Ananse,Half Caste, The Carpenter's Complaint, and Black Woman

Ananse

Ananse is a trickster spider, which often pranks and even takes human shapes, which is one of the primary characters in West African and Caribbean folklore The poem has been divided into two parts. In the first part, Ananse thinks and memorizes the native culture of his country which once existed but has been lost now In the second part, Ananse weaves and recreates the lost culture by binding past stories, cultures, words, songs of Africa and thus like God, he brings dead African culture to life. In every stanza, Ananse changes its form and presents something different

In his poem "Ananse", Kamau Brathwaite has tried to challenge the canons of language set by colonialists He challenges these rules by breaking away from them He believes that the culture which had been destructed by the colonial powers can be regained only by rejecting the rules of language set by colonialists The very title of the poem "Ananse depicts this deviation The correct spelling of this word in British English is "Ananse" However, the poet deliberately chooses the word "Ananse" to show his revolt

Ananse is a frozen, inert presence staring through the "glass" and "quartz", and yet the potentiality inherent in the figure highlighted by the repetition of the word "thinking". This passive state of development is linked to a"chrvsalis" which stores leav s in anticipation of growth. Ananse, the culture-hero, is so embedded in the popular imagination that his "reincarnau the flesh of the living" at opportune moments of history isa distinct possibility. The physical actions of Ananse as Splder-man are fused with the verbal dexterity which is his chiet characteristic in folk narratives, as is the idea of geographical space with mental space in the formulation "memories trunked up in a dark attic". The "ancient histories" of vatious tribes transported en masse from Africa who have kept the Africa connection alive in language through proverbs, riddles, "conundrums". Ananse "spins" riddles which contain traces of an ancient way of life resonant with drums beating to convey messages from one village to another.

The "reincarnation" of Ananse qualities is to be found in the historical figures of Tacky and L'Ouverture whose exploits in popular slave rebellions occupy the popular imagination as much as Ananse lore. Besides them other "chieftains" also set little value on their life and the names of various places given in the poem carry mnemonic associations of other slave revolts. While history may have glamourised these, Brathwait presentation of them is in terms of the human losses suffered about in which there is no glamour. Living off the sea for sustenance the "lobster-pot crews" were the first casualitE traps war, their "nodding skulls" floating on the water, their lobster traps fishing vessels made out of coconut trees lying as daned as the "black iron bells", remnants of a colonially abandon 00Sed religion. Intrigue as practiced by men like Tacky and imposed OUverture was required tor the overthrow of colonial slaver his is equated with the spider's ability to spin webs which ancnares unsuspecting victims. The"poor who benefited most from the revolutions, are the keeper of these accounts. Their brooms cannot reach his hushed corner.

Having thought about the past of his dead culture, Ananse shifts to a corner of the ceiling where no broom can reach him. This shifting probably means shifting back to the past culture where colonialism cannot harm him or his thinking. Having shifted to the corner, he prepares to recreate the past culture which has been destroyed now. The poet compares this creation from destruction "dust, desert's rainfall of soot", to the rise of Adam on earth after his fall from Heaven, a new fall from heaven. Ananse starts weaving the past and conspires to create things Y is weaving of the past, the tradition and the culture which as dead is rising again and coming to the surface. Thus the were mere shadows, have emerged now. Thus the past culture OW, which was in the mind of Ananse, is turning into reality beliefs ituals, myths, language, thinking of past culture, which , Coming into existence. The histories, stories, ghosts, ds Come to life again. Ananse as the creator of this culture ES God who brings African identity having "black beating heart" which every African can adopt having the language of every African. Ananse is the word-breaker, ruler of colonial language, by which he becomes creator and maker of a definite identity and culture for the people of Africa. Thus we find a revolt against the domination of culture of colonialists through the use of language in the poem.

