Oppressed Caribbean Culture Essay

Caribbean nuance, in so far as it is conceded to exist, is at once the cause, occasion, and end contingent of evolved and evolving paradoxes. The psychic inheritance of dynamic response to distinguishable elements interacting to find ideal, form, and purpose within set geographical boundaries everyplace beat could not experience produced separatewise. The 1990s have witnessed no less of this, exactly because the decade serves to encapsulate contradictions in human victimisation over the historic half(a) a millennium.The entire Caribbean, and indeed all of the modern Americas of which the Caribbean, alike(p) the United States, is only one part, are the creatures of the awesome process of cross-fertilisation following on the encounters between the old civilizations of Europe, Africa, and Asia on foreign grease and they, in develop, with the old Amerindian civilizations developed on American soil presbyopic before Christopher Columbus set foot on it.It is a development that has helped to shape the bill and modern condition of the world for some half a millennium and one that has resulted in distinctive culture-sphithers in the horse opera hemisphere, each claiming its cause inner logic and consistency. The Caribbean, at the core of which are a number of island nations, themselves in sub-regional groupings, is conscious of the dynamics of its development. For it rests firmly on the agonizing and challenging process actualized in simultaneous acts of negating and affirming, demolishing and constructing, rejecting and re moldable.nowhere is this more evident that in the creative arts, themselves a strong tycoon of a quite a littles cultural distinctiveness and identity. Admittedly, other indices of culture such as linguistic communication, which underpins the oral and indigenous scribal literatures of the region, religion, and kinship patterns, give means the texture and internal diversity that are the result of cross-fertilization of differi ng elements.The result is an emerging lifestyle, worldview, and a nascent ontology and epistemology that all speak to Caribbean historical hold up and existential reality, in some cases struggling to gain currency and genuineness worldwide (and notwithstanding among some of its take in tidy sum) for being native-born and nativebred. For this is the authoritative meaning of Creole. Whites born in the American colonies were learned as creoles by their metropolitan cousins.And the Jamaican-born slaves were similarly differentiated from their salt-water Negro colleagues freshly brought in from West Africa. The landmark was soon to be hijacked by or attri howevered to the mulatto (half-caste) who defiantly claimed certified rootedness in the coloniesa status not as easily claimed by the somebody of African or European descent whose ancestry lay elsewhere, it was felt, other than in the Caribbean or the Americas.An ensureing of the shared human thirst for independence in terms of its cultural significance is critical. For the impulses that drive the Caribbean people (like people anywhere) to freedom within nation states, to the right to choose their own friends and policy-making systems, and to independent paths to development are the same impulses that drive them to the creation of their own music, their own languages and literature, their own gods and religious belief-systems, their own kinship patterns, modes of complaisantization, and self-perceptions.All plans take in for them from orthogonal must take this fact into account, whatever may be the dictates of military and strategic interests or the statistical logic of tabulated growth rate and gross bailiwick products. The Caribbean people, faced as they are with the post-colonial imperative of shaping civil society and building nations, expect to be taken hard in terms of their proven capacities to act creatively in coordinated social interaction over centuries in the Americas. They feel passi onately that their history and experience are worthy of theory and explanation and expect others to understand and appreciate this fact.They are unique, paradoxically because they are like everybody else. The Caribbean has been engaged in freedom struggles and its inhabitants have been at the job of creating their own languages, and designing their own appropriate lifestyles for as long as and, in some cases, perennial than most parts of what became the United States. Recognition of this and the according of the status callable such achievement is a prized wish of all Caribbean peopleBlack, White, Mestizo, Indian (indigenous and transplanted), Chinese, and Lebanese.By general critical consent, the principal women writers in side to supply, so far, from the Caribbean are the properly varied trio of Jamaica Kincaid (Elaine Potter Richardson) and jean Rhys. I say properly varied because the immensely mixed political and social history of the Caribbean is reflected by and in its wri ters. Kincaid, the most experimental of the three, is seen by her admirers as a deliberate subverted of Dead White European Male modes of narrative. except any reader deeply immersed in Western literature provide recognize that prose poetry, Kincaids medium, everlastingly has been one of the staples of literary fantasy or mythological romance, including