On 15 October 1968, Jamaican Prime Minister Hugh Shearer, declared Walter Rodney persona non grat... more On 15 October 1968, Jamaican Prime Minister Hugh Shearer, declared Walter Rodney persona non grata. Banning him from returning to Jamaica, where he taught at the University of the West Indies, Mona Campus led to protests by students and the working class peoples of West Kingston. The riots that followed – which started on 16th October – exactly a year to the day I was born-is known as the " Rodney Riots. " The banning occasioned the development of Bogle L'Ouverture Publications (BLP) co-founded by Eric and Jessica Huntley and others. Walter Rodney provided the lectures he was giving to the mass, local Jamaicans, particularly Rastafarians, which formed the basis of BLP's first publication The Groundings with My Brothers, published in early 1969. The Groundings provided Rodney a means to deliver a message, rather than a defence, to the establishment outlining the real catalyst for the riots that followed the banning. He argued that the main issues were impoverishment-spiritually, socially, culturally and economically that the masses were experiencing under a government that was no more than administrators of their former colonisers. " Former " is presumptuous as those colonising powers prevail in Jamaica and other underdeveloped countries we could name – but in Jamaica's case this is symbolised by the fact that the Queen of England remains its Head of State. The administrators didn't want the masses, ordinary people politicised, and made conscious. Walter Rodney on other hand knew that cultural and political awareness was the principle means of their power, which would give them confidence. Thus in The Groundings he writes: "What we need is confidence in ourselves, so that as Blacks, as Africans we can be conscious, united, independent and creative. A knowledge of African achievements in art, education, religion, politics, agriculture and the mining metals can help us gain the necessary confidence which has been removed by slavery and colonialism" (1969:48). So when we find ourselves utterly frustrated and feeling demoralised by the scarcity of everything in our home countries (those in Africa included) we must understand that those who were "selected" by Western imperialists to govern us after the sham independence they "gave" us were in collusion to keep us in perpetual state of "underdevelopment." That very process would form the second book of Rodney's published by Bogle L'Ouverture namely How Europe Underdeveloped Africa (1972). Given our historical achievements, this persistent 'lack' we so frequently bemoan need to be put into context to acknowledge how it came into being and how it is maintained. Continuing with the importance of African history and culture to our development Rodney argues that "there is no evidence to show that racial discrimination was part of [ancient Egyptian] culture. Yet as part of the white men's way of seeing things, the red and black populations of Egypt would have been seen as 'coloured' and or 'negro'. Christ was a member of the Essene group of Jews from Egypt. Were he alive today he would suffer from racial discrimination," (p.52). Ironically 'Christians' have a real issue with Egypt let alone acknowledging Christ as black – as the Rastas Rodney mingled with believed. So there would have been levels to this discrimination, after all it was Black men that banned Rodney – but though Black – they were 'white-hearted', as he claimed. The point Rodney is making is that Africans need to be aware of the fullness of our history, especially before we were dragged across the Atlantic to where-ever; to know that we came from great civilisations that stood for thousands of years before Europeans saw any light of day. This is what he was teaching as part of his 'groundings' in Jamaica. He wasn't only teaching but learning from Rastafarians-that beleaguered group who are still scorned in our societies. Rodney expressed gratitude for the exchange of knowledge and experiences he gained from grounding with his Rasta brothers (and no doubt sisters too!): "I would like to feel perhaps that what I am saying in one form or another will reach the brothers and therefore it is a message both to you and to them. And above all, I would like to indicate my own gratification for that experience which I shared with them. Because I learnt. I got knowledge from them, real knowledge. You have to speak to Jamaican Rasta, and you have to listen to him...and you will hear him tell you about the Word. And when you listen to him, and
