By Carrie Noland
Carrie Noland methods Negritude as an experimental, text-based poetic circulate constructed by way of diasporic authors of African descent during the technique of modernist print tradition. enticing basically the works of Aimé Césaire and Léon-Gontran Damas, Noland indicates how the calls for of print tradition modify the non-public voice of every writer, remodeling an empirical subjectivity right into a hybrid, textual entity that she names, after Theodor Adorno, an "aesthetic subjectivity."
This aesthetic subjectivity, transmitted through the phrases at the web page, needs to be actualized--performed, reiterated, and created anew--by each one reader, at each one social gathering of examining. Lyric writing and lyric studying accordingly attenuate the hyperlink among writer and phenomenalized voice. but the Negritude poem insists upon its connection to lived event whilst it emphasizes its published shape. mockingly, a only formalist analyzing must forget about the methods formal--and now not only thematic--elements element towards the poem's personal stipulations of emergence.
Blending archival examine at the old context of Negritude with theories of the lyric "voice," Noland argues that Negritude poems current a problem to either form-based (deconstructive) theories and identity-based theories of poetic illustration. via shut readings, she unearths that the racialization of the writer locations strain on a lyric regime of interpretation, obliging us to reconceptualize the relation of writer to textual content in poetries of the 1st individual.
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Extra info for Voices of Negritude in Modernist Print: Aesthetic Subjectivity, Diaspora, and the Lyric Regime (Modernist Latitudes)
Is it possible that Césaire understood his own eﬀorts to correspond in some way with those of the transnational writers grouped around Jolas? Is it possible that his choice of the word “verrition” was motivated—at least in part—by his adoption of the poetics Volontés promoted? Is it a mere coincidence that the only neologism in the Cahier—other than the crucial word “négritude”—appears in the ﬁnale written speciﬁcally under the tutelage of Volontés? I do not mean to imply that Césaire was simply following the mandate of his publisher.
This brings us to the second point that diﬀerentiates Ngũgĩ from the Negritude poets. Whereas Ngũgĩ learned to write in Gikuyu at an early age and a readership for books in Gikuyu (at least the Christian Bible) existed when he began writing, the 20 INTRODUCTION parallel case cannot be made for the French Caribbean. Césaire and Damas did not learn to write Creole in school. During their most fertile years, no consistent scribal form of Creole existed, and the illiteracy rate in the region was roughly 90 percent.
But it must be recalled that writers love writing, they love the orthography of words, the choice of fonts, the meaningful space of the page, and even the uncommon or unpronounceable terms to which literary texts lend a stage, and not necessarily “language,” or “French,” in general. Some writers appreciate spoken language, dialect, lyrics, and slang as much as, if not more than, the discourses of canonical literature. ) But it is clear that in the case of other writers—and Césaire is exemplary in this regard—the language of the written word is experienced as a separate, highly charged verbal phenomenon, a medium in its own right.