much of what we call childrens literature. Centering almost always upon the mother-daughter relationship, Kincaid returns us inevitably to perspectives familiar from our experience of the fantasy narratives of childhood. Kincaid genuinely expresses her regard to Caribbean as those that have been creolized into indigenous form and purpose distinctively different from the original elements from which those expressions first sprang.With some of those original elements, specially those from a European seminal fluid, themselves reinforcing their claims on the region, whether by politics, economic control, or cultural penetration, th e Caribbean is becoming even more conscious not only of its own unique expressions estimable also of the dynamism and nature of the process underlying these expressions. These in turn constitute the basis for the claims made for a Caribbean identity. Jean Rhys, of Creole friar preacher descent, is a formidable contrast to Marshall and seems to me the major figure to emerge thus far among Caribbean women writers.Though she lived mostly in Paris and England, the whim of Rhys came fully alive in her novel of 1966, Wide gulfweed Sea, a remarkable retelling of Charlotte Brontes Jane Eyre from the perspective of Bertha Mason, Rochesters mad first wife. The grand predicament of the 19th-century Creole women of the West Indies, regarded as white niggers by colonialists and as European oppressors by blacks, is presented by Rhys with unforgettable poignancy and force.Shrewdly exploiting the modernist nominal originalities of her mentor, Ford Maddox Ford, Rhys achieved a near masterpiece in Wide gulfweed Sea. Allusive, parodistic, and intensely wrought, the novel remains the most successful prose fiction in English to emerge from the Caribbean matrix. In Wide sargasso Sea, the starting point is this set outlessness. Although Rhyss novel starts with Antoinettes childhood in Coulibri, its boundaries lie outside the novel in other womans text. In Jane Eyre we have the madwoman Bertha locked up in the attic of Thornfield Hall.The significant designation Wide Sargasso Sea refers to the dangers of the sea voyage. Rochester first crosses the Atlantic alone to a place which threatens to destroy him, then once more, bringing his new wife to England. some(prenominal) Rochester and Antoinette are transformed through this passage. Rochester gives Antoinette a new name, Bertha, and in England she in conclusion is locked up as mad. Rhys finds her own place in Jane Eyre, a captive of anothers desire. She sets out to describe that place and, in doing that, she redefines it as her own.In her challenge to Jane Eyre, Rhys draws on the collective experience of black people as sought out, uprooted, and transported across the Middle Passage and finally locked up and brutally exploited for economic gain. She uses this experience and the black forms of resistance as modes through which the madwoman in Jane Eyre is recreated. In the icon version Wide Sargasso Sea develops stereotypes of Black West Indians that strongly mirror Bogles preaching of classic conduct depictions of African Americans.The inner stereotype in the film is that of the tragic mulatto which, the film hints, describes Angelique, the evidently White child who has been raised by Blacks. Although Angelique insists on her Whiteness, a menacing dark skinned peculiar claims at diverse points in the film to be her brother through her fathers relationship with a slave. The viewer is left to get a line whether the widowed plantation owner seen at the beginning of the film is truly Angeliques mother. While it does not answer this question directly, it plain shows through Angeliques actions that her culture is far more African than European.These suspicions, actions, and Angeliques reliance on the ex-slave Christophine ultimately destroy her mating and drive her insane. Christophine, herself, fulfills the mammy role since the film portrays her as a immutable presence who fiercely guards Angelique from all dangers. In the West Indian context, though, she is given a twist, as she is not only guardian saint precisely also a practitioner of the magical art of obeah. This delineation a staple of films dealing with the West Indies is never completely developed.Nevertheless, the film permits us to witness its potency, as Angelique, despairing of keeping her husbands love, calls on Christophine to develop a magical potion to bind his affections to hers. One opposite for those affections is Emily, a young Black servant who might vigorous be characterized as a egg-produci ng(prenominal) Black buck a intimate predator who seduces a married White man into interracial unfaithfulness. Finally, at that place is Nelson, the long-suffering head of the household who intimately approximates Bogles Tom. In the film, insults of heterogeneous sorts that are directed towards him result only in silence and a determination to remain a faithful servant.Though, in Dominican novelist Jean Rhys Wide Sargasso Sea (1966), the islands riotous vegetation and melodramatic landscape are depicted with an ominous intensity that prompts the protagonists English husband to equate it with evil. Lally, the narrator of another Dominican classic, Phyllis Shand Allfrey The orchid House ( 1953), faced with the menacing power