Summary Of Creole Language In The Poetry Of Derek Walcott

He suffers a certain paranoia around Antoinette and her 'family', and this paranoia can only be truly revealed using his thoughts. Rochester, as a white male, does not connect with his surroundings, he sees it as alien, and to overcome this infamiliarity, he asserts his power and regains control over his wife. For Antoinette, her first person narrative account of her story is a key way of the reader being able to understand her pains as a lonely Creole woman. Both Wide Sargasso Sea and The FBW’s poems give a strong voice to otherwise marginalized women and transforms them both from original tragic demise into a kind of triumphant heroism.

In the work of African descended writers’, water is used as a common symbol. In Edwidge Danticat's Krik? Krak!, Jacques Roumain’s Masters of the Dew, and Paule Marshall’s Praisesong for the Widow, tears, rivers, the sea and other forms of water are used to symbolize change. More specifically, it symbolizes the change between life and death; freedom and confinement. The three writers use water as an ironic symbol, representing life, liberty, and their contradictions.

In the nonfiction/ autobiography, “How to Tame a Wild Tongue,” Anzaldúa is able to show her personal experiences of how she learns to accept that she is her language. She is able to incorporate her audience of other Chicana women who are still struggling with their identity throughout the nonfiction/ autobiography through the use of code switching, personification, and synecdoche. Through this she is not only to precious experiences to show her audience how she become who she is today through them, but show her audience how they are not alone if they are struggling as she was to find her identity through her language.

From the very beginning of the poem “XIV”, it is clear the author is describing an experience that has left a lasting impression on him. Walcott vividly details his childhood visit with the elderly storyteller, and his journey there. Throughout the poem the author uses poetic devices to convey how this experience was a defining moment in his transformation from childhood to adulthood, and contributed to his identity and newfound wisdom.

Many poets have conversations with other authors within their literature. They do not talk directly, as if addressing each other face-to-face. Instead, they choose topics that relate and continue the conversation. This is what Nikki Giovanni’s “Nikki Rosa” and Terrence Hayes’ “Talk” does. These two poems exemplify the issue of racial misinterpretations using different literary devices to describe the issues that many black people, faced and continue to face today.

Poetry have been a major tool for many Haitian writers to express the triumphs that they have and are recently faced with, addressing misrepresentations that may have developed about Haiti, and to give them a sense of hope and encouragement. In most Haitian poems you see the correlation of these actions taking place in the defense of Haiti. Haiti has been a country who overcame many obstacles such as; slavery, the Haitian revolution, recently the earthquake are continuing to go through many more obstacles. Haiti as a whole have been a country for many years that have been up lifting each other in various way, and poetry have been one of many of those ways. Patrick Sylvain, Emmanuel Ejen, Devorah Major, and Rudwaan are examples of Haitian poets who paint a picture in a positive light or even to portray a message of truth. In their poems ‘Ports of Sorrow’, “We be Spirit People”, “Haiti: Statistics of loss” and “WONGOL” all are poems with similar messages in different aspects of light. The poem “Ports of Sorrow” by Patrick Sylvain is a poem about the pain that was developed from the earthquake in Haiti and morn the lives of the people that were lost and a beautiful country that was destroyed. “We be Spirit People” by Rudwaan is based on the Haitian revolutionary war, which was a war fought by enslaved Haitian who defeated Napoleons army, Spanish and English as well and as a result in 1804 Haiti became the first black independent country in the world. This poem sheds light on

In Gloria Anzaldua’s letter “Speaking in Tongues: A Letter to 3rd World Women Writers” she delivers her message of being a third world woman writer and how there is a constant struggle between conforming to gain a voice in the world of writing and staying true to your culture. She pulls pieces from her own life experiences and works from other looked over women writers of color to make her point and connect to her audience letting them know she is part of their plight to be heard. In my rewrite of the essay “A Letter in “tongues”” I changed the delivery from a letter to a free verse poem condense Anzaldua 's message from Writing Women of color to just discriminated women writers just in general. They both focused use of pathos and ethos but mine leans more towards ethos pointing out that the dominant ideology of english writing being the only way to be heard as a writer that it is denying the voice of writing women of color and that is ethically wrong not what has happened to herself to invoke feeling.

Hughes stressed the importance of the “burden of representation”. The term signifies the obligation of one to not only know and be close to his cultural roots, but also represent one’s heritage through one’s art. Langston Hughes clearly states that “An artist must be free to choose what he does, certainly, but he must also never be afraid to do what he must choose.” He believes it is a duty of Blacks to be themselves, write about their culture and not imitate the whites. Claude McKay’s poems do not fit the description of Hughes’ ideal black poetry in consequence of his English influences. McKay’s poems are sonnets. In order to write a sonnet you need to acquire white knowledge. The contrast is strongly visible, for Hughes wanted the Black writers not to be influenced by white culture. One could say that McKay used this way of writing, so that he would be heard and respected by the white audience as well. But this speculation does not change the fact that McKay did not fulfill the obligation of representing purely his race according to Hughes’ beliefs.

