FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2034135247> ?p ?o ?g. }

• W2034135247 endingPage "492" @default.
• W2034135247 startingPage "462" @default.
• W2034135247 abstract "I Have Become the Sea's Craft:Authorial Subjectivity in Derek Walcott's Omeros and David Dabydeen's Turner Stephanie Pocock Boeninger (bio) For the current generation of Caribbean writers, the task of positioning their writing in relation to colonial history has been in some ways eased, in others complicated, by the relative success of the previous generation. Now, besides choosing to evade, embrace, ignore, or reinterpret the long shadow of the Western literary tradition, Caribbean writers must also consider their relationship with their own: with Frantz Fanon and the politics of négritude, with V. S. Naipaul's vast success and unapologetic Eurocentrism, with Jean Rhys's rewriting of a Western classic from a West Indian perspective. For poet, novelist, and critic David Dabydeen, who emigrated from Guyana to England as a teenager, the work of earlier Caribbean writers is both enabling and daunting.1 When asked by Mark Stein about the influence of this earlier generation on its successors, Dabydeen was quick to acknowledge the positive effects of the older writers' pioneering achievements: The very fact that they achieved meant that it was relatively easier for us to publish because there was already Derek Walcott, there was already George Lamming, there was already Sam Selvon, there was especially V. S. Naipaul (Interview 233-34). [End Page 462] Yet the stature of these literary ancestors can simultaneously seem intimidating to young writers; Dabydeen comments in the same interview: [Y]ou had a sense that there was a body of writing to which you had a certain responsibility and which also presented a challenge. . . . When you're following Walcott and when you're following Lamming, certainly when you're following Naipaul, how can you achieve excellence? (234). Dabydeen's own writing takes this responsibility and challenge seriously, intertextually engaging with his predecessors' texts in ways that both affirm and complicate them.2 His 1994 poem Turner, though written in response to a European art object, J. M. W. Turner's painting Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On) (1840), also engages indirectly with a Caribbean precursor, Derek Walcott's lengthy 1990 poem Omeros.3 In its wide-ranging depiction of the inhabitants of a St. Lucian fishing community, Omeros creates a sense of Caribbean cultural identity that is fluid and hybrid, grounded not in history but in the amnesiac Atlantic (61), whose transformation of the slave bodies drowned in it metaphorically frees a space for the new naming of things (Walcott, Muse 428). In Turner, Dabydeen likewise depicts a seascape as a site for identity formation. Yet Turner complicates Walcott's predominantly positive figuration of the sea by focusing more intently on the formation of individual subjectivity than on the construction of a shared cultural consciousness. In so doing, Dabydeen's much darker poem both illuminates the creative power of Walcott's vision and exposes it to questions about the fragmentation of all subjects. Postcolonial poets' frequent use of the sea as an enabling metaphor parallels a contemporaneous political and theoretical concern with fluidity expressed in a variety of poststructuralist discourses. In attempting to articulate the relationship between [End Page 463] poststructuralist theory, identity politics, and poetic representation, theorists Homi K. Bhabha, Carole Boyce Davies, and Stuart Hall have each grappled with the difficulty of constructing a politics based on difference, one which, in Hall's words, could build those forms of solidarity and identification which make common struggle and resistance possible . . . without suppressing the real heterogeneity of interests and identities (166). Such a construction depends on the simultaneous assertion and erasure of individual identities, as depicted by Bhabha in his essay on Fanon. It must seek a common ground, a generalized purpose of resistance to domination (Davies 56), while always questioning that space, recognizing that any sense of shared identity always appear[s] historically in articulation, in a formation, with other categories and divisions and [is] constantly crossed and recrossed by the categories of class, of gender, and ethnicity (Hall 166). As Bhabha writes, the political must always pose as a problem, or a question, the priority of the place from which it begins, if its authority is not to become autocratic (309). Metaphorically..." @default.
• W2034135247 created "2016-06-24" @default.
• W2034135247 creator A5071356381 @default.
• W2034135247 date "2011-01-01" @default.
• W2034135247 modified "2023-09-24" @default.
• W2034135247 title "I Have Become the Sea's Craft: Authorial Subjectivity in Derek Walcott's Omeros and David Dabydeen's Turner" @default.
