Relevant bibliographies by topics / George Lamming

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'George Lamming'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "George Lamming"

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Mao, Douglas. "Transcolonial Bildung: George Lamming, Social Death, and Actually Existing Modernism." Modernist Cultures 13, no. 1 (February 2018): 33–54. http://dx.doi.org/10.3366/mod.2018.0193.

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This article begins by situating the semi-autobiographical narrator of George Lamming's In the Castle of My Skin amid modernist representations of child philosophers at the imperial ‘periphery’ and in relation to the figure of the ‘scholarship boy’ elaborated by Richard Hoggart. It then examines the relation between modernism and exile in Lamming's writing in light of recent work on how Lamming's rise as an author was facilitated by a contest between modernism and rival modes in mid-century British literary life. It further shows that in Castle and related writings, Lamming sets up an opposition in which the scholarship boy, the Caribbean middle classes, British culture, and contempt for blackness appear on the other side of a divide of death from the philosophizing child, the Caribbean peasant, non-British culture, and blackness. It concludes by arguing that Lamming's rendering of this opposition exemplifies how fictions of decolonization could extend and modify the paradigm of thwarted bildung whose centrality to modernist fictions of empire has been illuminated by Jed Esty.
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Harbi Mahdi Al-Azawi, Basma. "The Genesis of Violence and Self-Destruction in George Lamming’s Water With Berries." Al-Adab Journal 1, no. 120 (December 18, 2018): 19–30. http://dx.doi.org/10.31973/aj.v1i120.301.

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This paper examines George Lamming’s Water with Berries, a postcolonial text, to reveal the counter literary strategy used by the writer to redefine the colonized against the Western cultural hegemony and the attempts done by the colonial writers to misrepresent and stereotype the colonized people. The paper discusses how the counter text with its alternative interpretation challenges the constitution upon which the canonical work has been based. Re-writing and writing back represent the textual resistance to the misrepresentations and ideas expressed by the center. Lamming explores the colonial experience and its effects on the social, moral, cultural values of previously colonized people. By re-writing Shakespeare’s The Tempest, Lamming provides an alternative reading that might appropriate or undermine the original text. Thus, writing from a post-colonial perspective creates a new perception of colonialism and its effects.
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Phillips, Caryl. "Interview: George Lamming talks to Caryl Phillips." Wasafiri 13, no. 26 (September 1997): 10–17. http://dx.doi.org/10.1080/02690059708589555.

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Brown, J. Dillon. "Exile and Cunning: The Tactical Difficulties of George Lamming." Contemporary Literature 47, no. 4 (2006): 669–94. http://dx.doi.org/10.1353/cli.2007.0012.

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Scott, D. "The Sovereignty of the Imagination: An Interview with George Lamming." Small Axe: A Caribbean Journal of Criticism 6, no. 2 (January 1, 2002): 72–200. http://dx.doi.org/10.1215/-6-2-72.

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Ochillo, Yvonne. "Like Mother, Like Daughter: Women in Jean Rhys and George Lamming." Caribbean Quarterly 34, no. 1-2 (March 1988): 37–48. http://dx.doi.org/10.1080/00086495.1988.11829424.

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Schwarz, B. "C. L. R. James and George Lamming: The Measure of Historical Time." Small Axe: A Caribbean Journal of Criticism 7, no. 2 (January 1, 2003): 39–70. http://dx.doi.org/10.1215/-7-2-39.

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Perry. "Caribbean Revolutions and Cultural Sovereignty: C.L.R. James and George Lamming on Cuba." Global South 13, no. 1 (2019): 81. http://dx.doi.org/10.2979/globalsouth.13.1.05.

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Schwarz, Bill. "C. L. R. James and George Lamming: The Measure of Historical Time." Small Axe: A Caribbean Journal of Criticism 14 (September 2003): 39–70. http://dx.doi.org/10.2979/sax.2003.-.14.39.

