Postcolonial Writers in the Global Literary Marketplace by S. Brouillette

By S. Brouillette

Combining research with specified debts of authors' careers and the worldwide alternate in literature, this ebook assesses how postcolonial writers reply to their very own reception and area of interest positioning, parading their unique otherness to metropolitan audiences, inside a world industry.

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They make ‘culture’ something static, condemning the islands to artistic and material poverty. They need the poor to remain poor (since materialism and individualism are imposed colonial ideals), but meanwhile, ‘their wives were white, their children brown, their jobs inviolate’ (35). In sum, the idea of a unified authentic ‘culture’ – made up most notably by folk arts or performance – is a fiction the state constructs in collusion with commercial interests in order to make money, but also, it seems, to control the possible political implications of a truer art.

They need the poor to remain poor (since materialism and individualism are imposed colonial ideals), but meanwhile, ‘their wives were white, their children brown, their jobs inviolate’ (35). In sum, the idea of a unified authentic ‘culture’ – made up most notably by folk arts or performance – is a fiction the state constructs in collusion with commercial interests in order to make money, but also, it seems, to control the possible political implications of a truer art. In turn, those intellectuals who ingenuously refer to an authentic ‘folk’ culture are in this way aligned with tourism and the state: each group invests in the idea of ‘the people’ because it is economically or politically expedient.

27 As ‘What the Twilight Says’ recounts, his early career was regionally based, having evolved within a general West Indian artistic culture. His first collection, 25 Poems, was published there in 1948–9. ’28 Early on he lived in St. Lucia, Jamaica, and Trinidad, working as a journalist for a number of small magazines, publishing his early poetry within those same pages, and working with and initiating a number of regional theatre groups. However, though the theatre did provide an important social network, at that time there was no paying West Indian market for Walcott’s literary work.

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