1. Professor Goffe

2. she / her

3. London + NY (Queens / Manhattan)

4. Dark Princess

5. Wrote a book on climate crisis in the Caribbean and Afro-Asian ecologies called DARK LABORATORY.

1. What was the Bwa Kayiman Ceremony? How does ceremony play a role in Bailey’s poems?

2. Who is the Goddess of the Sea? Does she have many forms? In which poems does she make an appearance?

3. Cite examples from the footer that runs along the bottom of the page in italics that form a sense of continuity across the poems. How does the voice change? Would you consider it one poem itself?

4. The formatting of “La Divina Pastora, Mother of Miracles,” shifts our orientation of the page because of the layout. Discuss how the poem itself becomes a type of alter to the Black Madonna figure across various cosmologies found in the Caribbean.

5. How does pleasure and Black vitality show up through the motif of worship in the poem “Dancing at the Shrine in Harlem?” What connection do you see between the contemporary scenes and the historic setting of the Haitian Revolution? How do the poems time travel through this connected voice of the Caribbean Sea?

Discussion questions will be posted on Padlet and Brightspace. They are not required, but recommend as a guide for your reading. 

My no-nonsense mother, mother of the rosary’s

swift reason, still believes my tongue was fluent

as tadpoles in the creek. How eager she is to forget

that in my earliest years, the horsewhip’s lisp rose from my lips 

and my cousins begged me to spit our words like season and

souse, charmed by the pink head

peering out between my teeth. I was a child of thorn

and shadow, drawn to the soil’s mysteries, peculiar as 

the driftwood’s rot. What dark-throated truths

piped into my mouth, what stinging languages

broken and blown, fed to my gorging breath.

In this concluding stanza to “Ma and the Snake,” I was impressed by Bailey’s use of vivid imagery and symbolism to explain the aftermath of an encounter she had with a snake in her youth. Initially dismissed by her mother as just a Caribbean superstition, Bailey divulges that the horsewhip’s hiss towards her in her childhood did actually have repercussions or impacts on her language and diction, both on the surface level and in a more profound sense. Through describing her mother as “no-nonsense” and as a “mother of the rosary”, she references her mother’s tendency to rely more on her religious virtues and principles, and thus alludes to her resistance to believe in a Caribbean old wives’ tale that says her daughter’s future speech will be marked by a snake’s fated determination. Later on in this stanza, Bailey admits to her cousin’s slight teasing of her lisp that did genuinely develop by making her say ‘s’ words (souse & season), which caused them to be “charmed by the pink head peering out between my teeth” - in other, more literal words, them finding her tongue-induced lisp amusing. Beyond this physical effect, Bailey uses the final line of this poem to detail the more complex effects of her meeting with the horsewhip. As I read “What dark-throated truths piped into my mouth, what stinging languages broken and blown, fed to my gorging breath,” I interpreted this to mean her interest in uncovering all of the deeper facets of what language could expose and explain in life, which perhaps would lend itself to explaining why she became a poet/writer.  

“True: there is no homeland. Just my veined feet wandering the shore, marring paradise. Regretful inconvenience I am, smudged in the eye of a tourist's camera.

Vagrant. Is what I learned to call the man with snarl of sky for a roof. And how now that word turns inward, taking root within the spleen. I am not lost or am I.

Light a white candle, says a friend, his pupils storming within mine. Neighbor it to a glass of water. Flame and water to uncover a path, to greet the ones who walked moons before. Damn near atheist on so many days, but I touch the flame to the wick and my head is light light, it's lifting. Diasporan daughter, raking the soil for a map, a glint of my mama's gold, a bone to call my own.”

