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• W71946645 abstract "A generally dated, albeit powerful and persistent, conception of is banishment from one's own land--a condition often associated with a form of punishment for crimes and political offense in ancient civilizations or, in more recent historical periods, periods of banishment for civil and political offenders to remote areas within a national realm, such as colonies in Americas and Australia, or distant contiguous regions, such as Siberia in former Soviet Union. In contemporary times, however, exiles are likely to be those who have fled political tyranny and/or economic disenfranchisement or those seeking greater opportunity for intellectual and professional expression. In his introduction to Culture and Imperialism (1993), a significant discussion of intersections and links between imperial endeavor and cultural expression of both colonizer and colonized, Edward Said identifies his text as exile's book. He goes on to describe his exile status and then appropriates term exile from its earliest punitive associations: Yet when I say 'exile' I do not mean something sad or deprived. On contrary belonging, as it were, to both sides of imperial divide enables you to understand them more easily (xxvii). He states further that his own positioning in New York, exilic city par excellence, one that contains within itself Manichean structure of colonial city described by Fanon, has furnished him with an awareness of belonging to more than one history and group (xxvii). This sense of belonging notwithstanding, paradoxically still connotes separation from home. Said also makes this concession in his essay Reflections on (1994), in which he writes that exilic experience constitutes an unhealable rift between a human being and a native place, between self and its true home (137). Exiles, he adds, are in effect cut off from their roots, their land, their past (140). Similarly, Julio Cortozar, in Fellowship of Exile, maintains that exile marks the end of contact with leaves and trees, end of a deep rooted relationship with land and air (173). We must note here, however, that exile means neither out of hand psychological dismissal nor amnesia; thus, psychic relationship remains intact. Implicit, however, in natural imagery of Said and Cortozar is premise that exile in its keenest sense occurs in relationship to homeland, premise that also informs this collection of essays focused on Anglophone Caribbean women writers in exile. The tradition of widely studied Caribbean writers in exile in Britain, colonial seat of Anglophone Caribbean, largely began as a post-World War II phenomenon when, as Samuel Selvon describes in his novel The Lonely Londoners (1956), large numbers of Caribbean emigrants made their way to Britain in search of employment. In addition, several talented young writers also found their way to London not only to avail themselves of existing stimulating writing environments but also in search of publishers. George Lamming captures experience and perspectives of these writers in his essay collection The Pleasures of Exile (1960), in which he anticipates Said's insights in an essay titled Occasion for Speaking: pleasure and Paradox of my own exile is that I belong wherever I am ... and yet there is always an acre of ground in New World which keeps growing echoes in my head (50). While earliest Caribbean writers in Britain and those most widely studied were largely men of color, we should also be aware of works of Phyllis Shand Allfrey and Jean Rhys, white Caribbean women. Allfrey's The Orchid House (1953) and Rhys's Wide Sargasso Sea (1966) capture experiences, peculiar condition, and shameful history rooted in Caribbean Creole plantocracy, whose distinct narratives until relatively recently had been either ignored or subsumed under larger national stories. …" @default.
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• W71946645 title "Introduction: Caribbean Women Writers in Exile" @default.
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