the islands nature exerts over Stella and Andrew, ruefully concludes that the island offered nothing but beauty and disease.Rhyss protagonists, most evidently Antoinette in Wide Sargasso Sea, share a view of England as deadening, grey and emotionally destruct ive. England is a place of hypocrites, and the English have a bloody, bloody sense of humour. With a West Indian accent, she goes on, and stupid, sea captain, lord (Wide Sargasso Sea 134). But it remains Rhyss place, the source of those English books which provided an early contribution to her construction of herself as writer. The idea of definitive national origin and affiliation is a source of anxiety for Rhyss protagonists.For Rhys herself nationality was mingled by her exile and her ply also England did not value her Caribbean origins. For Rhyss women, as perhaps for herself, England is also a place where human emotions, especially those associated with sexuality, are outlawed or repressed she described sex in a letter of 1949 as a strange Anglo-Saxon forge (Abalos, David T. 1998, 66). Hemond Brown comments that Rhyss attitude to England remained remarkably consistent over her safe and sound writing career For those fifty-odd years, England meant to her everything she desp ised (Bandon, Alexandra. 1995).But despite this, she surely exhibit in her characterisation of working-class English chorus girls and call girls and Rochester (perhaps cognizant by her pregnant attachments to Lancelot Grey, Hugh Smith, Leslie Tilden Smith and Max Hamer, all upper- or conservative Englishmen), that the poor Englishwoman and even the colonizing, socially secure Englishman have their own areas of grave emotional damage. She may have blown off steam sometimes, but in her fiction she took pains to be fair to the country which had both given her sustained literary identity and denied her dignity.In the Caribbean, complex racial narratives are the most powerful signifiers, although class increasingly reverberates now. In England, in Rhyss lifetime, it was the class narrative which primarily constructed identity, though Rhys clearly writes the greatness of race as a formative self-construction from her Dominican childhood. She sometimes sees race and class as equally important even in England, as in the case of Selina, who carries Rhyss own outlaw status during an important period of her life. In the two explicitly Caribbean novels, Voyage in the colorful and Wide Sargasso Sea, race is evidently a major source of identity.Jean Rhys had long described the cultural dialectic of his regions historical experience and contemporaneous reality in the following way But the tribe in bondage learned to fortify itself by cunning assimilation of the religion of the Old World. What seemed to be surrender was redemption. What seemed the neediness of tradition was its renewal. What seemed the death of faith was its rebirth. Caribbean existential reality is here portrayed as a creature of paradox. Surface appearances may well be masks for their opposites. What one sees is not likely to be what one gets. some other similar manuscript was in Goodbye Mother by Reinaldo Arenas, the trouble inundated daughters Ofelia, Otilia, Odilia and Onelia kill themselves in front of their dead mum just for their cadavers to occasion a series of triumphant choruses from the legion of rats and maggots who feast on the putrefactory banquet. Neither of these authors, nor the evenly talented Rene Depestre and the former Dominican President Juan Bosch, is Anglophonic. Its usually believed that the most excellent Caribbean literature in English consists of chronological polemicsOn the other hand Cristina Garcia novel Dreaming In Cuban tells the stories of the women of a Cuban family, scattered by revolution but stock-still connected through a shared past. The narrative is polyphony of some(prenominal) voices who, in turn, describe their world from their viewpoint. Characters include Lourdes, an anti-Castro exile who runs a reach of Yankee Doodle Bakeries, and Felicia, whose perceptions connect and blur the lines between insanity and santeria. Pillar, Lourdess daughter and an aspiring punk artist, is determined to return to Cuba to reconnect with her grand mother and make her present life meaningful.She laments that history does not tell the important stories and longs to see Cuba for herself Theres only imagination where our history should be (138). In the title of Dreaming in Cuban, Dreaming includes all the diverse dreams of Garcias female protagonists about the nature of being Cuban, what it is to be Cuban, to dream, not in American, but in Cuban. This necessitates Garcias taking into account all the foreign elements of contemporary Cuban-ness for Cuban and Cuban American women.Amazingly, she never invalidates or disputes the diverse and conflicting perspectives of these different dreamers. She succeeds by giving readers a complexity of experience beyond binaries, where many diverse and conflicting perspectives circle around one another endlessly. These differences are constructed by differences in the various ideologies that the characters embrace communism, capitalism, traditional grammatical gender relations, voodoo, and femi nismand also by differences in their experiences due to varying historical locations in time and place.