Similar to the “Capture Land” by Chronixx we listened to in class about living in a stolen land surrounded by injustices . Chronixx was saying it’s not possible to forge a better life on stolen land because building on a foundation of injustice one can not reach a righteous product. He calls to be taken home. This section discusses the felling of a person who feels lost in a land not their own. And even worse they feel that they have no home yet. A person without foundation or “bone to call my own”. A vagrant or homeless vagabond who we learn throughout our life in stolen lands is a regretful or bad thing to be. And we must win in the game and be successful or we are doomed to be one. So in the poem the author strives to uncover her roots covered and obscured by centuries of oppression and survival. Using all means available even DNA to track down a real home and not just two stolen lands that she grew up knowing. Bringing herself and those who come after her closer to completion.

"            stripped of my first voice    

                                               down in the dub            cop hounds my blood    

into paranoia           a black reality            

                                                                      cycles spilled    

                 power husked   
                                                                                         emotional woman I   I

I iron                            real street               folkloric and mad  
                                                                                       tr tr trrrruuuueeee  

take a good look at the devil

                                                     peer into the dread   

men surrender to wound: drunk        calcified                                          but I   

                        fantastic                 
                                                          chasing echoes       

 nailed to system                                            free in sound

                                        I       a fact      

 

                                                             answer of my own making


 "

What is first immediately striking about this to me is the structure of the stanza, as it is designed to imitate the dub versions found on the b sides of reggae songs for soundsystem selectors. This is a perfect example of form being part of the message: the b side is a stripped-down, bare bones version of what was featured on the a side. In this same way, the second stanza of this poem is a rawer, primal look at the themes initially laid out in the first. The usage of manipulated space so characteristic of dub is also used effectively here as the gaps in the text evoke a sense of tension that our minds have to fill the blanks with. Pair this with the themes of a Black woman whose voice is stifled and who strives to break free, this retroactively gives the title a new meaning, a woman whose voice has been "dubbed".

2.        How would George Orwell and CLR James define fascism differently considering the context of World War II and European colonialism at that point in time?

3.        George Orwell writes, “A mass of Latin words falls upon the facts like soft snow, blurring the outlines and covering up all the details.” What do you think of his argument about the difference between Latin or Greek and Saxon words?

4.        What is the UN’s definition of “genocide?” How would you frame the statistics about Native genocide and the Lucayans from CLR James’ account in the prologue? “These and other requirements of the higher civilisation reduced the native population from an estimated half-a-milIion, perhaps a million. to 60,000 in 15 years.”

5.        What percentage of children born on plantations does James say died from what the disease called “the jaw-sickness”? How does this relate to his interpretation of poison as a method used by enslaved Africans?

      On another note, both C.L.R James and George Orwell’s texts were written in different times but are profoundly shaped by the World War II. James, “The Black Jacobins” was written in 1938 just before WWII broke. It uses the historical example of the Haitian Revolution to provide context of the 18^th century colonialism and brutality. He wanted to showcase how and why the slave revolt was necessary. Similarly, Orwell’s 1946 essay, “Politics and the English Language” was published in the aftermath of the war critiquing the deception he had witnessed. In particular, Orwell argued that politicians used euphemisms. These phrases corrupted the language to excuse injustice and conceal unpleasant truths. He stressed that it is an action many perfected during the war to perpetuate political oppression. Therefore, while James’s text looks back in the past to find a model for future liberation, Orwell’s critiques the political propaganda where the degradation of language was a precursor to political oppression during and after WWII.  

“Were these tortures, so well authenticated, habitual or were they merely isolated incidents, the extravagances of a few half-crazed colonists? Impossible as it is to substantiate hundreds of cases, yet all the evidence shows that these bestial practices were normal features of slave life. The torture of the whip, for instance, had ‘a thousand refinements,’ but they were regular varieties that had special names, so common were they. When the hands and arms were tied to four posts on the ground, the slave was said to undergo ‘the four post.’ If the slave was tied to a ladder, it was ‘the torture of the ladder’; if he was suspended by four limbs, it was ‘the hammock,’ etc. The pregnant woman was not spared her ‘four-post.’ A hole was dug in the earth to accommodate the unborn child. The torture of the collar was specially reserved for women who were suspected of abortion, and the collar never left their necks until they had produced a child. The blowing up of a slave had its own name - ‘to burn a little powder in the arse of a n*gger’: obviously this was no freak but a recognised practice.”

