Hybridity And Walcott.docx

HYBRIDITY AND WALCOTT’S POETRY Prepared for Professor Themeem T Prepared by – Mehr Khurana

Abstract - Hybridity, with its resonances of cross-fertilization, has gained much currency as a conceptual tool in the postcolonial context. A case in point is the work of Derek Walcott, who stands at the confluence of the already hybrid Caribbean culture, and the occidental poetic tradition. At a basic level, hybridity refers to any mixing of east and western culture. Within colonial and postcolonial literature, it most commonly refers to colonial subjects from Asia or Africa who have found a balance between eastern and western cultural attributes. Derek Walcott was born in 1930 on the island of St. Lucia, the child of a civil servant and a schoolteacher and the descendant of two white grandfathers and two black grandmothers. Though his first language was a French-English patois, he received an English education, an apprenticeship in language that his mother supported by reciting English poetry at home and by exposing her children to the European classics at an early age.

Introduction Walcott’s art arises from this schizophrenic situation, from a struggle between two cultural heritages which he has harnessed to create a unique creolized style. His early poetry booklets, published in the late 1940s with money borrowed from his mother, reveal a self-conscious apprentice determined to make what Walcott called verse “legitimately prolonging the mighty line of Marlow and Milton.” English and American critics often have been ambivalent about his use of the Western literary tradition and Walcott has also drawn criticism from Caribbean commentators, who accuse him of neglecting native forms in favor of techniques derived his colonial oppressors. To be sure, his early works seem overpowered by the voices of English poetry, and his entire oeuvre respects the traditional concerns of poetic form. But if his poetry demonstrates a significant relation to tradition, it also manifests an elegant blending of sources — European and American, Caribbean and Latino, classical and contemporary. Later works, including In a Green Night: Poems 1948-1960, reveal a

poet who has learned his craft from the European tradition, but who remains mindful of West Indian landscapes and experiences

Early Dramatic Writings Though his poetry displays a passion to record Caribbean life, this tendency is more apparent in Walcott’s drama, which draws consistently not only on his native patois, but also on regional folk traditions. In the 1950s, after taking a degree from the University College of the West Indies, Walcott wrote a series of verse plays, including Henri Christophe which recounts an episode in Caribbean history using the diction and plotting of Jacobean tragedy. His subsequent forays into dramatic writing, The Sea at Dauphin and Ione, mingle the influences of J. M. Synge and Greek drama with a new emphasis on West Indian language and customs. During this period Walcott also taught and wrote as a journalist in Grenada, before moving to Trinidad, where he gathered a group of actors and founded the Trinidad Theatre Workshop. While in Trinidad, Walcott developed a mature dramatic idiom in plays such as Ti-Jean and his Brothers and Dream on Monkey Mountain, which put an elevated dialect in mouths of common West Indian folk. In What the Twilight Says, Walcott describes his desire to fill these plays with “a language that went beyond mimicry, . . . one which finally settled on its own mode of inflection, and which begins to create an oral culture, of chants, jokes, folk-songs, and fables.” Chronicling a peasant fantasy of rejecting the white world and reclaiming an African heritage, Dream on Monkey Mountain not only makes effective use of native dialect, but also satirizes the bureaucratic idiom of colonialism. Language becomes a route to racial identity and a necessary resource for the survival of West Indian communities.

Mature Writings While Walcott dedicated much of the 1960s to developing the Trinidad Theatre Workshop and to rewriting earlier dramas, his primary focus was on poetry. Between 1964 and 1973 he published four volumes which continued his exploration and expansion of traditional forms and which increasingly concerned themselves with the position of the poet in the postcolonial world. In contrast to the plays of this period which arise from a sense of shared colonial history and local mythology, The Castaway and Other Poems (1964) draws on the figure of Robinson Crusoe to suggest the isolation of the artist. “As a West Indian,” Katie Jones suggests, “the poet can be seen as a castaway from both his ancestral cultures, African and European, stemming from both, belonging to neither. To salve this split, Walcott creates a castaway who is also a new Adam . . . whose task is to name his world. Walcott’s castaway is a poet who creates and gives meaning to nothingness”. Coping with internal division remains a concern in The Gulf, which calls on the body of water separating St. Lucia from the United State as a metaphor for the breach between the poet and all he loves, between his adult consciousness and childhood memories, his international interests and the feeling of community in his homeland. Walcott explores these themes again

