"Any attempt to trace the many resonances that historically have been attached to the creole figure in Caribbean literature and culture will be inflected by the long and pervading presence of colonialism in the region and its attendant corollary of hierarchical social separation and difference based on perceptions of race. Indeed, the ambivalent desire and subjective misrecognition that lay at the heart of historical writing about colonialism and racism have tended to frame the issues of monstrosity and exclusion that produced the creole as part and parcel of wider colonial discourses. Thus, the shifting and increasingly unstable inscription of the creole figure echoes, in a certain sense, certain critical ambiguities of politics and temporality that color the colonial encounter and its aftermath. Specifically, in the contemporary English- and French-speaking Caribbean, the multiplicity, displacement, and creative instability that undergird creole-driven theories of postcolonial performance have supplanted this category's suspect beginnings as colonialism's model for the fearfully unnameable and unplaceable hybrid monstrosity, and now increasingly shape the substance of much of the artistic and creative work emerging from the region." --The Author
"This paper explores Wide Sargasso Sea's articulation of race and gender in the context of a debate that has been waged within feminist postcolonial studies around the representation of racial otherness." (author)
Arion explores various issues related to Caribbean culture and what he calls 'Caribbeanness,' a stage which he feels the whole region has not reached yet
This text was first published in French under the title of Tloge de la creolite by Editions Gallimard in 1989. "Neither Europeans, nor Africans, nor Asians, we proclaim ourselves Creoles. This will be for us an interior attitude-better, a vigilance, or even better, a sort of mental envelope in the middle of which our world will be built in full consciousness of the outer world. These words we are communicating to you do not stem from theory, nor do they stem from any learned principles. They are, rather, akin to testimony. They proceed from a sterile experience which we have known before committing ourselves to reactivate our creative potential, and to set in motion the expression of what we are." (the authors)
