By Jennifer Rahim, Dr Barbara Lalla PH.D.
"Beyond Borders" is a multidisciplinary choice of essays with a spotlight on modern matters in Caribbean cultural stories. tradition and cultural id are definitely hugely charged political Goliaths with neighborhood and worldwide ramifications. this can be one of many purposes for the digital growth the self-discipline has loved, and the Caribbean isn't any exception. consequently, there's a turning out to be call for for info within the box for either learn and educating reasons. The essays during this assortment offer this kind of source. They discover cross-cultural subject matters and matters throughout a variety of disciplines that come with literature, language, schooling, background and pop culture. they're going to curiosity a huge cross-section of local and foreign readers, together with quite a lot of students, specialist lecturers, scholars and participants of most of the people wishing to appreciate the advanced dynamics of Caribbean tradition. the problems of cultural survival and negotiation with which each one of these essays deal, serve to foreground a heritage of domination, resistance and excellent ameliorations inside and past the borders of this archipelago. it really is now not attainable to cross tradition off as easily a question of commonalities, pursuits and values, as though politics and gear have been blameless of influencing what will get outlined and fed on as tradition. "Beyond Borders: Cross-culturalism and the Caribbean Canon" bargains a discussion board for modern debates on Caribbean tradition in its ongoing strategy of evolution.
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Additional resources for Beyond Borders: Cross-Culturalism and the Caribbean Canon
First, I want to suggest that for contemporary Caribbean women writers, the political geography of their migration meant coming to terms with their experiences of alienation, oppression and dispossession, both in their Caribbean homelands and now in their new homelands in the black diaspora. Second, I want to examine the extent to which women writers employ a gendered critique of genre through implicating “form” as well as discourses of identity that shape women’s (physical, linguistic, geographic and existential) spaces and places.
Indeed, this diversity has been an abundant blessing for cultural workers in all the arts in the Caribbean: the novel, the visual arts, the syncretic splendour of our festivals. Creative conflict is the dynamic which drives the Caribbean imagination. I have never been able to separate the creative imagination from the political culture in which it functions. And so I will close with an extract from American sociologist C. Wright-Mills: The independent artist and intellectual are among the few remaining personalities equipped to resist and to fight the stereotyping and consequent death of genuinely living things.
15 It is this fracture which would remain unhealed, but which would also alert the imagination to the possibility of a novel kind of generosity. It is this possibility which Walcott is referring to in his 1992 Nobel speech: Break a vase, and the love that reassembles the fragments is stronger than that love which took its symmetry for granted when it was whole. The glue that fits the pieces is the sealing of its original shape. It is such a love that reassembles our African and Asiatic fragments, the cracked heirlooms whose restoration shows its white scars.