poems, and Dead Man Witness, commemorating and trying to rise beyond what he called his “cultural lynching.” The essay looks at Brathwaite’s online/print Sycorax voice and the politico-philosophico-cultural concept of tidalectics that he developed over these years to create an ongoing Caribbean-based decolonizing of mind, spirit, and material life.

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MUSSER, JORDAN. "The Avant-Garde is in the Audience: On the Popular Avant-Gardism of Linton Kwesi Johnson's Dub Poetry." Twentieth-Century Music 16, no. 3 (September 12, 2019): 457–99. http://dx.doi.org/10.1017/s147857221900029x.

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AbstractThis article presents a historical study of black British poet and recording artist Linton Kwesi Johnson. Drawing on archival research, I argue that Johnson's hybrid literary and reggae-based practice, known as ‘dub poetry’, offers fresh insight into the status of ‘the popular’ in histories and theories of the avant-garde, and of black avant-gardism specifically. I begin by discussing Johnson's participation in the Caribbean Artists Movement, a hub for diasporic arts in 1960–70s London, whereupon I show how dub poetry transposed the ideas of Johnson's colleague, pan-African Marxist C. L. R. James, in simultaneously documenting and instigating grassroots efforts at community centres where Johnson worked, notably the Race Today Collective. I contend that Johnson forged a cultural programme that paralleled James's well-known rejection of the elitist model of the political vanguard: Johnson furnished a ‘popular avant-garde’, as I call it, whose community-oriented ethos was realized via popular media like the LP and mass-democratic – populist – action campaigns.

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Okakpoturi, Ejedaferu Samson. "Literature of the Black Diaspora and the Performance of Caribbean and African American Aural Texts." Tropical Journal of Arts and Humanities 5, no. 1 (2023): 17–27. http://dx.doi.org/10.47524/tjah.v5i1.18.

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The second half of the twentieth century, witnessed a new kind of literature often referred to as "Literature of the Black Diaspora; its appearance and acceptance into mainstream world literature was not without hostilities: overcame what seems like a futile effort, and now a major world literature. One salient feature of literature of the black Diaspora is the representation of aural texts in its composition and reception. This paper is therefore designed to examine the concept and performance of Afro-Caribbean and African American aurality as African legacy and constituent of the Black Literature. This paper, with reference to specific oral and aural texts, discovers that the performance of orality and aurality is a veritable heritage of the Caribbean and African American poetry and this criticism of the black vernacular tradition ranging from the spirituals and blues to jazz, calypso, reggae, hip-hop, gospel, and other contemporary poetic forms indicates that African American and Afro-Caribbean music is particularly rich in mixture of African tradition. The tradition was heralded by the forceful movement of Africans from their native land, through the middle passage, and their ultimate adaptation to a new land. Thus, music is to Africa as the anvil is to the blacksmith, and slavery was the surface on which American and Caribbean music was forged no matter how refined they are now. Aside emotional needs, as with Baldwin and Du Bois, music gives black people ―ability to say ―things‖ that otherwise cannot be said- blurs that boundary between the white man and the black man‖.

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Bryan, Beverley. "The Role of Context in Defining Adolescent Responses to Caribbean Poetry: A Comparative Case." English in Education 29, no. 1 (March 1995): 42–49. http://dx.doi.org/10.1111/j.1754-8845.1995.tb01138.x.

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Gorman-DaRif, Meghan. "“Other and More”: Indian Ocean Literature and the Archipelagic Discourse of the Caribbean." Monsoon 2, no. 1 (May 1, 2024): 22–34. http://dx.doi.org/10.1215/2834698x-11128221.