In a time, today, where any instance of political violence exerted from an oppressed class for a means of liberation or hope for an improved condition is criticized, I found this paragraph to be especially insightful in laying the exposition as to why the San Domingo Revolution (& linked rebellions) was beyond imperative. As this book goes into detail surrounding the revolutionary work of Toussaint L’Ouverture and the rebellious enslaved individuals as a whole, it was important to distinguish the absolute need for revolution in San Domingo/Haiti to occur. When you are met with the abhorrent violence that slave populations in the Americas and Caribbean were met with for a long as they did, including what was exemplified in this excerpt, sometimes the only thing that can combat that and will be appropriately felt by the oppressors/those that enacted the original violence, is responsive violence. As we will go on to read the specifics of what the Haitian Revolution entailed, I believe that C.L.R. James included this particular context to ensure that readers knew what would follow was well within justifiable reason in terms of revolutionary-backed violence.

 Another overriding theme I wanted to touch on was the thought that Africans were substandard to the point that they were referred to as “lower than dogs.” In al l the writing they would mention the ones by the names of Louverture and Mackandel as being part of the upper-class slave who rose to prominence due to extraordinary skill and possibly a little luck. While this may have been true this harkens back to me the though process behind the ‘Talented 10^’ and how society still views the occasional negro of today as being talented rather than the norm. While this prowess is why the Haitian Revolution was so successful, I feel it that given the plight of the people of the time and lack of education/opportunity, this caused more harm then good. While the sever whippings would ensue if they dared to read, I feel it undermined a bit the resourcefulness of the Haitian People.

From a Pan-African perspective, this portion sticks out to me because it highlights how much the slave trade was just as much of a tragedy for West Africa and continental West Africans as it was for their enslaved contemporaries and their descendants. This is also interesting to me, given the usage of particular language and the way it squares with more contemporary descriptions and analyses of this period in history. In particular, the usage of the word “tribe” stands out as it is currently frowned upon in African studies, but is also utilized in discourse amongst African peoples describing themselves. Furthermore, the fact that this was written during World War 2, when Haiti was in the midst of a wave of Haitian nationalism following President Vincent’s time in office. Such a sentiment would likely lead to a utopian description of African history, particularly in regards to its relationship with Haitian history.

“There are and always will be some who, ashamed of the behaviour of their ancestors, try to prove that slavery was not so bad after all, that its evils and its cruelty were the exaggerations of propagandists and not the habitual lot of the slaves. Men will say (and accept) anything in order to foster national pride or soothe a troubled conscience. Undoubtedly there were kind masters who did not indulge in these refinements of cruelty and whose slaves merely suffered over-work, under-nourishment and the whip. But the slaves in San Domingo could not replenish their number bv reproduction. After that dreaded iourney across the ocean a woman was usually sterile for two years. The life in San Domingo killed them off fast. The planters deliberately worked them to death rather than wait for children to grow up. But the professional white-washers are assisted by the writings of a few contemporary observers who described scenes of idyllic beauty. One of these is Vaublanc.”

This quote really stood out to me because up to this point James dives into the horrific realties of slavery. In chapter 1: “The Property” i have read about the transatlantic slave trade, sexual/physical violence against slaves and forced labor. This undoubtedly showed the horrors of slavery and then James transitions into offering the enslaver’s perspective. Where white washers like Vaublanc deny that slavery was that violent and inhumane. James use of the phrase “kind masters” immediately displays the contradiction in the white washers idea that there were less cruel slave owners. But how could a person who is being forcibly overworked , under-fed and physically abused not endure cruelty? They can’t, it’s inherently cruel.

James, C. L.R. “Chapter 6.” Essay. In The Black Jacobins Toussant L’ouveerture and the San Domingo Revolution, 151-152. Secker and Warburg, 1938.

