Creole Identity in the French Caribbean Novel by H. ADLAI MURDOCH

By H. ADLAI MURDOCH

Adlai Murdoch bargains a close rereading of 5 significant modern French Caribbean writers--Glissant, Cond?, Maximin, Dracius-Pinalie, and Chamoiseau. Emphasizing the function of narrative in fashioning the cultural and political doubleness of Caribbean Creole identification, Murdoch exhibits how those authors actively rewrite their very own colonially pushed historical past.

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Glissant will again make use of parentheses in the text, at a more intriguing moment and on a much more significant scale, but the bracketing of this fragment reinforces the sense of marginality raised by these discursive positions, and questions the very structures of separation recuperated by the divisions implicit within a colonial discourse. The creolization that is at work in Glissant’s narrative is one that operates simultaneously on several levels. Since his goal is the re-presentation of the conflictual forces that have split both the colonial subject and its cultural memory, he accomplishes this by problematizing both the content and the form of the narrative framework.

That was the essential thing. . (Before a dumbfounded Thaël stands Pablo. He had known from ever since that Thaël would accept. . He was calm, gentle, in command of the situation)” (49–50/ 56–57). By re-presenting Thaël’s pained rationalization of his acquiescence to the murder in FID, the narrative conveys both his sense of internal division and his simultaneous distance from the rest of the activists with whom he has thrown La Lézarde / 35 in his lot. This use of free indirect discourse, underlined by the presence of parentheses and the stark contrast of Pablo’s demeanor, signifies the fragmentation that is already ingrained in this liminal community, the uneven perspectives and positions at work in the society whose axes are symbolized by Mathieu, Thaël, and Garin.

Before a dumbfounded Thaël stands Pablo. He had known from ever since that Thaël would accept. . He was calm, gentle, in command of the situation)” (49–50/ 56–57). By re-presenting Thaël’s pained rationalization of his acquiescence to the murder in FID, the narrative conveys both his sense of internal division and his simultaneous distance from the rest of the activists with whom he has thrown La Lézarde / 35 in his lot. This use of free indirect discourse, underlined by the presence of parentheses and the stark contrast of Pablo’s demeanor, signifies the fragmentation that is already ingrained in this liminal community, the uneven perspectives and positions at work in the society whose axes are symbolized by Mathieu, Thaël, and Garin.

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