“By writing this in rhymed iambic pentameter, Louise Bennett has sort of shoe-horned her Colonial Jamaican language into a traditional, white, almost entirely male literary form, and made it hers. It’s very impressive, and a powerful message.”
“Oh dear God what now, Andy?”
“So is it because it’s Thursday, or for some other reason that now we’re celebrating cultural appropriation instead of condemning it?”
No, I didn’t say that. I didn’t say that because you can’t. I didn’t say that because it is the “other reason” for which we were celebrating this kind of cultural appropriation. Literary analysis is frequently suffocatingly mono-directional. There are simply some analyses that are not allowed. I did say this:
“The family moved to England. They live in England. One of them got out of the house and learned to be English, and his whole family has shunned and ridiculed him for it. Haven’t we anything to say about them?”
We had nothing to say about them, except “bravo.” And so I didn’t say anything else.
Bt it’s all so obvious and so easy. Imagine, for a moment, if a white family moved from Texas to Jamaica and refused to pick up any of the dialect. Refused to sound in any way Jamaican. Refused any level of assimilation. The Republic of Friggin Texas was gonna stand tall and wave its Lone Star flag in a suburb of Kingston. And then one of their sons grew dreadlocks and opened a bar selling jerk chicken or fried conch or something, came home saying shit was all irie, mon, in his best Jamaican Patois, and then the Texas family wrote a reggae song full of “ya’ll” and “ain’t” to celebrate the fact that they kicked him out for being too black. And then Jamaicans in Jamaican colleges applauded them for it.
Small wonder I am feeling less and less capable of succeeding in there. I’m going to have to limit the depth of my interrogations if I want to finish as strongly as I started.
I have a different kind of problem with Philosophy. If I worry at all about my success in that class, it is because it is hard. Thank God for the A on my most recent paper. The one about a foundational human principle. My thesis statement went like this:
The first principle of the human person is that we bond to things that are not ourselves, and we have no meaningful existence until we do that bonding.
Not world-shaking stuff, and not necessarily what I would say to the question next week. Turned out to be fairly prescient when we began studying Sartre, who is a big fan of consciousness needing something to be conscious of. I developed it well and impressed my professor, so mission accomplished. Have an excerpt:
This is sticky, but if my theory does not eliminate god (and it does not), then it also does not eliminate permanence or ubiquity. The bonds of art with audience are downstream bonds, subject to the bonds that came before, and move beyond what we’ve already discussed, into the realm of social relevance. They are not foundational bonds. They supplement or reinforce our existence, without being responsible for it. Therefore the bonds of meaning that the arts offer to us are sharable and broadly applicable across humanity. Interpretations can be common and shared, because the found meaning is the permanent thread. The social implications of “The Lady of Shalott” do not infiltrate the world as the isolated reactions of its readers, rather as the communal discovery of moral truths. Namely that, in her case as in ours, we are meaningless as long as we remain separated and unbonded from reality. That breaking out of confinement in order to bond with Truth is a permanent expression of The Good, and worth dying for.
It’s interesting, in light of that sample, that I am struggling with wrapping up a paper analyzing the Lady of Shalott for British Literature. Literary analysis has a restriction that philosophy does not, which is that in literature it can be bad to get too philosophical. In philosophy there is no such penalty for being too literary.
Thanks for being here lately.