Half Caste

John Agard (1949 (now Guyana) He is an Afro-Guyanese playwright, poet and was born in 1949 in British Guiana children's writer, now living in Britain. In 2012, he was selected for the Queen's Gold Medal for Poetry. Agard grew up in George Town, British Guiana. He loved to listen cricket commentary on the radio and began making up his own, which led to a love of language. He went on to study English, French and Latin at A-level writing his first poetry when he was in sixth-form and left school in 1967. Leaving school in 1967, he taught the languages he had studied and worked in a local library. He was also a sub-editor and feature writer for the Guyana Sunday Chronicle, publishing two books while still in Guyana. He worked for the Commonwealth Institute and the BBC in London. Agard became a lecturer of Caribbean culture.

Half-caste is a derogatory term for a person who is of mixed race. The speaker begins the poem by excusing himself for being haf-caste; though it is evident fairly early on that this apology is chock-full of sárcasm. The majority of the poem is filled with the speaker responding to being called half-caste, asking himself if it being "half-caste" is like Picasso mixing his colours or the dreary English weather that is filled with cloudy skies. The speaker tells the reader that he will soon tell the "other half of his story, signifying that his mixed race by no means defines who he is as a person, there is so much more. Half-caste is composed of four stanzas of varying length although there seems to be some symmetry with these stanzas, as the first and last stanza contain only three lines, and the second and third stanzas are both fairly long.

Stanza l

The word "caste" is associated with the word "purity Ore, it is easy to assume that "half-caste" is a derogatory term for sSomeone who is in some way impure, and in this case, ans they are not of one single race. While this term was once accepted, it is certainly insulting and today woula DE considered to be racist and fuelled with ignorance and prejudice Agard employs sarcasm in his first stanza, seemingly apologizing for being of mixed race. It is evident in the stanzas following the first that he is really not apologizing at all. In fact, he is lauding the fact that he is "half-caste".

Stanza II

After the first stanza, Agard writes the rest of his poem using a Caribbean-English dialect, spelling words out phonetically Instead of using very passionate about this topic, and he feels the need to rush in order to fully defend himself as a half-caste. Agard compares being half-caste to black and white piano keys dKing a symphony and Picasso mixing reds and greens to  create his masterpieces. He demands to know what ine perbon asking him means when he says "half-caste". Agard utilizes repetition throughout his passages, constantly asking ine person To whom he is speaking to "explain yuself/ what yu mean / when yu say half-caste.." before giving his examples of what the term nai-caste" could possibly mean. Agard's second example is far longer than his explanation as to why Picasso's art may be deemed half-caste. Agard compares the English weather to being half-caste, saying the mix of sun and clouds in the sky is always present in England. His anger really shows in this example, using the word spiteful when discussing how the clouds sometimes seem not to want the sun to be visible. The last line ah rass is expressed in anger.. This phrase is a Creole term that translates to "my ass", something someone says when they are angrily dismissing another person's argument.

Stanza III

In the third stanza, the examples of half-caste cease, a ker the tone comes increasingly angry and accusatory. The spea takes an inward glance at himself, telling the reader that bea the is only"half, he can only listen with half his ear, O alf a hand when someone needs help, and dream witn ni ves only lines sincef half closed. It is difficult to separate this stanza by lines since it has several ideas strung together. Agard says he is only halt a human being who casts only half a shadow, but the other person in the poem can come back tomorrow with his whole self, his eyes, ears and minds. This poem is brimming with sarcasm. One can almost imagine the speaker spitting these words vehemently at the person who dares to assume someone of mixed race is in some way lesser.

Stanza IV

The fourth stanza is a continuation of the third with Agard telling the person to whom he is addressing that if he were to come back tomorrow, the speaker will tell him the other half of his story. Agard writes, "an I will tell yu / de other half/ of my story". These words are quite powerful. Agard is telling his reader that his race is not his full story. There is so much more in him than what one sees at first glance.

