Open Access (free)
Visions of history, visions of Britain
Stephen Howe

, while a section of the old white plantocracy remained francophone. Trinidad could have been, and nearly was, as polyglot as George Lamming’s San Cristobel. It required conscious decisions, acts of will – on the part of both colonisers and colonised – for a British-model educational system and cultural ethos to take root there. The island’s multilingual heritage obviously helped enable James’s later

in West Indian intellectuals in Britain
Open Access (free)
Janelle Joseph

community. They must be plausible, authentic and create further meaning based on the polyvocal contributions. As such, in combination with traditional ethnographic reporting, I have tried to recapture the black diaspora penchant for performing oral histories in this text with some fictionalised narratives. I follow George Lamming’s ( 1953 ) coming-of-age narrative, In the Castle of My Skin, which provides

in Sport in the Black Atlantic
Open Access (free)
The adolescent girl and the nation
Elleke Boehmer

principle achieved, the daughter figure within the framework of the postcolonial narrative that inscribes the new nation is, if not subordinate, peripheral and quiet, then virtually invisible. The pre-eminent status of national sons, and the overshadowed position of their sisters, is exemplified in postcolonial fiction from the 1950s and into the 1990s by writers as diverse as George Lamming, Sam Selvon, V. S. Naipaul, Alex La Guma, Salman Rushdie, Shashi Tharoor and Romesh Gunesekera. A nuclear family fronted by a male heir is emblematically carved onto Gikonyo’s stool, a

in Stories of women
The structures of migration in Tales from Firozsha Baag
Peter Morey

, describing what, to borrow and mangle George Lamming’s phrase, one might call the pressures of exile, are not merely about the experience of double-edged cultural translation, but also about how one narrates such experiences. In view of the structure and degree of sophistication outlined here, Mistry’s chosen epigram from one of Henry David Thoreau’s letters, ‘Not that the story need be long, but it will take a long while to make it short’, seems particularly apt. Writing of one favoured mode of arrangement for short story cycles, J. Gerald Kennedy notes that, ‘Small

in Rohinton Mistry