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• W1600554413 abstract "Mi dear, times hard but things lush-lush here on this piece of stream of conscious landscape-- this wilful Eden trod on by every race. (Nichols Startling Flying Fish 59) But our contemners who see this climate as seasonless and without subtlety also see us as a race without temperament, therefore without any possibility of art. subtler races are given slow colorings of autumn, sparkle of first frost, gentle despairs of fall, sweet mulch of leaf decay, and all tribal rituals of contemplative hibernation, spring cleaning, and slaying of crop gods, span of life divided obviously into four seasons, and while we can see all this in a single tree, earth here is almost illiterate, water and sun refuse repeat pathetic fallacy we studied at school. How dumb our nature is then. (Walcott Isla Incognita 55 my emphasis) (1) hurricane does not roar in pentameter. (Brathwaite History of Voice 265) This paper explores some of ways that Caribbean poets handle nature, landscape, and place in a selection of recent works. My first epigraph, taken from Grace Nichols' most recent collection of poems, acknowledges enduring image of land-as-Eden in Caribbean poetry but it does so with a knowing wariness which I argue is characteristic of women's poetry. second and third epigraphs are taken from two of region's most renowned male poets because Derek Walcott and Edward Kamau Brathwaite have been so instrumental in establishing parameters which have come define a recognizable (if not 'authentic') Caribbean poetic tradition. In second epigraph, Walcott argues that sheer weight of poetic representations of seasonal cycles in temperate lands has accreted meanings that slide onto subjects of those lands and, by contrast, deny full subjectivity of those who do not inhabit temperate lands. Brathwaite, too, suggests a close connection between geography and cultural production when he argues that steady rhythms of pentameter cannot give voice volatile geography of Caribbean. (2) He goes on argue that reliance on European literary models express realities of Caribbean resulted in impossible formulations in local writing (he gives example of a West Indian child writing in an essay, the snow was falling on cane fields) and a confused and contradictory aesthetic in which writers tried to have both cultures at same time (History 264). Where Brathwaite sees confusion, Walcott sees possibilities, as this address his European and African grandfathers, in The Muse of History, makes clear: I give strange and bitter and yet en-nobling thanks for monumental groaning and soldering of two great worlds, like halves of a fruit seamed by its own bitter juice, that exiled from your own Edens you have placed me in wonder of another, and that was my inheritance and your gift. (64) Again, poetry and Nature are implicitly linked in idea of mother tongue as a kind of Eden. positions associated with Walcott and Brathwaite and polarized trajectories they imply of hybridity-versus-nativism respectively (to summarize crudely), although derived from ferment of pre- and post-independence cultural moments of 1970s and 1980s, continue inflect Caribbean poetry. It is worth noting here, too, that despite obvious differences in their engagement with debates about an appropriately Caribbean poetics, both poets have consistently represented Caribbean landscape in feminized terms and Caribbean subject in search of agency as resolutely male. If, in colonial discourse, New World was routinely represented as virgin land be penetrated, conquered, and mapped as territory, then nationalist/post-colonial discourses have also routinely metaphorized nation as woman--as that which is being fought for, symbolic currency through which competing claims for land are made visible. …" @default.
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• W1600554413 date "2007-07-01" @default.
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• W1600554413 title "Landscape and Poetic Identity in Contemporary Caribbean Women’s Poetry" @default.
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