By Emily Greenwood
Afro-Greeks examines the reception of Classics within the English-speaking Caribbean, from approximately 1920 to the start of the twenty first century. Emily Greenwood makes a speciality of the ways that Greco-Roman antiquity has been positioned to inventive use in Anglophone Caribbean literature, and relates this neighborhood classical culture to the academic context, particularly the way Classics used to be taught within the colonial institution curriculum. Discussions of Caribbean literature are inclined to think an adversarial dating among Classics, that's handled as a legacy of empire, and Caribbean literature. whereas acknowledging this imperial and colonial backstory, Greenwood argues that Caribbean writers corresponding to Kamau Brathwaite, C. L. R. James, V. S. Naipaul, and Derek Walcott have effectively appropriated Classics and tailored it to the cultural context of the Caribbean, making a special, neighborhood tradition.
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Additional info for Afro-Greeks: Dialogues between Anglophone Caribbean Literature and Classics in the Twentieth Century
60 58 See Lamming’s analysis of the signiﬁcance of The Tempest for the modern Caribbean  1992a: especially 95–117; for comment see Nixon 1987, and Hulme 2000b. 59 On Walcott and Dante, see Fumagalli 2001; on Walcott and Eliot, see Pollard 2004. On Bearden, see O’Meally 2007, and on Walcott and Bearden, see Hardwick 2007: 67–9; and Davis 2008. 61 Consequently, encounters with the New World, which is ‘new’ because unfamiliar to the Old World traveller, often had recourse to the very old world, using coordinates from classical or biblical texts to map out the new territory in the imagination (Hulme  1992: 3).
59 On Walcott and Dante, see Fumagalli 2001; on Walcott and Eliot, see Pollard 2004. On Bearden, see O’Meally 2007, and on Walcott and Bearden, see Hardwick 2007: 67–9; and Davis 2008. 61 Consequently, encounters with the New World, which is ‘new’ because unfamiliar to the Old World traveller, often had recourse to the very old world, using coordinates from classical or biblical texts to map out the new territory in the imagination (Hulme  1992: 3). In response, Caribbean engagements with Greek and Roman classics are characterized by knowing tricks with time that play on the gulf between their newness and the antiquity of Greece and Rome.
57 One of the central contentions of this book is that the study of the reception of Classics in the anglophone Caribbean needs to focus not just on the dialogue with the literatures of Greece and Rome, but also on the dialogue between Caribbean authors themselves—a conversation in which Williams learns from James, Walcott learns from Figueroa and vice versa, Brathwaite learns from Ce´saire, Naipaul learns from Walcott, Clarke learns from Lamming and Chamoiseau, and on and on. 58 However, this is arguably to give too much authority to the idea of a monolithic western canon.
Afro-Greeks: Dialogues between Anglophone Caribbean Literature and Classics in the Twentieth Century by Emily Greenwood