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 specializes in the ways that Greco-Roman antiquity has been placed to inventive use in Anglophone Caribbean literature, and relates this nearby classical culture to the academic context, particularly the best way Classics was once taught within the colonial tuition curriculum. Discussions of Caribbean literature are inclined to think an adverse dating among Classics, that's taken care of as a legacy of empire, and Caribbean literature. whereas acknowledging this imperial and colonial backstory, Greenwood argues that Caribbean writers equivalent 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 detailed, local tradition.
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Additional info for Afro-Greeks: Dialogues between Anglophone Caribbean Literature and Classics in the Twentieth Century
We arrive backwards even as we voyage forwards.
Introduction 19 authority is threatened by its inability to respond adequately to the emergence of regional canons and, consequently, to cover the ambitious topic of ‘World’ Literature. In the context of Figueroa’s afﬁnity for Horace the provincial poet and Brathwaite’s view from the Roman provinces in X/Self, I point out the irony that anglophone Caribbean writers have recalibrated the canon so that they are the natural successors of Horace, or Ovid (who are doubly off-centre, given the end of Rome’s empire), writing from the provinces and holding the cultural centre.
Finally, Chapter 5 ‘Caribbean Classics and the Postcolonial Canon’, which also serves as the conclusion to the work, suggests that uses of Classics in the anglophone Caribbean represent an important 53 54 55 James 1977: 160–74. Ibid. 183–90. Ibid. 189. 18 Introduction contribution to the study of variant cosmopolitanisms in the contemporary global academy. Focusing on the poetry of the Jamaican poet John Figueroa, who many critics have identiﬁed as an important precursor for the New World classicism in Walcott’s poetry, I explore the contradiction that his cosmopolitan vision of a Caribbean literature that networks all the region’s cultures and languages has been completely neglected by the same postcolonial canon that has celebrated Walcott.