Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • Chapter 12 - Writing of and for a Revolution
  • from Part II - Cultural and Political Transitions
  • Edited by Ronald Cummings, Brock University, Ontario, Alison Donnell, University of East Anglia
  • Book: Caribbean Literature in Transition, 1970–2020
  • Published online: 16 December 2020
  • Print publication: 14 January 2021, pp 201-218
  • View extract

    Summary

    While the cultural memory of revolutionary movements has remained consistently significant within Caribbean literary traditions, the imaginative shaping of what constitutes revolutionary ideals and subjects has undergone meaningful transition across the decades of the late twentieth century and into the twenty-first. Literary works have continued to engage meaningfully with the Haitian Revolution of 1791, the Cuban Revolution of 1953, the Grenadian Revolution of 1979, the Rodney Riots in Jamaica in 1968, the Black Power Revolution of 1970 in Trinidad and the late 1970s cultural – and attempted political – revolution in Guyana. This essay traces three characteristic features of a range of literary works: first, a sensibility tuned to the excess of the possible over the actual; second, a commitment to narrating the punctuations of revolutionary time; and third, a move towards testimonial forms that foreground the direct voicing of previously peripheral and silenced subjects.