By Stanka Radović
While postcolonial discourse within the Caribbean has drawn awareness to colonialism’s effect on area and spatial hierarchy, Stanka Radović asks either how traditional humans as "users" of area were excluded from lively and self sustaining participation in shaping their day-by-day spatial fact and the way they problem this exclusion. In a comparative interdisciplinary studying of anglophone and francophone Caribbean literature and modern spatial conception, she specializes in the home as a literary determine and the ways in which fiction and acts of storytelling withstand the oppressive hierarchies of colonial and neocolonial domination. the writer engages with the theories of Henri Lefebvre, Michel Foucault, and modern severe geographers, as well as chosen fiction through V. S. Naipaul, Patrick Chamoiseau, Beryl Gilroy, and Rafaël Confiant, to envision the novelists’ building of narrative "houses" to reclaim not just genuine or imaginary locations but additionally the very stipulations of self-representation.
Radović eventually argues for the facility of literary mind's eye to contest the constraints of geopolitical barriers via emphasizing area and position as primary to our figuring out of social and political id. The actual areas defined in those texts crystallize the protagonists’ ambiguous and intricate dating to the hot global. area is, then, because the writer exhibits, either a political truth and a strong metaphor whose imaginary strength always demanding situations its fabric limitations.
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Additional info for Locating the Destitute: Space and Identity in Caribbean Fiction
Everyone keeps telling her how lucky she is to be placed in the retirement home called Frangipani House, yet she experiences the place as a prison. For Mama King, as for Mr. Biswas, what differentiates freedom from imprisonment lies above all in her ability to choose or change her place of “residence”—metaphorically and literally. In order to emphasize the inherent ambiguity of the house as a literary figure—offered here as an ideal shelter and a prison—I rely in this chapter on Foucault’s discussion of heterotopias, those extraordinary spaces that serve to “suspend, neutralize or reverse the set of relations that are designated, reflected or represented by them” (“DS,” 178).
The Caribbean has always been contested space, historically fought over and swapped among various colonial powers while conceptually cast as either the abyss of the slave plantation or the garden of worldly paradise. Engaging with various discursive representations of this ambiguity of Caribbean space, I address in this chapter the polarized visions of Caribbean postcoloniality between brutal colonial facts and powerful images of their contestation. These gestures of creative resistance, often formulated through spatial metaphors, offer deliberately provisional “third” solutions against perceived historical binaries.
The question remains, however, and nags us from under the shimmering surface of the Caribbean metaphor: When speaking of centuries of exploitation and extraction of resources and capital, of the contemporary renewal of that exploitation under the guise of global capitalism, of poverty and deprivation that all Third World countries face (and many of them are in the Caribbean as well), can the image of a man who is “fucked but happy” postpone the problem of global and historically rooted inequality or resolve it?