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Gomariz, José. "Cuba y el Caribe. Diáspora, raza e identidad cultural." América sin nombre, no. 19 (December 15, 2014): 5. http://dx.doi.org/10.14198/amesn.2014.19.00.

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De la pluma del Almirante, las islas del Caribe comienzan a emerger en la imaginación europea dando comienzo al mito de la creación americana, así como de sus letras. En su singularidad, las islas se repiten en la plantación colonial, como sugiere Antonio Benítez Rojo; mientras que en el espacio postcolonial, son para George Lamming una familia de comunidades imaginadas. La transculturación de Fernando Ortiz, el discurso antillano de Édouard Glissant, el elogio de la créolité haitiana, son discursos de (com)unidad y pluralidad cultural que dan el perfil y la cifra de un Caribe, al decir de Iris Zavala, dialógico.
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Dissertations / Theses on the topic "George Lamming"

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Tarrieu, Yannick. "L'Oeuvre de George Lamming, romancier antillais engagé." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37610189f.

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Tarrieu, Yannick. "L'oeuvre de George lamming, romancier antillais engagé." Bordeaux 3, 1987. http://www.theses.fr/1987BOR30006.

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La forme des romans du barbadien lamming, reputes "poetiques", obscurs et chaotiques, s'explique par reference a la situation coloniale et revolutionnaire des annees 50, a laquelle l'ecrivain se croit presse d'apporter des "solutions". Emigre dans la metropole imperiale, ou il goute "les plaisirs de l'exil", l'antillais percoit cruellement l'ambiguite de la situation du colonise cherchant refuge au pays du colonisateur, au moment meme ou la politique de decolonisation marque une rupture avec la mere-patrie seculaire. Ce paradoxe est le fondement d'un drame existentiel, veritable motivation de l'ecrivain, travestie en une interpretation du mythe de la tempete, ou lamming s'identifie a caliban, l'esclave revolte, qui retourne contre prospero le langage, la culture, du maitre declinant. Les defauts de cette fiction qui pretend aider l'antillais a se liberer des pieges de l'histoire, revelent l'impuissance du romancier a depasser une dualite apparemment irreductible, symbolisee par le couple archetypal "monstrueux", caliban prospero. L'ironie, tragique, reside dans le travail "absurde" de l'imagination creatrice qui, en l'absence d'une strategie claire et adequate, renforce les contraintes du processus historique qu'elle voudrait radicalement nier. La mauvaise conscience de l'auteur aliene se manifeste toujours derriere le masque de la mauvaise foi adopte par les narrateurs ou heros, souvent multiples, qui, par la violence ou le silence, refusent de suivre la voie du compromis tracee par la bourgeoisie coloniale, representee par un ariel tricheur et traitre. L'ecriture "fragmentee" des romans reflete le dilemme de l'exile qui, repoussant l'image de ce mediateur auquel il ressemble, voudrait detruire l'oeuvre de prospero, qui le fascine, pour chercher la grace dans le monde vierge de caliban. Ce desir de negation et d'evasion, refus d'un certain realisme, ne trouve sa parfaite expression qu'au terme d'une longue experience, grace a l'ambiguite naturelle d'un style allegorique enfin maitrise
The form of the reputedly "poetic", obscure and chaotic, novels of lamming, the barbadian writer, can be explained when related to the colonial and revolutionary situation of the fifties, for which the novelist feels compelled to provide an alternative. As an emigrant in the imperial metropolis, where he enjoys "the pleasures of exile", the west indian painfully experiences the ambiguous position of the colonized seeking a refuge in the home of the colonizer, at the very moment when the policy of decolonization breaks a secular bond with the mother country. Such a paradox creates an existential drama acting as a powerful inner drive which lamming disguises in the myth of the tempest, by identifying himself with caliban, the rebel slave who turns against his declining master the language or culture of prospero. The inadequacies of that fable supposed to help the west indian escape from the traps of history show the novelist's failure to transcend a seemingly lasting antagonism symbolized by the dual, "monstrous" archetype of caliban and propero. The tragic irony lies in the "absurd" operations of the creative imagination who, for lack of an adequate method, repeatedly exposes itself to the pressure of the historical process, while striving to destroy it. The alienated author's sense of guilt is active behind the mask of bad faith of the manifold narrators or heroes who, in violence or silence, refuse the middle way of the colonial bourgeoisie represented by ariel, trickster and traitor. The technique of fragmentation renders the dilemma of the exile who shrinks from this self-image of the middleman and deny the fascination of prospero's works, in his search for rehabilitation in caliban's virgin world. Those nihilist and escapist impulses, banning a form of realism, are eventually and adequately formulated, thanks to the final mastery of the naturally ambivalent style of allegory
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Ahmed, Kabir. "Politics and art in the novels of Ngugi wa Thiong'o and George Lamming : a comparative approach." Thesis, University of Kent, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259334.