in Another Life, a book-length autobiographical poem that examines the important roles of poetry, memory, and historical consciousness in bridging the distances within the postcolonial psyche. This investigation transferred to his dramatic writings in the 1970s, which address the problems of Caribbean identity against the backdrop of political and racial strife and which increasingly find solutions to these troubles in the individual. These works also display an expansion of his artistic concerns into different genres. After a comical turn in Jourmard, Walcott wrote two musicals in collaboration with Galt MacDermont: The Joker of Seville (1974), a patois adaptation of Molina’s El buladorde Sevella, and O Babylon! (1976), a portrayal of Rastafarians in Jamaica at the time of Haile Selassie’s 1966 visit and which uses reggae music as a means of exploring West Indian identity. O Babylon! also marked the end of Walcott’s association with the Trinidad Theatre Workshop and the beginning of new period of dramatic writing, highlighted by plays such as Remembrance (1977) and Pantomime (1978). The protagonist of Remembrance, Albert Perez Jordan, is a schoolmaster who lost his oldest son in the 1970 Black Power uprising and who remains distressed by a political commitment he cannot understand. Unable to connect with his family or with his own past, Jordan finds himself divided between an older generation committed to tradition and a younger one playing at revolution. Characters in the comedic Pantomine confront similar divisions, but here the issue of race comes to the fore. Reviving the Crusoe story once again, Walcott creates a play-within-a-play and recasts the roles so that Jackson, a black hotel servant, plays Crusoe and his white employer plays Friday. This reversal highlights the fraught relationship that binds black to white, master to slave, and colonizer to colonized. Far from being an irreparable situation, however, Jackson’s ability to synthesize his calypso talents with a poetic use of the English language suggests a respect for differences and a possibility for healing old wounds.

Analysis of famous works The poem, A Far Cry from Africa creates the binary of Orientalism and depicts the poet’s inner conflict, owing to his mixed origins. It focuses on the brutalities of colonization both in Africa as well as the Caribbean islands. The title itself is very significant and can be read in more than one way. A “far cry” suggests the literal and metaphorical distance between him and Africa. Thus, he looks at it from a third person’s perspective. It can also mean the cry or the shriek from the violence in Africa that the wind and Kikuyu has brought him from the distant lands of Africa. Another meaning can be the paradox that African paradise has been tampered with and is actually the sight of inhuman slaughters. The poem opens with the imagery of massive bloodshed in America, which was the result of the clash of British power and Kenyan rebellion. However, he cannot bring himself to sympathize with any side because he loves his African roots but also his English education that has enabled him to understand all these aspects of imperialism and colonization. He observes how colonization has reduced the Africans to the status of savages

that must be ‘hunted’. He then condemns the colonial ideologies of apparently rational thinking: Statistics justify and scholars seize The salients of colonial policy. The last two lines of the first stanza compare the Africans with the Jews and Walcott invokes not just the Biblical imagery but also the disturbance in the Nazi Germany during the Second World War. The second stanza examines Africa’s side and how the Africans have been bestialized. The cries of the ibises can either stand for the cry of pain or for the cry of civilization. He says that Africa has survived since the birth of mankind. He refers to the white ibis which is found in the Americas and tries to connect it with Africa as being the land of civilization since the dawn of mankind. He then mentions the drum beating tradition and says that the cultural richness of African tribes has been dismissed as irrational by the colonizers. He celebrates the hybridization of the many cultures that assimilate together to make Africa and the West Indies. He creates the binary between the colonizer and the colonized by calling them superman and gorilla respectively. He cites Spain to indicate either the tensions in the Spanish Civil War or the discoveries of the Americas by Columbus. Thus, he again connects his European and Caribbean identities. The poem ends with the poet asking the reader five different questions, pertaining to his conflicted cultural identity. He says that he is torn between the English language and the oppression of the colonizers on his homeland. He says that he cannot turn a blind eye to the slaughter that they have carried out in Africa but can also not abandon his English education. He, therefore, implies that he will always be located somewhere between the two cultures – that he is both the gorilla and the superman. He says that his historical location originates from Africa but his present revolves around his English literacy which gives him the power to subvert the colonial structure by using the colonizer’s language and criticize his own malpractices. A Far Cry from Africa is more of a pessimistic account but it weighs colonization in the scales of both the Caribbean land and Africa. It provides an objective account of both and leaves it open to the readers to interpret this friction between his cultural identities.

The poem, Names has been divided into two parts. The title signifies the abstract entity of name, which can stand for two things – nomination and domination. While the first section talks about nomination, from the perspective of the natives, the second part depicts the idea of domination through naming. The poem celebrates Walcott’s mixed ancestry as he moves back and forth between Europe and the West Indies. The poem begins with his “race”, which could either mean his ethnic identity or his race, his contest with himself to find his identity. The poem says that his race (incorporating both meanings) originated with the sea, when the European forces had not yet found his homeland.

