Kamau Brathwaite

by Chinua Achebe and “Limbo” by Kamau Brathwaite through their use of structure, style and purpose. These similar and contrasting features give these poems their individuality. “Limbo” and “Vultures” are two completely different works that utilize contrasting structures in order to convey a message to the readers. For example, the poem “Limbo” is broken up in to many small stanzas creating a rhythm that is similar to the beat of a drum. Therefore, allowing Brathwaite to clearly emphasize each section

In reference to Edward Kamau Brathwaite's lyric "Ogoun", is an Ode which is a long stately sonnet of recognition where the title is a mirror of what it really implies. Ogoun is a God of War, Iron and Metallurgy. As expressed in the Merriam Webster Dictionary, Metallurgy is illustrated as "a science that arrangements with the nature and employments of metals". In the ballad, he portrays a craftsperson or a woodworker who directs his regular exercises in which his iron or quality is utilized as a gifted

Derek Walcott is a complex individual. Born in Castries, St. Lucia in the eastern Caribbean, he was part of the island’s native bourgeoisie. Due to his training in the English classics, permitted by his respectable class on the island, Walcott developed a deep love for the English canon. At the same time, he affiliated himself ideologically and politically with the Caribbean and its inhabitants. These conflicting attachments manifested themselves in his poetry, in which Walcott writes in both standard

novel resonates of a variety of voices, noises and discourses”[ Palusci, Oriana. “Translating Virginia Woolf’s Music”, Translating Virginia Woolf, 2012 p.63]. In addition to that, Kaman Brathwaite said that “poetry is a form of music”[ Pierpaolo Martino. “’Poetry is a Form of Music’. Intrevista a Kamau Brathwaite, con un saggio introductivo”, Exodus. Studi sulla letteratura anglo-caraibica. Bari, Grahpis, 2009, p.119], so that is why Virginia Woolf’s writings portrays the passage, not only from prose

Caribbean Literature INTRODUCTION The evolution of Caribbean Literature started centuries before the Europeans graced these shores and continues to develop today. Quite noticeably, it developed in a manner which transcended all language barriers and cultures. Today the languages of the Caribbean are rooted in that of the colonial powers - France, Britain, Spain and Holland - whose historical encounters are quite evident throughout the region. The cosmopolitan nature of the region's language and

Colonialism’s initial assumption or rather a presumption was to create a civilised and ordered world through establishing dominion over seemingly uncivilised and backwards countries. The colonial enterprise was justified based on the prevalent discourses of savage and primitive natives as reality was hidden due to a severe lack of historical narrative from the natives themselves. The ‘white man’s burden’ is to care for indigenous people who are unable to survive. This becomes a disguise for economic

Elizabeth Nunez writes Bruised Hibiscus (2000) offering some of the most complicated issues of female identity, oppression and quest for liberation in male centered postcolonial Caribbean society with strong resonances to Jean Rhys’ Wide Sargasso Sea (1966). Nunez’s central characters Zuela and Rosa Appleton undergo a series of annihilation of their identities and exploitation and oppression from their husbands. By situating Rosa in a similar position as of Antoinette Cosway in Wide Sargasso Sea

Every emancipation is a restoration of the human world and of human relationships to man himself. MARX, Zur Judenfrage (1844) It has often been mistaken that racism only exists between those who are black and white. This of course, has largely been influenced by colonialism and slavery in the New World. Carlos Hoyt Jr in his article, ‘The Pedagogy of

Caribbean Crucible: History, Culture, and Globalization Kevin A. Yelvington In the present age of globalization, it is often forgotten that these world-encompassing processes were initiated with European expansion into the Caribbean beginning more than five hundred years ago. We now see the proliferation of overseas factories enabling owners, producers, and consumers of products to be in widely distant locales. It seems to us that in the search for profits, commercial activity has recently spread

Revista Europea de Estudios Latinoamericanos y del Caribe 79, octubre de 2005 | 125 Identity and Erasure: Finding the Elusive Caribbean Anton Allahar – Caribbean Autobiography: cultural identity and self-representation, by Sandra Pouchet Paquet. Madison, WI: The University of Wisconsin Press, 2002. – Decolonising the Caribbean: Dutch policies in a comparative perspective, by Gert Oostindie and Inge Klinkers. Amsterdam: Amsterdam University Press, 2003. – Ah Come Back Home: Perspectives