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Titlebook: Afro-Caribbean Poetry and Ritual; Paul A. Griffith Book 2010 Palgrave Macmillan, a division of Nature America Inc. 2010 poetry.space.time

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Introductionand the inexhaustible recesses of the psyche of Caribbean peoples” (“Spiritual” 187). Both the oral and residually oral expressive forms initiate clear streams of thought requisite to this visionary tradition that can be traced back to slave orature, music, and dance. These were channels of heighten
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The Limboss the spirit. He sees in the dance the power associated with the trickster god Ananse in that it imitates the spider’s crawl, memorially configuring the history of the Middle Passage as metamorphosis of the slave’s body (“Music”). This mutation is consonant with the iconic activity Benjamin Ray see
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Shipwrecked in the Middle Passagen man, Crusoe, epitomizes, ambivalently, the spiritual impoverishment and potential produced by the overt and underlying contradictions in the regions history. As “castaway,” cut off from a sustaining human community, he “faces … the sea” as a vast emptiness that signifies his existential limbo. Yet
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Mythic Voiceslaims fervendy: “All human accomplishment has the same origin, identically. Imagination is a force of nature … Imagination, imagination, imagination! It converts to actual. It sustains, it alters, it redeems!” (271). Society and art, life and the imagination are represented thus as interdependent un
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Tales and Fablesnnegan notes, by forests that house dangerous animals and terrifying spirits. Since many Caribbean island topographies are virtually deforested, monkeys their largest inhabitants, the danger associated with these spaces is entirely symbolic. Synchronizing mythic time with historical time and mythic
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Book 2010o cleverly resist aggressions authored through colonialist presumptions. In an analysis of the archetypal patterns in the oral tradition - both literary and nonliterary, this impressive book gives insight into the way in which people think about the world and represent themselves in it.
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