• W2034135247 cites W1543522320 @default.
• W2034135247 cites W1859826769 @default.
• W2034135247 cites W1970385360 @default.
• W2034135247 cites W1994130567 @default.
• W2034135247 cites W2007663562 @default.
• W2034135247 cites W2020860582 @default.
• W2034135247 cites W2027986426 @default.
• W2034135247 cites W2031265212 @default.
• W2034135247 cites W2042538816 @default.
• W2034135247 cites W2043121670 @default.
• W2034135247 cites W2084646975 @default.
• W2034135247 cites W2086886184 @default.
• W2034135247 cites W2094376079 @default.
• W2034135247 cites W2278070058 @default.
• W2034135247 cites W285830714 @default.
• W2034135247 cites W2952657238 @default.
• W2034135247 cites W2999712009 @default.
• W2034135247 cites W3141956022 @default.
• W2034135247 cites W565507176 @default.
• W2034135247 cites W577582752 @default.
• W2034135247 cites W584518688 @default.
• W2034135247 cites W625185215 @default.
• W2034135247 cites W635663106 @default.
• W2034135247 cites W653599645 @default.
• W2034135247 cites W655573104 @default.
• W2034135247 doi "https://doi.org/10.1353/cli.2011.0036" @default.
• W2034135247 hasPublicationYear "2011" @default.
• W2034135247 type Work @default.
• W2034135247 sameAs 2034135247 @default.
• W2034135247 citedByCount "3" @default.
• W2034135247 countsByYear W20341352472017 @default.
• W2034135247 countsByYear W20341352472018 @default.
• W2034135247 countsByYear W20341352472022 @default.
• W2034135247 crossrefType "journal-article" @default.
• W2034135247 hasAuthorship W2034135247A5071356381 @default.
• W2034135247 hasConcept C111472728 @default.
• W2034135247 hasConcept C124952713 @default.
• W2034135247 hasConcept C138885662 @default.
• W2034135247 hasConcept C142362112 @default.
• W2034135247 hasConcept C166957645 @default.
• W2034135247 hasConcept C202889954 @default.
• W2034135247 hasConcept C2779732396 @default.
• W2034135247 hasConcept C52119013 @default.
• W2034135247 hasConcept C531593650 @default.
• W2034135247 hasConcept C69531258 @default.
• W2034135247 hasConcept C95457728 @default.
• W2034135247 hasConceptScore W2034135247C111472728 @default.
• W2034135247 hasConceptScore W2034135247C124952713 @default.
• W2034135247 hasConceptScore W2034135247C138885662 @default.
• W2034135247 hasConceptScore W2034135247C142362112 @default.
• W2034135247 hasConceptScore W2034135247C166957645 @default.
• W2034135247 hasConceptScore W2034135247C202889954 @default.
• W2034135247 hasConceptScore W2034135247C2779732396 @default.
• W2034135247 hasConceptScore W2034135247C52119013 @default.
• W2034135247 hasConceptScore W2034135247C531593650 @default.
• W2034135247 hasConceptScore W2034135247C69531258 @default.
• W2034135247 hasConceptScore W2034135247C95457728 @default.
• W2034135247 hasIssue "3" @default.
• W2034135247 hasLocation W20341352471 @default.
• W2034135247 hasOpenAccess W2034135247 @default.
• W2034135247 hasPrimaryLocation W20341352471 @default.
• W2034135247 hasRelatedWork W1965042393 @default.
• W2034135247 hasRelatedWork W1976469884 @default.
• W2034135247 hasRelatedWork W2059705616 @default.
• W2034135247 hasRelatedWork W2332415422 @default.
• W2034135247 hasRelatedWork W2497918775 @default.
• W2034135247 hasRelatedWork W2748952813 @default.
• W2034135247 hasRelatedWork W2899084033 @default.
• W2034135247 hasRelatedWork W4225405014 @default.
• W2034135247 hasRelatedWork W4241121956 @default.
• W2034135247 hasRelatedWork W578832439 @default.
• W2034135247 hasVolume "52" @default.
• W2034135247 isParatext "false" @default.
• W2034135247 isRetracted "false" @default.
• W2034135247 magId "2034135247" @default.
• W2034135247 workType "article" @default.