By Lorna Burns
Modern Caribbean Writing and Deleuze maps a brand new highbrow and literary heritage of postcolonial Caribbean writing and concept spanning from the Thirties surrealist move to the current, crossing the region's language blocs, and all for the interconnected rules of creativity and commemoration. Exploring the paintings of René Ménil, Édouard Glissant, Wilson Harris, Derek Walcott, Antonio Benítez-Rojo, Pauline Melville, Robert Antoni and Nalo Hopkinson, this learn unearths the categorical and implicit engagement with Deleuzian suggestion at paintings in modern Caribbean writing. Uniting for the 1st time significant faculties of up to date concept - postcolonialism and post-continental philosophy - this examine establishes a brand new and leading edge serious discourse for Caribbean stories and postcolonial concept past the oppositional dialectic of colonizer and colonized. Drawing from Deleuze's writings on Bergson, Nietzsche and Spinoza, this learn interrogates the postcolonial tropes of newness, turning into, relationality and a philosophical suggestion of immanence that lie on the center of a little-observed discussion among modern Caribbean writers and Deleuze.
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Additional info for Contemporary Caribbean Writing and Deleuze: Literature Between Postcolonialism and Post-Continental Philosophy
Where the inferno of cement slums is merely an extension of the inferno of the sugarcane or cotton fields’ (Glissant 1995, p. 274), here Benítez-Rojo suggests that while certain prototypes existed in Cape Verde, the Canaries, and on the Moroccan coast, the Caribbean machine defines the modern world; facilitating not only the transportation of ‘no fewer than ten million African slaves’ (1996, p. 9), but producing mercantile capitalism, industrial capitalism, African underdevelopment, imperialism, colonial blocs, wars, rebellions, repression, naval and air bases, and revolutions.
Kundera’s commentary offers an expansive view of Caribbean literature’s surrealist tendencies, incorporating both the literary use of creole and marvellous realism as surrealist-inspired features of contemporary Caribbean writing.
Thus, the Caribbean emerges as a crucial Introduction 25 ‘historico-economic sea and, further, a cultural meta-archipelago without centre and without limits, a chaos within which there is an island that proliferates endlessly, each copy a different one’ (p. 9). The repeating island then fulfils an important function in the conceptualization of the persistence of empire and exploitation: providing a process-based paradigm that rereads imperialism in terms of a coding and recoding that connects and interrupts previous flows.