Elijah by Michelle Yaa Asantewa is one of the newest additions to the repertoire of Guyanese lite... more Elijah by Michelle Yaa Asantewa is one of the newest additions to the repertoire of Guyanese literature. Her treatment of social issues such as gangs, violence, delinquency, organized crime, narcotics, drug addiction and the desire for a sense of belonging that plagues all youths is unapologetically raw and poetically bare. Her pen is a powerful mirror since it not only reflects the social environment and conditions that influence the practice of deviant and criminal behaviour but psychologically penetrates the mind of the protagonist, Eli Lovelace, in such profundity that readers are sucked into the vortex of his thoughts. Elijah can be viewed as a masterpiece for sociological criticism since it encapsulates the kaleidoscope of social norms, antisocial behaviour and societal trappings that construct society, but the spiritual, philosophical, and existential thematics which underpin the literary work cannot be ignored. Asantewa's meticulous deconstruction of Eli's psyche through the direct exploration of his stream of consciousness and dreams are worthy of scientific merit. As a result, the novel is enriched with a psychoanalytical layer that borders heavily on social and criminal psychology. As a postmodernist novel, Elijah portrays the " culture of fragmentary sensations " which characterizes postmodernity. Eli Lovelace possesses a fragmented psyche since he is a second generation Guyanese who was born in London. Consequentially, he cannot distinguish between the real self and role self and the result is the individualistic confrontation of an identity crisis that goes over seas and centuries. Eli begins to confront the most basic social variables that once defined his individualism, especially the Crew and gang life it offered that made him feel so fulfilled and purposeful. As a result, Elijah starts to feel the distinctive emptiness and alienation which characterizes postmodern capitalist societies. Moreover, Asantewa's intricate weaving of mass media's depiction of crime and strategic allusions to particular definitive cultural products such as 'Scar Face' and 'The Godfather', examine the uniquely postmodernist commodification of crime of which this novel is part and parcel. As a post-structural work, on the other hand, the novel, Elijah, highlights the indeterminacy of the concept of self, nationality, and diasporic identity in a deceptively simplistic manner. This concept of indeterminacy is thoroughly explored through the symbol or image of the tiger which proliferates the novel. At the beginning, the tiger can be seen as a symbol of guilt and paranoia. It evolves into a dichotomous symbol of protection and danger. Toward the end of the novel, it becomes representative of self-reconciliation. In other words, the meaning of the tiger is indeterminate because it shifts as the level of awareness and maturity of the protagonist changes. This instability is also reflected in the meaning and importance placed on various social institutions by Elijah. Even the evolution and transiency of ideas and ideology is examined in the work. This is evident as Eli's worldview begins to change when he is introduced to the Rastafarian concept of Babylon and the ideas propelled by Marcus Garvey during the 'Back to Africa Movement.' In addition to reflecting conventions of postmodernism and post-structuralism, Elijah engages with several issues which are part of the quintessence of postcolonial literature. The novel captures the fragmented postcolonial psyche from the perspective of the protagonist who is divided within himself since he is unsure whether his personality in London or Guyana is the true self or the false self. He is baffled by which one of his 'identities/nationalities' truly captures his being. This division is subtly revealed by the strategic reference to " Uncle Joseph " (11) and " GT " (13) while Elijah is trying to get his thoughts together after the stabbing and it also foreshadows where the protagonist would have to go to piece himself together. The postcolonial psyche is also explored through the symbolic use of marijuana by Asantewa to distinguish Eli's Guyanese identity-" pure marijuana " (149)-from his British one which is represented as marijuana which " had always been stretched out with tobacco and other surreptitious items meant to heighten the buzz " (149).The " unfamiliar seriousness and clarity " (149) that Elijah experiences when he uses pure marijuana for the first time mirrors his epiphany of how to create psychic symmetry between his seemingly conflicting identities and marks the beginning of his journey towards self-acceptance. This examination of the liminal space in diasporic identity in contemporary society is a common troupe in postcolonial and Caribbean literature. Furthermore, Asantewa's treatment of the psychic fragmentation of the postmodernist postcolonial subject through the juxtaposition of crime and deviant behaviour is arguably a revolutionary feat in the corpus of Guyanese literature.
A review of the Huntley Biography Project launch. The work of Jessica and Eric Huntley, who co fo... more A review of the Huntley Biography Project launch. The work of Jessica and Eric Huntley, who co founded with others Bogle L'Ouverture Publications is recognised as added contribution to Black British experiences.
