I wanted to briefly talk about the presentation of recent Cypriot history in Turkish and Greek textbooks. This subject was treated very adroitly in the volume edited by Rebecca Bryant and Yannis Papadakis entitled Cyprus and the Politics of Memory, and I don’t want to beat a dead horse. But there’s a few interesting observations I’d like to make towards the end of this post.
Cyprus is an island in the Mediterranean with a long documented history, including Mycenean settlement in the second millennium BCE and a Greek presence since. In the past four thousand years, the island has been governed by many major powers, including – in chronological order – Egyptians, Romans, Venetians, Ottomans, and the British. In July 1878, the British Empire assumed control of the island from the Ottoman Empire. This short background is necessary to understand the context for the narratives I discuss here.
I said, “Omeros,”
and O was the conch-shell’s invocation, mer was
both mother and sea in our Antillean patois,
os, a grey bone, and the white surf as it crashes
and spreads its sibilant collar on a lace shore.
Omeros was the crunch of dry leaves, and the washes
that echoed from a cave-mouth when the tide has ebbed.
(Omeros bk. 1 ch. 2 sec. 3)
Derek Walcott’s masterful Omeros is a palimpsest. As an epic poem, it is deeply indebted to Homer; as a portrait of St Lucia, it is bound to the daily rhythm of island life. It is this tension between rootedness in the Caribbean and participation in the “global republic” of English (to borrow from Paula Burnett) that Walcott explores in his imagination of a postcolonial world. Reading Omeros means inhabiting the contradictions inherent in the postcolonial condition. Walcott’s poetic work is an extraordinarily successful exploration of modern life, all accomplished in poignant and achingly beautiful lyric verse.
The poem is structured as an odyssey, shifting from the present-day Caribbean to modern-day Europe and seventeenth-century Africa before returning to Walcott’s home island. The narrative is divided into seven books that provide a structure for the 64 chapters, each of which comprises a handful of sections. Yet the plot, such as it is, can be roughly split in three. In the first part, Achille and Hector (two fishermen) are competing for the affections of Helen against the backdrop of modernizing St Lucia. The second part of Omeros shifts to a broader view of the world by considering Philoctete and Ma Kilman. Their connections with Africa are visceral, spiritual, and deeply allegorical; in the case of Philoctete’s wound, the legacy of slavery quite literally bleeds into the present. The narrator dwells both on the horrors of the Middle Passage and the contradictions of the contemporary metropole before returning to the St Lucian town of Gros-Ilet in the concluding section. To end, the narrator turns away from history to instead depict the tourists who flood St Lucia’s beaches today: “barefoot Americans strolling into the banks— / there was a plague of them now, worse than the insects / who, at least, were natives” (1.10.3). In this third and final section, Hector dies driving these same tourists from the airport to a hotel, while Achille remains afloat as a fisherman. Continue reading →
I wanted to jot down some initial thoughts about Spivak’s famous piece “Can the Subaltern Speak?” Despite the obscurantism and the great attention required to really parse Spivak’s text, reading it is ultimately a deeply satisfying and rewarding experience. The question that pervades the essay is essentially identical to that posed by Edward Said in “Always on Top” (published in the London Review of Books): “What does one do about the representation of undocumented experiences — of slaves, servants, insurgents (such as those at Morant Bay) — for which we have to depend on socially elevated, literate witnesses who have access to official records?” Said’s answer to his own question can be gleaned from his article in Critical Inquiry entitled “Representing the Colonized: Anthropology’s Interlocutors”, and more indirectly through Orientalism. Like Foucault, Said is invested in rigorous empirical work that informs, interrogates, and integrates critical theory; hence why Said responds to the criticism that his “work is only negative polemic which does not advance a new epistemological approach or method” (210). Said concludes by advocating the work of “engaged historians” whose “instigatory force … is of startling relevance to all the humanities and social sciences as they continue to struggle with the formidable difficulties of empire” (225). Continue reading →
I am a student at Brown University, and this is my blog! Most posts here are half-formed thoughts, notes for myself, and things I jot down while working on larger projects. For more developed and complete work, see my portfolio. If you have any comments, thoughts, or questions, please email me using the icon below!