Anzaldua produces her argument by utilizing her past experiences as a multicultural female living on the border between conflicting cultures and languages, and describes how she and thousands of others are being looked down upon for being a minority and for speaking their foreign tongues. Anzaldua opens her literary work with a narrative of the dentist where she includes the quote, “And I think, how do you tame a wild tongue, train it to be quiet, how do you bridle and saddle it?” (34) to introduce the concept of the wild tongue and how this idea applies to her both literally and symbolically. The tongue, representing her linguistic traditions, is being threatened by society who is pressuring her to forgo her culture. By incorporating a comparable and connecting experience, Anzaldua strongly utilizes the rhetorical strategy of pathos because she provides her readers with a perspective of a person who has experienced this “taming” of a “wild tongue” firsthand, evoking a sense of empathy within her readers.

In the first chapter Fanon discusses the language differences between the island of Martinique and France. This is a very important topic, because fanon associates how the language of his people is considered the wrong language to speak. Martinique is an island in the Caribbean that is ruled by France. Many of the people who were well off in Martinique spoke perfect French. These were people with a college education or people who came from France. The locals of Martinique spoke Creole. Creole is a dialect of the French language that includes the “swallows of his r’s” (Pg.5). I connected the dialect creole with a dialect that is frowned upon in America, which is Ebonics. Ebonics is Black English. Ebonics formed when black slaves tried to teach each other the English language. Fanon wants us to know that Creole was considered improper in and outside his community. The only reason Creole was

Colleen McElroy uses her poetry to describe her culture and heritage in a very historical manner. McElroy’s poetry is very different from Hughes and Clifton in the sense that she uses so many references to her ancestors culture back in Africa. “My memory floats down a long narrow hall, A calabash of history. Grandpa stood high in Watusi shadows Where effigies of my ancestors are captured in Beatle tunes, And crowns never touch Bantu heads. My past is a slender dancer reflected briefly Like a leopard in fingers of fire. The future Dahomey is a house of 16 doors, the totem of Burundi counts 17 warriors-- In reverse generations. While I cling to one stray Seminole. My thoughts grow thin in the urge to travel beyond Grandma’s tale. Of why cat fur id for kitten britches; Past the wrought iron rail of first stairs In baby white shoes, To Ashanti mysteries and rituals.” The use of African language and the names of tribes paint a geographical image that readers can begin to follow. Heritage is more than following the lineage of a people, the land in which they live is equally as involved. This ethnic and topographical following of these people gives her Clifton’s poetry the breath

In the other article, “The From Poets in the Kitchen” was written by Paule Marshall. She talked about her childhood experience with a bunch of black women workers. Marshall was a West Indian girl who was born in New York, and she growed up in a working class family. When Marshall was a kid, her mother usually chatted with her workers in the kitchen after work. Since they all spoke dialectal English in the kitchen, the kitchen became a place that helped Marshall to build up the language and make a process to become a successful writer in her life. These two articles had the similar way to show language could influence a person’s behavior and characteristic. As Czesław Miłosz mentioned that “Language is the only homeland.” Language can be a bridge to communicate with each other, but when we did not know how to express ourselves by using other language, we would feel helpless and embraced.

Crossing the Mangrove by Maryse Condé first published in 1989, offers a fitting representation of French Caribbean history and culture. The novel stands out for its celebration of diversity and the concept of root identity throughout French Caribbean society. Condé’s novel reflects on the people living in Guadeloupe and the complex system that colonialism has created in the Caribbean. Also, it links the créolité movement from its counterpart Negritude and demonstrates how it shapes the identity of individuals living in the French Caribbean. The population of Rivière au Sel exemplifies the mixture of Guadeloupian people and how they interact with each other in a small community. Countless waves of immigrates to the Caribbean have brought African, East Indian, Europeans, Asians and other racial groups to live in close proximity to each other in Guadeloupe. In Praise of Creoleness, it explains the emergences of créolité and how it is a metaphor for a unique Caribbean identity completely separated from other movement in the Caribbean.

Many symbolisms and themes have stood out in the Caribbean texts discussed in class. Many common themes have even been connected between the different short stories and one of these themes is what I want to discuss in my prospectus. What I find interesting is the reoccurring use of nature and environment symbolism used in Caribbean literature. Therefore I will discuss this theme’s meaning in my eyes and as well as the interpretation from other readers. I will be using the text of Erzulie by Pauline Melville to support this reoccurring theme. An analysis of Pauline Melville’s Erzulie reveals a significant challenge that indigenous people faced, social righteousness. Melville’s story helps establish a new connection by exploring the social wrongs of the time and beauty of the Guyana country destroyed by colonialism.

This essay analyses the role of the language in colonized land by English empire. More in specific, how the colonial and post-colonial poems dealing with this powerful tool which is ‘language’. I will take in consideration Derek Wolcott. Drawing thought two of his poems, I am going to point out the way he uses ‘language’,