“I who am poisoned with the blood of both Where shall I turn, divided to the vein?” (27-28) Derek Walcott’s poem “A Far Cry from Africa” deals with the poet’s inability to resolve his hybrid inheritance causing conflict between his loyalties to Britain and native Africa. Derek Walcott (1930- ) born in St. Lucia, spent most of his life in Trinidad and was also a recipient of Noble prize in literature in 1992. Belonging to both Anglo-European and Afro-Caribbean heritage, his duality in origin gave birth to a sort of identity crisis within himself. Most of his writing is a painful and jarring depiction of ethnic conflict and divided loyalties which earned him international fame in regard to his works in relationship of human. The intricate relationship between the colonized and the colonizer and the ways in which the Caribbean self-embraces and split between different places loyalties are central theme of Walcott’s writings. Walcott has studied the conflict between the heritage of European and West Indian culture, the long way from slavery to independence, and his own role as a nomad between these two cultures. It is all about the settlers arriving in the region forcing people of Kikuyu from their tribal units. Walcott depicts the scenario of Europeans taking control over the farmland and the government and letting native people to serve the white race of Europeans in their own native land. "A Far Cry from Africa" (1962) forces a question to speakers on cultural identity against a background of historical events. Exposing the intersection of cultures within the poet, this poem also highlights the “turbulent journey of a man trying to relate to his immediate schizophrenic Post-Colonial world reality and his state of hybridity” (Thou... ... middle of paper ... ...de between cultures as ‘high-low’; ‘white-black’; ‘civilized-uncivilized; and so on, therefore to anticipate more positive constructions of ‘Hybridity’” (Thounaojam, 2012). To conclude, in most of Walcott’s writing, he portrays the relationship between the colonized and the colonizer and the ways in which the African self-hood and divide between different places and loyalties. Walcott is in quest in search of history and identity; he faces the cultural clashes of two nations, Africa and Europe. The poem moves to the battlefield within the poet as he owns dual cultural heritage and finds difficult to identify his actual identity where he belongs to. Walcott breathes two different traditions; he highlighted the dilemma between races in his poem who wants to adopt the "civilized" culture of the British, but also cannot excuse their immoral treatment of the Africans.
This seems to illustrate Sembene’s personal storytelling about the patriotism and its effects on the post- colonial African. As the story of Black Girl seems to be nothing more than a tragedy of...
In fact, it is clear to the reader that Huggins makes a concerted effort to bring light to both ethnicities’ perspectives. Huggins even argues that their culture is one and the same, “such a seamless web that it is impossible to calibrate the Negro within it or to ravel him from it” (Huggins, 309). Huggins argument is really brought to life through his use of historical evidence found in influential poetry from the time period. When analyzing why African Americans were having an identity crisis he looked to a common place that African American looked to. Africa was a common identifier among the black community for obvious reasons and was where Authors and Artists looked for inspiration. African American artists adopted the simple black silhouette and angular art found in original African pieces. Authors looked to Africa in their poetry. In The Negro Speaks of Rivers by Langston Hughes, the names of rivers in Africa such as the Euphrates, the Congo and the Nile were all used and then the scene switches to the Mississippi river found in America showing that blacks have “seen”, or experienced both. Huggins looks deeply into Countee Cullen’s Heritage discussing “what is Africa to me?” a common identifier that united black artistry in the Harlem Renaissance, “Africa? A book one thumbs listlessly, till slumber comes” (Countee). The black community craved to be a separate society from white Americans so they were forced to go back to the past to find their heritage, before America and white oppression. Huggins finds an amazing variety of evidence within literature of this time period, exposing the raw feelings and emotion behind this intellectual movement. The connections he makes within these pieces of poetry are accurate and strong, supporting his initial thesis
In Cry, the beloved country, Alan Paton tells the story of his journey across Africa, his experiences with the colonized Africa, and the destruction of the beautiful, pre-colonialism native land of Africa. Heart of Darkness also tells the story of a man and his experiences with colonialism, but a man who comes from a different time period and a very different background than Alan Paton’s Stephen Kumalo. Although, both Joseph Conrad and Alan Paton portray the colonized areas as very negative, death filled, and sinful places, it is when one analyzes the descriptions of the native lands of Africa that the authors reasons for their disapproval of colonialism are truly revealed. When comparing the writing styles of Alan Paton and Joseph Conrad, their descriptions of the land and the people in both works reveal their different attitudes and views towards colonialism. While Paton and Conrad ultimately oppose colonialism, Paton is concerned with the disappearance of African tribal tradition, whereas Conrad is concerned with the perceived corruption of the white colonists.
Angeles, Los. (2009). African arts. Volume 28. Published by African Studies Center, University of California.
Gabriel, Deborah. Layers of Blackness: Colourism in the African Diaspora. London: Imani Media, 2007. Print.
This week’s articles carry a couple related, if not common, themes of imagined, if not artificial, constructs of race and identity. Martha Hodes’ article, “The mercurial Nature and Abiding Power of Race: A Transnational Family Story,” offers a narrative based examination of the malleable terms on which race was defined. To accomplish this she examines the story of Eunice Connolly and her family and social life as a window into understanding the changing dimensions of race in nineteenth-century America and the Caribbean, specifically New England and Grand Cayman. While Hodes’ article examines the construction of race in the Americas, Ali A. Mazrui’s piece, “The Re-Invention of Africa: Edward Sai, V. Y. Mudimbe, and Beyond,” looks at the construction of African identity. Although different in geographic loci, the two articles similarly examine the shaping influences of race and identity and the power held in ‘the Other’ to those ends.