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Tabuteau, Éric. "Images du multiculturalisme dans le roman antillais anglophone : Wilson Harris, George Lamming, V.S. Naipaul, Sam Selvon." Dijon, 1996. http://www.theses.fr/1996DIJOL019.

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Cette thèse porte sur la représentation du phénomène multiculturel chez Wilson Harris, George Lamming, V. S. Naipaul et Sam Selvon, les quatre romanciers les plus marquants de la caraïbe anglophone, notamment du milieu des années cinquante au début des années quatre-vingt. Partant d'un corpus de onze romans qui offrent un vaste éventail de personnages, de sociétés, d'époques et de lieux intimement lies à l'expérience antillaise anglophone, romans que l'on a regroupés sous les appellations the Guyana quartet pour Harris, the Ego novels pour Lamming, the African narratives pour Naipaul et the Moses trilogy pour Selvon, il s'agit de montrer comment chaque écrivain a donné du multiculturalisme une image à la fois personnelle et complémentaire de celle proposée par ses confrères. Chez Sam Selvon le rapprochement de cultures et de races est bénéfique pour l'individu lorsqu'il est volontaire et exempt de coercition. Pour V. S. Naipaul le métissage non contrôlé peut au contraire avoir des conséquences néfastes tant l'être humain est prisonnier de son groupe. Pour George Lamming une société multiculturelle est rendue impensable par un passé d'atrocités interdisant toute chance de réussite. Chez Wilson Harris, en revanche, la miscégénation, quelle qu'en soit l'origine, est si répandue de par le monde qu'elle devient la condition préalable à la réconciliation interculturelle de l'humanité. Les œuvres des quatre romanciers, fortement imprégnées du concept de multiculturalisme à une époque où le mot est encore inconnu, annoncent l'intérêt que vont susciter les études interculturelles en occident, mais révèlent également les limites de l'euphorie provoquée par l'indépendance dans les anciennes colonies où se trouvent des sociétés multiraciales. Aucun des ouvrages considèrés, même le plus pessimiste en matière de multiculturalisme, ne soupçonne une détérioration des rapports interethniques aussi grave que celle apparue dernièrement dans les pays des Antilles anglophones, d'Amérique du sud ou d’Afrique centrale auxquels il est fait allusion
This thesis deals with the representation of multiculturalism in the works of Wilson Harris, George Lamming, V. S. Naipaul and Sam Selvon, the four most significant novelists in the english-speaking caribbean, notably from the mid-1950s to the early 1980s. It is based on a corpus of eleven novels presenting a wide range of characters, societies, periods and places closely connected with the English west Indian experience. In these novels that have been brought together under the headings the Guyana quartet for Harris, the Ego novels for lamming, the African narratives for Naipaul and the Moses trilogy for Selvon, it is demonstrated how each writer has given of multiculturalism a personal picture that is nevertheless complementary to his colleagues'. For Selvon, the bringing together of cultures and races is beneficial to the individual if voluntary and free from coercion. For Naipaul, on the contrary, uncontrolled interbreeding can have harmful consequences for the human being who is a prisoner of his her own group. For lamming, a multicultural society is inconceivable since past atrocities forbid any chance of success. For Harris, on the other hand, miscegenation, whatever its origin, is spread around the world to such an extent that it has become the prerequisite for the cross-cultural reconciliation of humanity. The four novelists' works, in which pervades the concept of multiculturalism at a time when the word is still unknown, herald the interest that cross-cultural studies will arouse in the west, but also reveal the limits of the euphoria prompted by independence in the former colonies where multiracial societies can be found. None of the works studied, even the most pessimistic as regards multiculturalism, suspects a deterioration in ethnic relations as serious as that recently witnessed in the countries of the English-speaking West Indies, South America and central Africa which are alluded to
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Sene, Abib. "Sémiotique de l'espace et sémantique du discours littéraire dans les oeuvres de Ngugi wa Thiong'o, George Lamming et William Boyd." Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2030/document.

