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By S. Brouillette

Combining research with unique money owed of authors' careers and the worldwide exchange in literature, this ebook assesses how postcolonial writers reply to their very own reception and area of interest positioning, parading their unique otherness to metropolitan audiences, inside an international industry.

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Walcott is distinctly capable of a ‘real’ art only because he has the benefit and curse of seeing that any notion of a ‘true’ culture is a lie. Ironically, then, the revelation of that lie is the artist’s truth. 27 As ‘What the Twilight Says’ recounts, his early career was regionally based, having evolved within a general West Indian artistic culture. His first collection, 25 Poems, was published there in 1948–9. ’28 Early on he lived in St. Lucia, Jamaica, and Trinidad, working as a journalist for a number of small magazines, publishing his early poetry within those same pages, and working with and initiating a number of regional theatre groups.

This biblical passage on tribulation, plight, and famine is suited to the poem’s general political material: And I heard a voice in the midst of the four beasts say, A measure of wheat for a penny, and three measures of barley for a penny; and see thou hurt not the oil and the wine. (88) Taking the epigraph from the Book of the Apocalypse also foreshadows the guilt that will plague the poem’s speaker. The beasts reappear as the poem’s final lines move towards an act of retribution aimed at both the poem’s speaker and its readers.

Walcott suggests he will inhabit the role of mediator of or tour guide to the South’s suffering, but he will do so only ironically and with constant and considerable self-scrutiny. * When compiling his sociology of contemporary tourism, John Urry notes that the phenomenon of ‘post-tourism’ involves an admission, acceptance, and sometimes glorification of the lack of authenticity in tourism experiences. 52 While this process can sometimes entail a kind of ecstatic play, it can also involve a more somber detachment that results from the recognition that no The Industry of Postcoloniality 41 experience is fully authentic or meaningful, as everything everywhere yields to ‘promiscuity and aimlessness […].

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