By Seanna Sumalee Oakley
Whereas loads of postcolonial feedback has tested how the strategies of hybridity, mestizaje, creolization, and syncretism influence African diasporic literature, Oakley employs the heuristic of the "commonplace" to recast our experience of the politics of such literature. Her research of common poetics finds that postcolonial poetic and political moods and aspirations are way more advanced than has been admitted. African Atlantic writers summon the utopian power of Romanticism, which have been laid low with Anglo-European exclusiveness and racial entitlement, and venture it as an possible, differentially universal destiny. placing poets Frankétienne (Haiti), Werewere Liking (Côte d'Ivoire), Derek Walcott (St Lucia), and Claudia Rankine (Jamaica) in discussion with Romantic poets and theorists, in addition to with the more moderen thinkers Édouard Glissant, Walter Benjamin, and Emmanuel Levinas, Oakley indicates how African Atlantic poets officially revive Romantic types, starting from the social utopian manifesto to the poète maudit, of their pursuit of a redemptive allegory of African Atlantic reports. Common Places addresses matters in African and Caribbean literary experiences, Romanticism, poetics, rhetorical concept, comparative literature, and translation concept, and extra, versions a postcolonial critique within the aesthetic-ethical and "new aestheticist" vein.
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Additional resources for Common Places: The Poetics of African Atlantic Postromantics.
Sample text
For these commonplaces, such as “the end of History”, figured into the context of Relation lead to promising ends: And these reasons, which we have wrested into an arduous passion for writing and creating, for living and fighting, today become for us so many commonplaces that we are learning to share; yet precious commonplaces: against the disorder of identitarian machines of which we are so often the prey, as in the right of blood, the purity of race, the completeness, if not coherence, of dogma.
81 The postcolonial philosopher Frantz Fanon laments the same impatience and fervent anticipation evinced by the damnés de la terre of colonized Africa, but, Hegelian-Marxist that he is, Fanon attributes these faults more to the socio-historical than to the cultural effects of colonization. , 79. Miller, French Atlantic, 69, 70. Calhoun intends the possessive sense of “peculiar” as was normal nineteenth-century usage in his 1837 “Speech on the Reception of Abolition Petitions” (John C. Calhoun, Speeches of John.
In terms of this problem, what role can persona play? Need it Commonplaces of Repetition and Redemption 31 play any role at all? In this chapter, to read Rankine’s elusive poems that make up the “toward biography” of The End of the Alphabet is to yield to the sometime overlapping, sometime discontinuous references to Jane Eyre’s “I” and “you” of Charlotte Brontë’s Jane Eyre, Antoinette’s “I” and “she” of Jean Rhys’s Wide Sargasso Sea, African American women’s blues, and the immigrant tale. Juxtaposing the concept of the differential commonplace and Deleuze and Guattari’s itineration provides a lens through which we examine the formal processes of Rankine’s impostures of the body, call and response, and repetition.