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Les sociétés africaines, caribéennes, et anglaises présentent, quoique partageant, d’une manière formelle, des caractéristiques, des profils divers en raisons des spécificités des milieux physiques dans lesquels elles se déploient. Ainsi, il a été important, dans ce travail, d’établir un lien nombrileux entre l’espace et le discours. En effet, l’analyse sémiotique de l’espace littéraire dans les oeuvres de Ngugi wa Thiong’o, George Lamming et William Boyd a conduit à une conclusion qui prend valeur d’importance dans des événements et des réalités politico-sociales. Etudiée sous un angle sémiotique, la nomenclature de ces réalités fait sens dans des contextes et cotextes communicationnels à travers lesquels se lisent des aspects pragmatiques. Les toits langagiers et les contenus énonciatifs laissent observer des logiques positionnelles et transformationnelles, lesquelles épousent fondamentalement des aspects de la continuité et de la discontinuité. Et cela fait du message textuel un récit anthropologique relaté dans un univers interactionnel qui forme un tout de signification
African, Caribbean, and English societies, in spite of the fact that they share common features, remain different in their profile on the grounds of the particularities of the physical spaces that witness their expressions and the specific goals they target within historical, cultural, political and economic data that form out their social stratification. In this way, it becomes important, as a main idea of this work, to put on surface the intrinsic link between space and discourse. A semiotic analysis of literary space in Ngugi wa Thiong’o’s, George Lamming’s and William Boyd’s works has led to a concluding argument which highlights social and political realities. Read through a semiotic stand, the nomenclature of these events and realities root their meaning in communicating scenarios which portray pragmatic aspects. Levels of language and nature of messages help to observe some logic of positions and transformations that imply continuity and discontinuity dimensions. What affects to the literary message an anthropological account narrated into a framework of interactions that articulate a totalizing significance
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Arneaud, Javan André. "La liberación de Calibán-el negro esclavizado y colonizado en Une tempête de Aimé Césaire y The pleasures of exile de Georg Lamming." Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/169826.

