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This article discusses Jamaica Kincaid's A Small Place, a work of creative non-fiction, and Michelle Cliff's No Telephone to Heaven, a semi-autobiographical novel, as texts which offer a peripheral perspective of global modernity - one informed by the poverty, oppression and colonial history underwriting the development of commercial tourism in the Caribbean-to the dominant narrative produced by the tourism industry. It argues that this perspectival conflict emerges from, and feeds into, what Henri Lefebvre notes is a struggle for (and against) the transformation of the "concrete" space of everyday lived experience into an "abstract space", a homogenous, commodified, and ahistorical space produced to facilitate the accumulation of wealth. By pointing to overlapping and discrepant spatial practices, this article contends that Kincaid and Cliff disrupt the tourism industry's construction of Antigua and Jamaica as locations isolated from historical and social processes.

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"I guess that's another place they've ruined for us": A spatial struggle against the development of commercial tourism in Jamaica Kincaid's A Small Place and Michelle Cliff's No Telephone to Heaven

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(2017). "I guess that's another place they've ruined for us": A spatial struggle against the development of commercial tourism in Jamaica Kincaid's A Small Place and Michelle Cliff's No Telephone to Heaven. Journal of Postcolonial Writing: Vol. 53, Special Focus: Postcolonial Spatialities, pp. 659-672.

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Chris Routzong

"You see a beautiful boy skimming the water, godlike... you see an incredible unattractive, fat, pastry-like-fleshed woman..." (Pg 12)

This piece shows a touristic point of view when the woman and the boy are compared. I believe the boy from Antigua, as one of the identifiers that the woman had was "pastry-like-flesh." That description implies that the woman is white, and therefore different from the boy and the island as a whole. The woman is described as ugly, which is something the people of Antigua would think, because the tourists come in and ruin their home and land.

https://www.tandfoline.com/doi/abs/10.1080/17449855.2017.1387870

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Megan Ruiz, Vanessa Baptista, Brittani Garrison

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Megan Ruiz, Vanessa Baptista, Brittani Garrison

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"No motherland, no fatherland, no gods, no mounds of earth for Holy ground, no excess of love which might lead to the things that an excess of love...brings." p. 31

Key Terms: repetition of “no” and “excess of love”, holy motif, “land” and “earth”, repetition of "see" in passage right before this one - idea of sight

Relevant source: https://www.sciencedirect.com/science/article/pii/S0160738310001052

Argument: When discussing her feelings on North American’s perception of the English, Kincaid points out how her perspective differs from the many around her. For example, our quote begins with how she sees something different from a “frumpy wrinkled up person.” Instead she acknowledges that she sees “millions of people of whom I (she) is just one” (33). Through the use of repetition, motif, and pathos Kincaid argues that people are much more than how they may appear on the surface.

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"In this mansion lives a woman sophisticated people in Antigua call Evita. She is a notorious woman. She's young and beautiful..."

Key terms:
EVITA
SOPHISTICATED
NOTORIOUS

By calling this woman Evita, Kincaid alludes to the reputation of former Argentinian first lady Eva Peron. This tells us that the culture of Antiguan society is in some way comparable to Argentina in the 1940s, which was notoriously riddled with government corruption, classism, and an ironic public reverence for the perpetrators of this corruption. This historical allusion was included to comment on the setting, introducing the themes of poverty and lopsided class systems.

Savigliano, Marta E. “Evita: The Globalization of a National Myth.” Latin American Perspectives, vol. 24, no. 6, 1997, pp. 156–172. JSTOR, www.jstor.org/stable/2634311.

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"A Small Place" is a metaphor for the way that Americans and Europeans treat and view Antigua. According to Jamaica Kincaid, with out realizing it, Americans and Europeans treat Antigua and the people of Antigua with little respect when they visit. Just like how you can make a person feel small when you don't treat them with respect, I think that Americans and Europeans make Jamaica Kincaid feel small about Antigua. Jamaica Kincaid also grew up in poverty therefore she could have grown up feeling "small" and over looked.

http://eds.b.ebscohost.com/eds/detail/detail?vid=1&sid=99260eef-1f2e-4187-89b7-19b5ed777916%40pdc-v-sessmgr02&bdata=JnNpdGU9ZWRzLWxpdmUmc2NvcGU9c2l0ZQ%3d%3d#AN=fsu.020812061&db=cat05720a

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key terms: wonder, lavatory, you must not
quote: "You must not wonder what exactly happened to the contents of your lavatory when you flushed it. You must not wonder where your bathwater went when you pulled out the stopper."
argument: this section is attacking the tourist, and how they take for granted the luxuries that they get to experience on their vacation, while the locals do not get this same treatment in their daily lives. She points out the sewage system in particular, as a reminder to the tourist that their experience as a tourist in Antigua and the experience of the daily lives of the people who live there are I stark contrast to one another. She repeats certain phrases such as "wonder" and "you must not" in order to emphasize this.
Sources: https://humanities.wisc.edu/assets/misc/A-Small-Place-in-Wisconsin-Reading-Guide.pdf

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"That the native does not like the tourist is not hard to explain. For every native of every place is a potential tourist and every tourist is a native somewhere" p. 18
- In this passage, Kincaid employs the literary device of repetition to emphasize the binary she creates in her text between native and local. She sticks to the identifiers "native" and "local" repeating each multiple times rather than using synonyms to enhance the opposition between the two parties, which builds on the central theme of the story that centers on the intrusion of the tourist and the ways in which it's destroyed and exploited local culture. The rest of the passage goes on to repeat how though we all are natives of somewhere and have the potential to be annoying tourists of somewhere, most do not have this chance. ("They are too poor to go anywhere.") We feel that this is an excellent way to showcase privilege; though we all by nature should be able to live both sides of the coin, most natives of the world do not have the access to do that.

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On Methodology and (Post)Colonialism in Tourism Promotional Language: Articles, Books, Journals and more

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"So when the natives see you, the tourist, they envy you, they envy your ability to leave your own banality and boredom"

Key Terms: NATIVES, ENVY, ABILITY, BANALITY

Kincaid focuses on the ability of individuals in a higher class. Through her use of the term “banality”, Kincaid showcases the privilege that allows wealthy tourists to enjoy the luxurious parts of a location that the natives are unable to enjoy because they cannot afford to. In this specific quote, Kincaid argues that the envy of natives comes from their inability to escape the ordinary parts of their lives, while tourists are able to enjoy the extraordinary amenities of the native’s countries.

Sources:
https://aeon.co/ideas/what-did-hannah-arendt-really-mean-by-the-banality-of-evil