On 15 October 1968, Jamaican Prime Minister Hugh Shearer, declared Walter Rodney persona non grat... more On 15 October 1968, Jamaican Prime Minister Hugh Shearer, declared Walter Rodney persona non grata. Banning him from returning to Jamaica, where he taught at the University of the West Indies, Mona Campus led to protests by students and the working class peoples of West Kingston. The riots that followed – which started on 16th October – exactly a year to the day I was born-is known as the " Rodney Riots. " The banning occasioned the development of Bogle L'Ouverture Publications (BLP) co-founded by Eric and Jessica Huntley and others. Walter Rodney provided the lectures he was giving to the mass, local Jamaicans, particularly Rastafarians, which formed the basis of BLP's first publication The Groundings with My Brothers, published in early 1969. The Groundings provided Rodney a means to deliver a message, rather than a defence, to the establishment outlining the real catalyst for the riots that followed the banning. He argued that the main issues were impoverishment-spiritually, socially, culturally and economically that the masses were experiencing under a government that was no more than administrators of their former colonisers. " Former " is presumptuous as those colonising powers prevail in Jamaica and other underdeveloped countries we could name – but in Jamaica's case this is symbolised by the fact that the Queen of England remains its Head of State. The administrators didn't want the masses, ordinary people politicised, and made conscious. Walter Rodney on other hand knew that cultural and political awareness was the principle means of their power, which would give them confidence. Thus in The Groundings he writes: "What we need is confidence in ourselves, so that as Blacks, as Africans we can be conscious, united, independent and creative. A knowledge of African achievements in art, education, religion, politics, agriculture and the mining metals can help us gain the necessary confidence which has been removed by slavery and colonialism" (1969:48). So when we find ourselves utterly frustrated and feeling demoralised by the scarcity of everything in our home countries (those in Africa included) we must understand that those who were "selected" by Western imperialists to govern us after the sham independence they "gave" us were in collusion to keep us in perpetual state of "underdevelopment." That very process would form the second book of Rodney's published by Bogle L'Ouverture namely How Europe Underdeveloped Africa (1972). Given our historical achievements, this persistent 'lack' we so frequently bemoan need to be put into context to acknowledge how it came into being and how it is maintained. Continuing with the importance of African history and culture to our development Rodney argues that "there is no evidence to show that racial discrimination was part of [ancient Egyptian] culture. Yet as part of the white men's way of seeing things, the red and black populations of Egypt would have been seen as 'coloured' and or 'negro'. Christ was a member of the Essene group of Jews from Egypt. Were he alive today he would suffer from racial discrimination," (p.52). Ironically 'Christians' have a real issue with Egypt let alone acknowledging Christ as black – as the Rastas Rodney mingled with believed. So there would have been levels to this discrimination, after all it was Black men that banned Rodney – but though Black – they were 'white-hearted', as he claimed. The point Rodney is making is that Africans need to be aware of the fullness of our history, especially before we were dragged across the Atlantic to where-ever; to know that we came from great civilisations that stood for thousands of years before Europeans saw any light of day. This is what he was teaching as part of his 'groundings' in Jamaica. He wasn't only teaching but learning from Rastafarians-that beleaguered group who are still scorned in our societies. Rodney expressed gratitude for the exchange of knowledge and experiences he gained from grounding with his Rasta brothers (and no doubt sisters too!): "I would like to feel perhaps that what I am saying in one form or another will reach the brothers and therefore it is a message both to you and to them. And above all, I would like to indicate my own gratification for that experience which I shared with them. Because I learnt. I got knowledge from them, real knowledge. You have to speak to Jamaican Rasta, and you have to listen to him...and you will hear him tell you about the Word. And when you listen to him, and