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Tesis para optar al grado de Magíster en Estudios Latinoamericanos
La tesis que a continuación se presenta es una aproximación al campo de las apropiaciones de The Tempest de William Shakespeare, en el cual destacan dos versiones afrocaribeñas articuladas por George Lamming y Aimé Césaire en The Pleasures of Exile (1960) y Une tempête (1969), respectivamente. Se trata de un análisis literario y comparativo entre los dos textos con el propósito de investigar la manera en que los dos pensadores antillanos resisten y desmantelan el legado colonial para los afrodescendientes y sus países dependientes en el periodo tanto de los procesos de descolonización caribeña, como del movimiento por los derechos civiles en los Estados Unidos. El análisis se conduce por las líneas de las propuestas teóricas de pensadores caribeños anticoloniales del siglo XX que denuncian las secuelas del colonialismo para los colonizados y en sus países dependientes. Estudia, además, la representación de afrodescendientes en el personaje de Calibán, el cual los dos autores vinculan con líderes antillanos y norteamericanos de la lucha anticolonial: Toussaint Louverture y Malcolm X. Desarrolla también los temas de la transculturación y la revalorización de las identidades culturales y el desmantelamiento de la construcción de alteridad de sus Calibanes negros. Así, la tesis propone que las contraescrituras de The Tempest por estos autores afrocaribeños logran agregar al drama canónico los mecanismos para la liberación del personaje de Calibán, representante del sujeto negro del siglo XX.
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Cyzewski, Julie Hamilton Ludlam. "Broadcasting Friendship: Decolonization, Literature, and the BBC." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461169080.

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Lammich, Georg [Verfasser], and Christof [Akademischer Betreuer] Hartmann. "Kapazitätsbildende Funktionen von asymmetrischem Interregionalismus : die regionale Dimension der sino-afrikanischen Kooperation / Georg Lammich ; Betreuer: Christof Hartmann." Duisburg, 2019. http://d-nb.info/1193590817/34.

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Joseph, Anthony Derek. "The liminal text : exploring the perpetual process of becoming, with particular reference to Samuel Selvon's 'The Lonely Londoners' and George Lamming's 'The Emigrants', &, Kitch : a fictional biography of the calypsonian Lord Kitchener." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19159/.

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This practice-as-research thesis is in two parts. The first, Kitch, is a fictional biography of Aldwyn Roberts, popularly known as Lord Kitchener. Kitch represents the first biographical study of the Trinidadian calypso icon, whose arrival in Britain onboard The Empire Windrush was famously captured in Pathé footage. In the critical essay, contextualising Kitch, I argue that rite of passage theory, in particular, liminality theory, as defined and developed by Victor W. Turner, offers a valuable alternative to theories of hybridity and fragmentation hitherto applied to the postcolonial Caribbean and its literature. To support this position I offer close readings of two iconic works of postwar migratory fiction; George Lamming’s The Emigrants (1956) and Samuel Selvon’s The Lonely Londoners (1956), showing how aspects of rite of passage and liminality theory illuminate these novels. My critical reflection on Kitch examines the marked absence of auto/biographical work on or by calypso artists in ethnomusicology or mainstream publishing. This absence is disproportionate both to the numerous studies of the calypso which approach the form homogeneously, at the expense of its individual artists, and, to the socio-historical importance of the calypso to the Caribbean and its disapora. Since Kitch is a fictionalised biography, I provide a brief exploration of the genre by drawing on the work of Michael Ondaatje and Earl Lovelace. My argument here is that the multitudinous and liminal approach of Kitch offers a more plausible alternative to linear, single narrator approaches since it mirrors both the process of research, and the manner in which a community of non-hierarchical voices may contribute to the construction and memorialisation of a calypsonian’s life.
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Pocock, Judith Anne. "Genesis of a Discourse: The Tempest and the Emergence of Postcoloniality." Thesis, 2010. http://hdl.handle.net/1807/32946.