James's use of literary devices, particularly through figurative language, is evident in this passage. The first is his use of repetition of "The British had no intention of abolishing savery, neither had the Spaniards." This repetition enhances how both colonial powers had no intention of freeing the slaves of San Domingo, only saying these things to deceive the slaves into doing what the powers wanted, and confusing them further about whom to trust. This is further emphasized with "playing on their fears" which depicts the manipulation the colonial powers have used. "The Machination of British and Spaniards were teaching them". This portion is an example of personification. He is giving the plots of the powers human attributes, such as teaching, as if these "machinations" can really teach political lessons. The final figurative language is a metaphor: "birds of prey feeding on the ignorance and inexperience of the great masses of the black labourers." James is comparing two unlike things, birds and colonial powers, by the way they exploit the vulnerable to sustain themselves.

“Laveaux, it is obvious from Toussaint’s replies, wrote in a similar strain. Toussaint gracefully acknowledged his commander’s graciousness. ‘I do not know how to express my thanks for all the pleasant things that you have said to me, and how happy I am to have so good a father who loves me as much as you do. Be sure that your son is your sincere friend, that he will support you until death. My army thanks you for your kind regards, and charges me to assure you of its attachment and it's submission…. ‘I embrace you with all my heart and be sure that I share with you your difficulties and your cares.’”

Chapter 6 especially emphasizes the relationship between General Laveaux and Toussaint L’Ouverture, and particularly how the influence of Laveaux on L’Ouverture generated the revolutionary and militant spirit within the latter in such a way that made him as remarkable of a leader as he was. Part of the significance of this influence was due to the deep care and affection which was expressed between the two, nearly in a familial sense. Of important note, conveyed by this passage saying Laveaux “wrote in a similar strain” to L’Ouverture, was that this endearment was something communicated mutually and crucially by both men. L’Ouverture indicated how he viewed Laveaux as a father figure to the point where he adopted Laveaux’s own troubles in conflict and the matters in which he was passionate about. This adoption would later feed into the mentality and fervor in which L’Ouverture acted behind, and develop him into such a skilled and impactful revolutionary leader.

"Can it be possible, my dear friend, that at the very moment when France triumphs over all the royalists and recognises us for her children by her beneficent decree of the g Thermidor, accords us all our rights for which we are fighting, that you should let yourself be deceived by our ancient tyrants who are only using one-half of our unhappy brothers in order to load the other with chains. For a time the Spaniards had blinded my eyes, but I did not take long to recognise their rascality. I abandoned them and have beaten them well. I returned to my country which received me with open arms and has recompensed my services.

I beg of you, my dear brother, to follow my example. If special reasons prevent you from having confidence in Generals Rigaud and Beauvais, Governor Laveaux who is a good father to all of us and in whom our mother-country has placed its confidence, should at least deserve yours. I hope that you will not refuse me, who am a black as you, and, I assure you, wish nothing more than to see you happy, you and all our brothers. As far as I am concerned I believe that our only hope for this is in serving the French Republic. It is under its flag that we are truly free and equal. That is how I see it, my dear friend, and I do not believe that I am making a mistake.“

"If it is possible that the English have succeeded in deceiving you, believe me, my dear brother, abandon them.

Unite yourself with honest republicans, and all together let us chase these royalists from our country. They are rascals who wish to burden us again with those shameful chains that we have had so much trouble to break." He begged for unity. "Remember, my dear friend, that the French Republic is one and indivisible and it is that which gives it its strength and has made it victorious over all its enemies."

The letter from TOUSSAINT shows us the reader who knows how everything ends that TOUSSAINT was sincere in his belief that France stood for liberty and freedom for all people even the formerly enslaved. He admired this about France and used his own influence to ensure that France won against its competitors, Spain and England. We as observers know that in the future France tried to enslave those who fought for France in exchange for their freedom. But as we read previously in the chapter Toussaint was a great military leader who lived with the men charged at the head of them and shared all trials and dangers with those he commanded, therefore he could not sit idly by and allow France to go against his ideas. With our protest as with his style of command, he too, would become enslaved with his men which is why his men trusted him. While TOUSSAINT misplaced his trust in France, his men did not misplace their trust in him, and he fought against France once it betrayed itself and tried to reinstate slavery on experienced soldiers.