Elijah by Michelle Yaa Asantewa is one of the newest additions to the repertoire of Guyanese lite... more Elijah by Michelle Yaa Asantewa is one of the newest additions to the repertoire of Guyanese literature. Her treatment of social issues such as gangs, violence, delinquency, organized crime, narcotics, drug addiction and the desire for a sense of belonging that plagues all youths is unapologetically raw and poetically bare. Her pen is a powerful mirror since it not only reflects the social environment and conditions that influence the practice of deviant and criminal behaviour but psychologically penetrates the mind of the protagonist, Eli Lovelace, in such profundity that readers are sucked into the vortex of his thoughts. Elijah can be viewed as a masterpiece for sociological criticism since it encapsulates the kaleidoscope of social norms, antisocial behaviour and societal trappings that construct society, but the spiritual, philosophical, and existential thematics which underpin the literary work cannot be ignored. Asantewa's meticulous deconstruction of Eli's psyche through the direct exploration of his stream of consciousness and dreams are worthy of scientific merit. As a result, the novel is enriched with a psychoanalytical layer that borders heavily on social and criminal psychology. As a postmodernist novel, Elijah portrays the " culture of fragmentary sensations " which characterizes postmodernity. Eli Lovelace possesses a fragmented psyche since he is a second generation Guyanese who was born in London. Consequentially, he cannot distinguish between the real self and role self and the result is the individualistic confrontation of an identity crisis that goes over seas and centuries. Eli begins to confront the most basic social variables that once defined his individualism, especially the Crew and gang life it offered that made him feel so fulfilled and purposeful. As a result, Elijah starts to feel the distinctive emptiness and alienation which characterizes postmodern capitalist societies. Moreover, Asantewa's intricate weaving of mass media's depiction of crime and strategic allusions to particular definitive cultural products such as 'Scar Face' and 'The Godfather', examine the uniquely postmodernist commodification of crime of which this novel is part and parcel. As a post-structural work, on the other hand, the novel, Elijah, highlights the indeterminacy of the concept of self, nationality, and diasporic identity in a deceptively simplistic manner. This concept of indeterminacy is thoroughly explored through the symbol or image of the tiger which proliferates the novel. At the beginning, the tiger can be seen as a symbol of guilt and paranoia. It evolves into a dichotomous symbol of protection and danger. Toward the end of the novel, it becomes representative of self-reconciliation. In other words, the meaning of the tiger is indeterminate because it shifts as the level of awareness and maturity of the protagonist changes. This instability is also reflected in the meaning and importance placed on various social institutions by Elijah. Even the evolution and transiency of ideas and ideology is examined in the work. This is evident as Eli's worldview begins to change when he is introduced to the Rastafarian concept of Babylon and the ideas propelled by Marcus Garvey during the 'Back to Africa Movement.' In addition to reflecting conventions of postmodernism and post-structuralism, Elijah engages with several issues which are part of the quintessence of postcolonial literature. The novel captures the fragmented postcolonial psyche from the perspective of the protagonist who is divided within himself since he is unsure whether his personality in London or Guyana is the true self or the false self. He is baffled by which one of his 'identities/nationalities' truly captures his being. This division is subtly revealed by the strategic reference to " Uncle Joseph " (11) and " GT " (13) while Elijah is trying to get his thoughts together after the stabbing and it also foreshadows where the protagonist would have to go to piece himself together. The postcolonial psyche is also explored through the symbolic use of marijuana by Asantewa to distinguish Eli's Guyanese identity-" pure marijuana " (149)-from his British one which is represented as marijuana which " had always been stretched out with tobacco and other surreptitious items meant to heighten the buzz " (149).The " unfamiliar seriousness and clarity " (149) that Elijah experiences when he uses pure marijuana for the first time mirrors his epiphany of how to create psychic symmetry between his seemingly conflicting identities and marks the beginning of his journey towards self-acceptance. This examination of the liminal space in diasporic identity in contemporary society is a common troupe in postcolonial and Caribbean literature. Furthermore, Asantewa's treatment of the psychic fragmentation of the postmodernist postcolonial subject through the juxtaposition of crime and deviant behaviour is arguably a revolutionary feat in the corpus of Guyanese literature.
A review of the Huntley Biography Project launch. The work of Jessica and Eric Huntley, who co fo... more A review of the Huntley Biography Project launch. The work of Jessica and Eric Huntley, who co founded with others Bogle L'Ouverture Publications is recognised as added contribution to Black British experiences.
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