The Carpenter's Complaint

The poem "The Carpenter's Complaint" by Edward Baugh was about a Carpenter who wanted to build a coffin for his friend. However, the son of the dead man 'mawga-foot bwoy' wanted another man, Mr. Belnavis, to build his father a fancier and nicer coffin. He was very mad because he built his friend's house, but not his coffin. The carpenter described Mr. Belnavis as a big-belly crook who don't know him arse from a chisel', and who only got the job to make the coffin because he was a big- shot. We knew that he was in a bar because of 'Fix we a nex one, Miss. Fergie'. He praised his friend's ability to drink, and be able to stand up straight and walk home 'cool, cool, cool'. The carpenter would have built the coffin for free because the man was his friend. He believed that University turned the 'mawga-foot bwoy' fool and it burnt him badly.

The structure of the poem gives us a better understanding of the poem and what the carpenter is'trying to bring across his Complaint. There is a regular rhyming scheme in this poem. There are repetitions in the poem to give emphasis on how these carpenter is hurt and how he feels rejected by his friend's son after building his friend's house.

The poem "The Carpenter's Complaint" by Edward Baugh is about a carpenter who wants to build a coffin for his friend. However, the son of the dead man 'mawga-foot bwoy' wants another man, Mr. Belnavis, to build his father a fancier and nicer coffin. He is very mad because he built his friend's house, but not his cofin. The carpenter has described Mr. Belnavis as a "big-belly crook who don't know him arse from a chisel', and who only got the job to make the coffin because he is a big- shot.

The Carpenter is not complaining to one person specific. He is in a bar and is drinking, probably intoxicated and is voicing out his problems to anyone in the bar who lends an ear. He is complaining that the son of his deceased friend let another man build his coffin. We know that he is in a bar because of 'Fix we a nex' one, Miss. Fergie'. He has praised his friend's ability to drink, and be able to stand up straight and walk home 'cool, cool, cool'. The carpenter would have built the coffin for free because the man was his friend. He believes that University has turned the 'mawga-foot bwoy' fool and it has burnt him badly.

Black Woman

In her poem "Black Woman" Nancy Morejon expresses an integrationist stance, in which Spanish and African cultures fuse to make a new, Cuban identity. Much of her work and the fact that she has been successful within the Cuban regime locates her as a supporter of Cuban nationalism and the Cuban Revolution. In addition, she also voices the situation of women within her society, expressing concern for women's experience and for racial equality within the Cuban revolution. Often Black Women are protagonists in her poems, most notably in the widely anthologized Mujer Negra (Black Woman). Her work treats the grievous fact of slavery as an ancestral experience. Her work treats political themes as well as intimate, familial topics.

The Black Woman is the speaker in the poem. She can still smell the spray of the sea. The night is wintry. The enslaved African woman finds company in solitude beside the ocean. 1n Black Woman has never forgotten the large sea-bird she na seen. The clouds in the sky are like innocent witnesses. She has not forgotten her ancestral language. The Whites have he brought her where she lives. She has worked like a beast. In Black Woman has been born again. She protests strongly

The Master has bought the Black Woman in a public square She has ornamented cloth with needle work. She brings forth a son who does not have a name. The Master has died at the hands of an impeccable English lord. She begins to wander here and there. At last she has reached the land where she suffers the whippings and degradation. She walks with bare-foot in shallow water. She has got a slave barracks for a house. She sings the song of the native birds.

The Black Woman has stopped thinking about the way to Guinea forever. She works hard. She has laid the foundation for her best millenanry chant. She has built her world. She leaves for the mountains. Her real independence is the free slave fort. In contemporary Cuba there is a reference to "stockade" which clearly refers to freedom. The Black Woman comes down from the mountain, Sierra. She puts an end to capitalists, usurers and generals she has reached her land. Her people are striving to establish an identity of their own. The people are supposed o be free there. The Black Woman has a short vision of freedom. one Sees her people dancing around the trees they have planted Communism. In their songs, the thunder of the future resounds.

Source: Vasan Guide