in a country tom by revolution and war, knowing only that

they wanted to remain free, yet confused and deceived by

all parties, for them Toussaint had a deep and passionate

sympathy. "O you Africans, my brothers!" he addresses

them in a proclamation. "you who have cost me so many

fatigues, so much labour, so much worry, you whose liberty

is sealed with more than half of your own blood! How long

will I have the mortification of seeing my misled children

Fly the counsels of a father who idolizes them" Autocrat

though he was, that is the way he felt about his people.

“It is always the blacks who suffer the most," was an expression often on his lips; and one can feel his spontaneous

horror at the news of a rising provoked by the British

among the cultivators of a district in the North Province.

"You will not have much difficulty in divining whence has

come this terrible blow. Is it then possible that the labourers

will always be the plaything and the instruments of

vengeance of those monsters whom hell has loosed upon

this colony?…The blood of so many victims cries for

vengeance, and human and divine justice cannot delay to

confound the guilty.” (James 152)

Toussaint Louverture was a powerful leader. But even with that, he was still able to empathize with former slaves, and he had the ability to recognize the horrible conditions they had to deal with. I found it very interesting how he was able to take something filled with despair and turn it into something that give light for so many people and despite his authority, he still make sure to prioritize what was best for the people and what they needed most over the demands of the government. I believe that someone like this would be great in our current world.

The excerpt is from a letter written by Toussaint Louverture, which sets a powerful example of Toussaint’s political and moral convictions as expressed throughout the chapter. From the beginning, James uses different literary devices to discuss Toussaint's role in the Haitian Revolution. Therefore, from the excerpt, we can see a form of personification. First, the statement, “the English have succeeded in deceiving you,” attributes to human action. For this part, the English are treated as a collective group with a focus on deceiving others for their personal gain. Secondly, the personal salutation, “My dear brother,” sets a persuasive tone suggesting that Toussaint was directing his message to a trusted ally. Thirdly, he characterizes the different forces at play in slavery. For example, he mentions, “… rascals who wish to burden us again with those shameful chains…” to dismiss the English royalists as morally corrupt and untrustworthy. In contrast, he believes the “Honest republicans” are better than the royalists, urging the ally to rely on them. Finally, these statements reveal Toussaint’s strategic ability to navigate the complex international politics which stood against slavery.

In addition, the phrase “shameful chains” is a powerful metaphor. It represents not only the physical bondage but the profound disgrace exhibited by the oppressing system. His reference to “break” those chains emphasizes the great sacrifice of the revolution. Toussaint argued that they should fight on without losing the will to achieve justice, claiming that they should not lose the freedom they have fought so hard to secure.

As a scholar of film and media studies, this passage in particular stood out to me because it speaks to the ways in which white people frequently use media to sew division between people of color and particularly Black people. This tactic is insidious because of its psychological implications. The "logic" of the colonizer and the enslaver does not have to be consistent or make any real sense it just has to generate a sense of existential fear that makes it harder for the subject to function and easier to control. I also think it stands out because it details how much economy is tied to propaganda particularly with the usage of bribes which preys on the desperation of the masses. It is also eerily resonant in its irony as the conditions of Haiti and its new social structure would start to resemble slavery as color based hierarchy was still entrenched.

1.        Jamaica Kincaid’s A Small Place is the basis for the film Life and Debt (2001) by filmmaker Stephanie Black which critiques the role of the IMF and the World Bank on Caribbean economics and politics. How do you see debt, both material and emotional, playing a role in Jamaica Kincaid’s book considering the political climate in 1988?

2.        How and why did Jamaica Kincaid come to use this pen name?

3.        What role did the local library play for Jamaica Kincaid as a young girl in Antigua. How does this differ from an institution like the Mill Reef Club?

4.        Provide examples of green or eco-tourism. Is it possible for the tourist economy in the Caribbean to not be extractive?