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This dissertation contends that The Tempest by William Shakespeare plays a seminal role in the development of postcolonial literature and criticism because it was created in a moment when the colonial system that was now falling apart was just beginning to come into being. Creative writers and critics from the Third World, particularly Africa, the Caribbean, and Latin America, and the First found that the moment reflected in The Tempest had something very specific to say to a generation coming of age in the postcolonial world of the 1960s, 1970s, and early 1980s. I establish that a significant discourse that begins in the Nineteenth Century and intensifies in the Twentieth depends on The Tempest to explore the nature of colonialism and to develop an understanding of the postcolonial world. I then examine the role theories of adaptation play in understanding why The Tempest assumes such a crucial role and determine that the most useful model of adaptation resembles the method developed by biblical typologists which “sets two successive historical events [or periods] into a reciprocal relation of anticipation and fulfillment” (Brumm 27). I ague that postcolonial writers and critics found in The Tempest evidence of a history of colonial oppression and resistance often obscured by established historical narratives and a venue to explore their relationship to their past, present, and future. Because my argument rests on the contention that The Tempest was created in a world where colonialism was coming into being, I explore the historical context surrounding the moment of the play’s creation and determine, in spite of the contention of many historians and some literary critics to the contrary, the forces bringing colonialism into being were already at play and were having a profound effect. After briefly illustrating the historical roots of several popular themes in The Tempest that postcolonial writers have embraced, I turn to the work of writers and critics from the Third World and the First to show how The Tempest plays a significant role in postcolonial studies.
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Books on the topic "George Lamming"

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Kom, Ambroise. George Lamming et le destin des Caraïbes. Ville de LaSalle, Québec, Canada: Didier, 1986.

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Caliban's curse: George Lamming and the revisioning of history. Ann Arbor: University of Michigan Press, 1996.

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Lamming, George. Conversations: George Lamming : essays, addresses and interviews 1953-1990. London: Karia Press, 1992.

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The poetics of alienation and identity: V.S. Naipaul and George Lamming. Delhi: Ajanta, 1998.

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Afagla, Kodjo. Justice and self-awareness in the Black diasporan novel: A study in the fiction of George Lamming and Paule Marshall. Lomé-Togo: Université du Benin, 1999.

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The locations of George Lamming. Oxford: Macmillan Caribbean, 2007.

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Boxhill, Antony. Critical Perspectives on George Lamming. Passeggiata Pr, 1986.

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From Nation to Diaspora: Samuel Selvon, George Lamming And the Cultural Performance of Gender. University of West Indies Press, 2005.

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Ghosh, William. V.S. Naipaul, Caribbean Writing, and Caribbean Thought. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861102.001.0001.

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This book presents a new portrait of V.S. Naipaul, one of the twentieth-century’s most controversial writers about colonialism and its aftermath, by looking at his relationship with the Caribbean, the region of his birth. It argues that whilst Naipaul presented himself as a global public intellectual—a citizen of nowhere—his writing and thought was shaped by his Caribbean intellectual formation, and his investment in Caribbean political debates. Focusing on three key forms of Caribbean writing—the novel, the historical narrative, and the travel narrative—it shows how the generic, stylistic, and formal choices of writers had great political significance. Telling the story of his creative and intellectual development at three crucial points in Naipaul’s career, it offers a new intellectual biography of its principal subject. By showing Naipaul’s crucial place in the history of Caribbean ideas, it also provides new perspectives on a number of major writers and thinkers from the region, including C.L.R. James, Eric Williams, Kamau Brathwaite, Sylvia Wynter, George Lamming, Derek Walcott, Maryse Condé, and David Scott.
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Vadde, Aarthi. Chimeras of Form. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231180245.001.0001.

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In Chimeras of Form, Aarthi Vadde vividly illustrates how modernist and contemporary writers reimagine the nation and internationalism in a period defined by globalization. She explains how Rabindranath Tagore, James Joyce, Claude McKay, George Lamming, Michael Ondaatje, and Zadie Smith use modernist literary forms to develop ideas of international belonging sensitive to the afterlife of empire. In doing so, she shows how this wide-ranging group of authors challenged traditional expectations of aesthetic form, shaping how their readers understand the cohesion and interrelation of political communities. Drawing on her close readings of individual texts and on literary, postcolonial, and cosmopolitical theory, Vadde examines how modernist formal experiments take part in debates about transnational interdependence and social obligation. She reads Joyce's use of asymmetrical narratives as a way to ask questions about international camaraderie, and demonstrates how the "plotless" works of Claude McKay upturn ideas of citizenship and diasporic alienation. Her analysis of the contemporary writers Zadie Smith and Shailja Patel shows how present-day issues relating to migration, displacement, and economic inequality link modernist and postcolonial traditions of literature. Vadde brings these traditions together to reveal the dual nature of internationalism as an aspiration, possibly a chimeric one, and an actual political discourse vital to understanding our present moment.
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Book chapters on the topic "George Lamming"

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Meinig, Sigrun. "Lamming, George." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8923-1.