with no nouns, and with no horizon, He talks about having “no nouns”, which can be read as him shedding any cultural identities that he could be associated with. His consciousness is a tabula rasa, devoid of any names and recognized only by the pronoun, “I”. He repeatedly mentions the horizon, which stands for the binary between Europe and the Caribbean, between the self and the Other. He says that the Caribbean lands have existed long before these binaries halved them. This repetition suggests a continual search which has no results. He has “no memory” and “no future” because his journey has transcended the barrier of time. The pronoun “I” can mean multiple things. It can stand for Identity, or the Individual consciousness or the sound of a shriek which is uttered so as to make existence felt. The sea-eagle imagery is invoked to assert that the Caribbean existence is not two-dimensional – the sea provides them the depth. The last stanza depicts the poet’s attempt to mark out an identity which the sea erases. This can be read as the sea’s negation of the identity given to him by the colonizer. Thus, the indifference arises from the enforced European ideals upon the Caribbean lands. Similar to A Far Cry from Africa, Walcott tries to give an objective account so as to depict the multi-cultural facet of the West Indies. The second section looks at the anxieties of the colonizer. Since he is overpowered by nostalgia for their homeland, he is unable to appreciate the beauty of the Caribbean islands. He cannot see beyond the “uncombed forest” and the “uncultivated grass”. The colonizer yearns for the glories and the grandeur of Versailles, Castille and Valencia and thus, his consciousness of foregrounded by the poet. Since he cannot find these glorious structures there, he tries to cope up by naming monuments in West Indies after them and thereby creating an “imaginary homeland”. Here the natives become the Other as the colonizer has to deal with his acidic and sour memories. The last three stanzas invoke the power dynamics in the colonial society. The natives become children and the colonizer takes on the role of the teacher who teaches them about their own country through a Eurocentric view. The natives, on the other hand, subvert the colonial authority by using their creole accent and tone to utter the European and English words. Thus, the power keeps on shifting. The worm from A Far Cry from Africa comes in here again who takes over the colonizer as their ruler. tell me, what do they look like? Answer, you damned little Arabs! Sir, fireflies caught in molasses. In these concluding lines, Walcott cites another imagery to denote the relationship between the colonizer and the natives. The natives, here, produce their own images and metaphors in the colonizer’s language, thereby attaining the Adept part in the process of colonization. The fireflies are the Caribbean people who are stuck in the history of colonization, or the molasses. Even though they are caught in it, they have their own light. This light might not be constant but it is their own, which frees them from the authority of the colonizer.

The Sea is History examines the poet’s sense of disillusionment with the idea of his origin. He looks for answers to his cultural and ethnic dilemmas and alludes to historical and mythological tales to find metaphors that can explain this disillusionment. He is aware of the fact that the blacks do not have any history of their own so through this poem, he tries to provide them a historical backbone. This poem also propagates the homogeneity of the Caribbean islands, and urges the natives to celebrate this multi-cultural existence which the British do not have. It also draws a demarcation between the Old Testament and the New Testament of the Bible and draws parallels between them and the history of slavery. The poem begins with the colonizer asking the natives where their grand monuments are and whether they have any glorious history of their own. Sirs, in that grey vault. The sea. The sea has locked them up. The sea is history. In the above lines, the poet calls the sea “the grey vault”, which means coffin. After this, instead of directly explaining the significance of this, he begins telling the origins of slavery in the Americas. He alludes to the hardships suffered by the slaves who were brought to the Americas in the fifteenth century. By doing so, he gives evidence of having history dating back to the Renaissance. like a light at the end of the tunnel, the lantern of a caravel, and that was Genesis. Here, he is talking about the origin of slavery that marked the Caribbean islands. He also refers to Mayflower, the first ship (or caravel) that was used by the Spanish and the Portuguese to bring the slaves from Africa to the Americas. The tunnel and light imagery used here stands for the inhuman conditions that the slaves were exposed to in their journey to America. Thus, he is condemning the colonizer for these inhuman slave practices. Similar to the Biblical imagery of Genesis, he then talks about the Exodus of Israelites from Egypt as well as the Jews. In this way, he refers to the violent history of Europe and also says that the shark (colonizer) has overshadowed the remains of their own lineage which are buried in the sea. Therefore, the sea becomes the Genesis of the natives. Similarly, he alludes to the 1692 Port Royal earthquake and the large fish swallowing Jonah, and says that the Caribbean Renaissance is resting safe in the sea. He then shifts to the New Testament and the animal imageries occur again. However, in this part, the varying animal metaphors stand for the diversity in the West Indies. As Ajanta Dutt says, through this section, Walcott is trying to provide a voice to the natives. ...in the salt chuckle of rocks… of History, really beginning In the above lines, Walcott talks about the Caribbean islands coming together, celebrating their mixed cultural identities and becoming one, unified consciousness. He urges them to write a new history together. He says that earlier the Caribbean was the sight of history writing, but now it will become history, which is dissociated from all these colonial influences.

Conclusion – Through different references and allusions, Walcott depicts the colonial power structures in the West Indies. He uses English to subvert the colonial sovereignty of the British by showing how the natives learning the European languages is a way to gradually take the upper hand. By repeatedly using the animal imagery, especially the fireflies, he investigates the origins of the Caribbean history and provides them a new identity of their own. Talking about his mixed lineage, Walcott says, “The problem is to recognize our African origins but not to romanticize them.” Thus, these poems explore the racial, colonial and cultural tensions inherent in Caribbean history and identity and by doing so, it celebrates the hybridity and cosmopolitanism of Caribbean culture.