In Brent Hayes Edwards essay, “ The Use of Diaspora”, the term “African Diaspora” is critically explored for its intellectual history of the word. Edward’s reason for investigating the “intellectual history of the term” rather than a general history is because the term “is taken up at a particular conjecture in black scholarly discourse to do a particular kind of epistemological work” (Edwards 9). At the beginning of his essay Edwards mentions the problem with the term, in terms of how it is loosely it is being used which he brings confusion to many scholars. As an intellectual Edwards understands “the confusing multiplicity” the term has been associated with by the works of other intellectuals who either used the coined or used the term African diaspora. As an articulate scholar, Edwards hopes to “excavate a historicized and politicized sense of diaspora” through his own work in which he focuses “on a black cultural politics in the interwar, particularly in the transnational circuits of exchange between the Harlem Renaissance and pre-Negritude Fran cophone activity in the France and West Africa”(8). Throughout his essay Edwards logically attacks the problem giving an informative insight of the works that other scholars have contributed to the term Edwards traces back to the intellectual history of the African diaspora in an eloquent manner.
In sub-Saharan Africa, thousands of languages, cultures, and geographical regions helped influence our African society. The ways in which we produce our artwork, spiritual ideals, and ritual performances are organic and raw. From the tropical regions of Congo and Ghana, to the arid regions of Mali; I pass through the global gateway into a domain where the Western world lost its roots and artistic imagination and grandeur. Africa appeals most to me for its ability to create a realm where the living, dead, and artistic ideals come into a single unit of tranquil philosophy.
In Half of a Yellow Sun, Chimamanda Ngozi Adichie attempts to use history in order to gain leverage on the present, to subvert the single story stereotypes that dominate many contemporary discourses on Africa. Written in the genre of historical fiction, Adichie’s novel transcends beyond mere historical narration and recreates the polyphonic experiences of varying groups of people in Nigeria before and after the Civil War. She employs temporal distortion in her narrative, distorting time in order to illustrate the intertwining effects of the past and present, immersing deep into the impact of western domination that not only catalyzed the war, but continues to affect contemporary Africa. In this paper, I will analyze her portrayal of the multifaceted culture produced by colonialism – one that coalesces elements from traditional African culture with notions of western modernity to varying degrees. I will argue that Adichie uses a range of characters, including Odenigbo’s mother, Ugwu, Olanna and Kainene, to each represent a point in a spectrum between tradition and modernity. Through her juxtaposition, she undermines the stereotypes that continue to characterize Africa as backwards and traditional, proving instead that colonialism has produced a cross culture where the two are intertwined.
Khapoya, Vincent B. The African Experience: An Introduction. 4th ed. Upper Saddle River, NJ: Prentice Hall, 1998. Print.
Bibliography w/4 sources Cry , the Beloved Country by Alan Paton is a perfect example of post-colonial literature. South Africa is a colonized country, which is, in many ways, still living under oppression. Though no longer living under apartheid, the indigenous Africans are treated as a minority, as they were when Paton wrote the book. This novel provides the political view of the author in both subtle and evident ways. Looking at the skeleton of the novel, it is extremely evident that relationship of the colonized vs. colonizers, in this case the blacks vs. the whites, rules the plot. Every character’s race is provided and has association with his/her place in life. A black man kills a white man, therefore that black man must die. A black umfundisi lives in a valley of desolation, while a white farmer dwells above on a rich plot of land. White men are even taken to court for the simple gesture of giving a black man a ride. This is not a subtle point, the reader is immediately stricken by the diversities in the lives of the South Africans.
Dedication is the quintessence of African literature. Well, for the most part of the advancing measures going on recently, most people however regard this questionable. The centre of attention in this discussion is not to engaging in fighting the argument out. Having four literary Nobel laureates in the precedent two decades, that is, Wole Soyinka, J.M. Coetzee, Idris Mahfouz, Nadine Godimer modern African literature has reached acceptable and respectable standards that should be appreciated and respected. On one occasion when a writer hails the coveted Nobel Prize for his or her literature works culture assumes an implication that is accorded to it. It is because of this reason that it is paramount to reconsider the contemporary custom of African literature (Jussawalla, 1992).
Moreover, societies are to be more mixed and wide through getting benefits out of the different cultures it embraces, through being positively affected by other cultures’ way of thinking, capabilities, skills and
Every human being, in addition to having their own personal identity, has a sense of who they are in relation to the larger community--the nation. Postcolonial studies is the attempt to strip away conventional perspective and examine what that national identity might be for a postcolonial subject. To read literature from the perspective of postcolonial studies is to seek out--to listen for, that indigenous, representative voice which can inform the world of the essence of existence as a colonial subject, or as a postcolonial citizen. Postcolonial authors use their literature and poetry to solidify, through criticism and celebration, an emerging national identity, which they have taken on the responsibility of representing. Surely, the reevaluation of national identity is an eventual and essential result of a country gaining independence from a colonial power, or a country emerging from a fledgling settler colony. However, to claim to be representative of that entire identity is a huge undertaking for an author trying to convey a postcolonial message. Each nation, province, island, state, neighborhood and individual is its own unique amalgamation of history, culture, language and tradition. Only by understanding and embracing the idea of cultural hybridity when attempting to explore the concept of national identity can any one individual, or nation, truly hope to understand or communicate the lasting effects of the colonial process.
Schipper, Mineke. "Mother Africa on a Pedestal: The Male Heritage in African Literature and Criticism." Women in African Literature Today. Ed. Eldred Durosimi Jones. Trenton, N.J.: Africa World Press, 1987. 35-53.