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Meinig, Sigrun. "Lamming, George: The Emigrants." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8924-1.

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Breitinger, Eckhard, and Sigrun Meinig. "Lamming, George: The Pleasures of Exile." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8925-1.

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Robinette, Nicholas. "The Form of Emergence: George Lamming’s The Emigrants." In Realism, Form and the Postcolonial Novel, 12–32. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137451323_2.

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Chamberlain, Mary. "George Lamming." In West Indian Intellectuals in Britain, 175–92. Manchester University Press, 2003. http://dx.doi.org/10.7228/manchester/9780719064746.003.0009.

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Chamberlain, Mary. "George Lamming." In West Indian intellectuals in Britain. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526137968.00014.

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"George Lamming Caryl Phillips." In Writing Across Worlds, 193–207. Routledge, 2004. http://dx.doi.org/10.4324/9780203342480-19.

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8

Vadde, Aarthi. "Stories Without Plots." In Chimeras of Form. Columbia University Press, 2016. http://dx.doi.org/10.7312/columbia/9780231180245.003.0004.

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The third chapter brings together Caribbean-born migrant writers Claude McKay and George Lamming, and forms a bridge across the divides of period and national literature that usually assign McKay to the Harlem Renaissance and Lamming either to the category of postwar black British literature or Caribbean literature. In allowing these two writers to converge, I argue that a paranational account of modernist internationalism emerges in their mutual formal and theoretical engagement with plotlessness. A lack of a plot, understood in the polysemic terms of a planned-out heteronormative life, a collective political program, and a patch of land to call home, becomes the common ground from which McKay’s Banjo: A Story without a Plot (1929) and Lamming’s The Emigrants (1954) explore the fugitive life and fantasies of colonial black subjects within a securitized Europe. In deforming plot and finding an alternative idiom, rhythm, and structure for the mobility of stigmatized populations, McKay and Lamming’s novels anticipate contemporary theories of cosmopolitics and international law (namely, those of Etienne Balibar, Seyla Benhabib, and Nicolae Gheorghe), which have argued for the accommodation of transience within territorialized models of belonging and citizenship.
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9

"One-Way Traffic: George Lamming and the Portable Empire." In After the Imperial Turn, 308–23. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822384397-021.

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10

Valkeakari, Tuire. "Journeys to the Heart of Empire after World War II." In Precarious Passages. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062471.003.0005.

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An analysis of The Emigrants, The Final Passage, and Small Island, chapter 4 brings together this book’s arguments by exploring the relationship among diasporic, imperial, and national identity formations in George Lamming’s, Caryl Phillips’s, and Andrea Levy’s novels about West Indian immigrants (who are both African Caribbean diasporans and subjects of the British empire) settling in Britain after World War II. Lamming and Phillips—members, respectively, of the first and second generations of post-Windrush writers—convey a Middle Passage sensibility more powerfully than does Levy, who, in the generational classification of post-Windrush novelists, belongs to the third generation. Like The Emigrants and Final Passage, Small Island, too, underscores the antiblack racism experienced by black Caribbean migrants to Britain. Yet exilic melancholy, though a presence, does not dominate Small Island in the way it controls Lamming’s and Phillips’s writing. In Levy’s treatment, the story of the postwar black Caribbean diaspora in Britain grows into a narrative of active diaspora-making. Finally, the chapter also examines how each of these three authors portrays the gendered aspects of the postwar Caribbean migration to Britain.
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