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This chapter focuses on the literature of Caribbean women who love women somewhere between the silenced and the loud-spoken, between the invisible and the high-profile: by offering a close reading of two incandescent, almost-forgotten examples of early twentieth-century Caribbean poetry. The first is an anonymous song composed by working-class Creole women in Suriname. The second is another poem written to be set to music but never performed. In working-class Paramaribo, Creole women in relationships with women engaged in ritual performances that publicized their desires. These performances included lavish birthday parties lovers threw for each other, with songs, dances, and staged fights. Haitian-born poet Ida Faubert, who, unlike the mati, seemed the kind of elite woman writer poised to enter literary history. Faubert was redefining herself as a newly independent woman at a time when female same-sex relationships were emerging as an increasingly visible option to compulsory heterosexuality in Paris.
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