By Odile Ferly (auth.)
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Ma terre, il la prend dans ses mains et la jette aux alizés” (8: the only land that he works, ploughs, hoes, and turns over. A brown, light soil that he sows, every day of the Lord. The harvest is not his concern; my land feeds him so well that he never goes hungry. My soil, he takes it in his hands and throws it to the winds). Here sarcasm replaces the poetry expected from such metaphors. Her exploitation is evident both in Maxime’s irresponsibility toward the possible outcome of their intercourse and in his careless treatment.
Patrice J. ” He argues in relation to Warner-Vieyra’s Juletane and 28 O A Poetics of Relation “Sidonie” that “[b]y making sterility a significant element in the silencing of the protagonists—their voices as well as their bodies become muted—WarnerVieyra explores the implications of societal injunctions for women to reproduce their biological rather than their imaginative selves” (“Inscriptions of Silence and Violence in the Antillean Text” 700). Despite the plight motherhood often becomes in L’espérance-macadam, Pineau does not go as far as suggesting that it stifles female creativity: if anything, Rosette’s is stimulated by her relationship with her daughter, for whom she invents stories.
In Luis Rafael Sánchez’s La guaracha del Macho Camacho, for instance, the black doña Chon’s common sense and moral strength are set against the promiscuity and venality of the lighter-skinned La China, whose retarded son dies tragically when left to his own devices in the playground. Through the literary trope of motherhood, the woman has come to symbolize the Caribbean nation. Because her phenotype suggests little association with the white world, the black woman has often been hailed as a paragon of integrity and authenticity: she embodies the African cultural legacy to the Caribbean.
A Poetics of Relation: Caribbean Women Writing at the Millennium by Odile Ferly (auth.)