emergence of British Guiana’s first national poet, Egbert Martin, best known to his readers as ‘Leo’. Throughout the 1880s, before his death in 1890, Martin published two collections of poetry, a book of short stories, and numerous uncollected works in every major periodical in British Guiana. The Guiana Herald claimed he was ‘far and away the first WestIndian poet’. 23 About this characterisation A. J. Seymour writes, ‘I presume the writer means first in quality’, although, given what I have suggested above, the description does double duty, not only glorifying
British artists, for
whom performance poetry has been an important (although only one)
mode in the 1980s and 1990s. But the point might also be made here that
of the sixty or so black British poets writing, recording or performing in
Britain, only a handful, whether writing for the page or for the stage, are
brought to the attention of students of literature or discussed in critical
essays. Moreover, African and WestIndian British poets generally enjoy
a greater visibility than Asian British poets, despite notable exceptions
such as Debjani Chatterjee.
Renewed focus on
Anonymous, A Reply to Captain Marryat’s Illiberal and Incorrect Statements
Relative to the Coloured West Indies, as Published in his Work, Entitled, ‘A
Diary in America’, London, E. Justins & Sons, 1840.
See Anonymous, A Reply to Captain Marryat, p. 3. The claim is made by a
ﬁgure signed ‘A Coloured WestIndian’. For details of Frederick Marryat’s life
see David Hannay, Life of Frederick Marryat, London, Walter Scott, New York
and Toronto, W.G. Gage and Co., 1889, and Florence Marryat, Life and Letters
of Captain Marryat (2 volumes), London, Richard
Ethnicity and popular music in British cultural studies
report that had made multiple references to Duignan’s Irishness (Colling 1973; Daily Mail 1973). (His accomplices were Paul Storey,
who had a WestIndian father and white English mother, and Mustafa
Faut, who was Turkish-Cypriot.) Here, the authors emphasise that this
news report ‘picked up the familiar themes of race and crime’, quoting
the paper’s assertion that ‘[all] the sentenced youths are either coloured or
immigrants’ (Hall et al. 1978: 102, my emphasis). But they overlook the
report’s emphasis on Duignan’s Irishness, and its distinction between
Johanna Gondouin, Suruchi Thapar-Björkert, and Ingrid Ryberg
College, Dublin (5 February).
Chavkin, W. and J. M. Maher (eds) (2010). The Globalization of Motherhood:
Deconstructions and Reconstructions of Biology and Care. New York: Routledge.
Cohen, L. (2005). ‘Operability, bioavailability and exception’, in Aihwa Ong and
Stephen J. Collier (eds), Global Assemblages: Technology, Politics and Ethics as
Anthropological Problems. London: Blackwell Publishing, pp. 79–90.
Colen, S. (1995). ‘ “Like a mother to them”: Stratified reproduction and WestIndian
childcare workers and employers in New York’, in F. D. Ginsburg and R. Rapp
and merchants who relied on the labour of enslaved Africans for their profits. The initiator of the WestIndian Docks scheme was Robert Milligan, a West Indies merchant and owner of a plantation in Jamaica, and as Melissa Bennett and Kristy Warren note, some of the ships that left and arrived at the West India Docks shipped enslaved Africans to the Caribbean before loading their hold with plantation products for London. 12 The Caribbean context of the West India Docks saw people of colour designated as property rather than the possessors of property, and so the
The male leader’s autobiography and the syntax of postcolonial nationalism
brotherhood, and universal happiness’.33 The ideological
patriliny, or male line of nationalist inﬂuence, is to be repeated upon the future.
Expanding a very similar, indeed form-giving network, Nkrumah in his
Autobiography notes that he learned politics and African history from meeting
people like Dr Aggrey and also Azikiwe, and, later, the WestIndian radicals C.
L. R. James and George Padmore.34
The constructedness of these accounts of inﬂuence may not be immediately
apparent in that the writers are in many cases presumably describing actual
meetings or contacts at a
Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction
England over Mr Vincent's plantation in the West Indies, as underlined by Edgeworth's original title: ‘Abroad and at home’.
Like Belinda, Roche's Delacour eventually chooses ‘home’ in Britain over military escapades ‘abroad’, settling with Elizabeth in Scotland after being named the heir apparent to his aunt's rich estates. While Edgeworth's equivalent travelling man, Mr Vincent is, as Connolly writes, ‘tainted by his association with WestIndian plantation slavery’, it is precisely Delacour's exposure to Jamaican society that enables him to cleanse