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Abstract In his 1992 Nobel Prize acceptance speech, Derek Walcott imagines the broken vase and the subsequent reassemblage of its “African and Asiatic” fragments as a metaphor for Caribbean art forms, especially poetry. His vision of the particular archipelagic form of art that is invested in remaking from fragments, while specific to the Caribbean, is also visible in writing from other archipelagic spaces in the Indian Ocean. This article connects the Caribbean concept of the archipelago to the Indian Ocean through an analysis of the way Yvonne Adhiambo Owuor's The Dragonfly Sea (2018) and Amitav Ghosh's The Hungry Tide (2005) each present the littoral island spaces of the Indian Ocean. These texts construct alternatives to the possessive ontology of global capital through their articulation of the unique ontology and aesthetics of the Indian Ocean archipelago, borne out of the specificity of the littoral and its association with permeability, symbiosis, and a “back and forth” mirroring the tides themselves. The article argues that while Owuor's novel, like Walcott, is invested in the ontology and aesthetics of the archipelago as transformative and resistant, Ghosh's novel can be read with Braithwaite's concept of tidalectics as well as Glissant's creolization, to similarly depict the ontology and aesthetics of the archipelago as emerging out of fluidity and change rather than linearity or stasis.

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Muñoz Martínez, Ysabel. "Gardening in Polluted Tropics: The Materiality of Waste and Toxicity in Olive Senior’s Caribbean Poetry." eTropic: electronic journal of studies in the Tropics 21, no. 2 (October 7, 2022): 162–79. http://dx.doi.org/10.25120/etropic.21.2.2022.3907.

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While toxic substances continue increasingly, and unevenly, infiltrating the world, the new materialist turn invites us to examine the relationalities emerging between pollution and literature. This essay examines how Olive Senior’s poetry collection Gardening in the Tropics portrays the imposition of waste and toxicity on Caribbean islands and the counter-narratives to toxic politics that emerge from non-hegemonic perspectives. The paper utilizes methodological contributions from the fields of waste studies, postcolonial and material ecocriticism, and addresses the need for more scholarship centering toxicity in cultural studies, especially through the lens of tropical materialisms. Moreover, the research engages with theorizations surrounding the concept of the Wasteocene as a novel interpretative framework. The main findings reveal that the poems “My Father’s Blue Plantation”, “The Immovable Tenant” and “Advice and Devices” identify how extensive pollution is enabled and perpetuated by colonial systems. The poems illustrate the environmental and socio-political tensions prompted by toxicity, its deleterious effects in organisms and landscapes, and embody how guerrilla narratives can confront widespread toxicity.

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Allar, Neal. "The Case for Incomprehension." Journal of French and Francophone Philosophy 23, no. 1 (August 5, 2015): 43–58. http://dx.doi.org/10.5195/jffp.2015.680.

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I argue that Glissant conceived of opacity first and foremost in his poetry and in his readings of earlier writers, from Mallarmé to Saint-John Perse to William Faulkner, whose moments of complication or incomprehensibility he found productive. By examining the literary valence of this concept of Caribbean philosophy, I claim that opacity not only protects the subject from the invasive grasp of (neo)colonial thought but also, more affirmatively, invites the reader to join the poet on equal footing in the process of sense-making. It is this kind of collective poetics, a collectivity created in opacity, that Glissant imagines in his broader world vision of Relation and the Tout-Monde.

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Vettorato, Cyril. "Linguistic dissonance and the quest for a Caribbean voice in the poetry of Edward Kamau Brathwaite." Recherches anglaises et nord-américaines 47, no. 1 (2014): 233–44. http://dx.doi.org/10.3406/ranam.2014.1481.

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Theoretician and proponent of a “Nation Language” meant to provide the Caribbean peoples with a decolonized set of words and concepts adapted to their particular worldview and historical experience, Barbadian author Kamau Brathwaite did not, as might have been expected, elaborate a monolithic Creole poetics. Instead of basing his creative work on the “defense and illustration” of one particular, localized language, Brathwaite experimented with linguistic plurality and dissonance as means for an opening of the possible. This poetic project is at the core of his 1973 trilogy The Arrivants, where the friction between Standard English, Bajan, Jamaican Patois, African American Vernacular, Haitian Creole and Akan parallels the different territories, voices and historicities of the African Diaspora. The experiments with linguistic and cultural frictions make the reader question his/her own linguistic reflexes and imagine new communities.

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Journal articles on the topic 'Caribbean poetry'

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