5.        Kincaid describes the economic influence of Lebanese landlords and Syrians in Antigua. How does this merchant history from the Middle East impact the African Caribbean experience today across many islands?

This passage from the first of four essays about Antigua, focuses on the POV of a tourist. I find it Interesting that the voice of the narrator is both upset and rigorously analytical to the point where the narrator reads the mind of the tourist and goes deep into the history and politics of Antigua. Jamaica Kincaid uses this style to shed light on the problems that tourism and tourist mindset brings. The problem of inequality and inability of the most of the people in Abused or formally abused Countries to escape the problems caused by the current system that you and they feel but you can leave quarterly and temporary escape. The mindset that what is happening in front of you has nothing to do with you and therefore you shouldn’t ruin the vibe with your observations and questions. This passage shows that tourists can see the signs of problems in the world ignore them and expect to be made to feel welcome. This style of critique highlights the discomfort and absurdity of the situation as a whole.

The above passage is from the first essay in the book. From the beginning, Kincaid uses powerful visual details to contrast the tourist’s idealized vision with the local reality. For instance, Kincaid mentions, “a very bad road, very much in need of repair” which immediately establishes an image of a neglected road. It serves as a metaphor for the neglected nation. She also says, “the road side, a rusting, beat-up thing,” to visually summarize how Antigua is currently in a state of dysfunctionality. The book argues that the country is in disarray because of colonial neglect. In addition, Kincaid personifies the road sign, describing it as a sentient relic that bears the scars of colonial rule. It is a physical symbol of a past that still lingers today. Repetition, is also seen, when she continuously repeats the phrase, “You are on your holiday; You are a tourist.” The device highlights the author's sarcasm. She forces the reader to acknowledge that the tourist do not understand what is happening, reminding them of their moral and emotional limitations. Overall, the excerpt is a powerful piece as it explores how the country has faced inequalities and colonial decay over the years, yet outsiders seem oblivious to the situation. Kincaid forces the reader to confront these realities, instead of ignoring the problem.

Reading this reminded me of the history of colonization. The repeated use of "You see yourself" and "You must not wonder" helps bring up several things that many people aren't aware of, especially tourists who are visiting for the first time. The poor sewage system is a reflection of how the enslaved Africans were treated; they weren't even given basic needs. The mention of food going out of Antigua where it was "grown dirt-cheap" to Miami then back to Antigua relates to trade patterns during colonization. Food was exported for a low price which gave Antigua some money, but to import food back into Antigua, even if the food originally came from there, it costs a lot more than what Antigua received for exporting it in the first place. Lastly, the ocean is brought up again, similar to how it's brought up in "C.LR. Jame's The Black Jacobins" and "Desiree C. Bailey;s What Noise Against the Cane." The ocean is a symbol of the slave trade where "it would amaze even you to know the number of black slaves this ocean has swallowed up." Many enslaved Africans were thrown overboard or died on board the ships, making the ocean a symbol of all the torture and suffering these people went through during the slave trade, something that can't remain hidden.

This passage stands out to me because it speaks to both the abject cruelty of the white colonizer while also highlighting the psychological disconnect at play that allows for that cruelty. Antigua at this point is a majority Black country. For these people to go there and use it as a resort and segregate themselves from the general population already demonstrates a direct hierarchy. It then only then becomes all the more heinous when they pat themselves on the back for the so called "favors" that they do for the Black folks, gradually including them one by one in a structures that are designed to place them at the bottom of the hierarchy. I don't love Kincaid's use of the pig analogy as it is a further demonization of non-human animals that I find uncouth and unnecessary even if I understand agree with the general point that she is making here. I also think her line that questions whether they enjoyed behaving badly stands out to me because it speaks to an underlying sadism that pervades the dominant culture. To me israeli attitudes towards Palestinians amidst the ongoing genocide comes to mind.

2. When and why did the first Chinese laborers arrive in Jamaica? How was the institution of Chinese indentureship in the Caribbean different than chattel slavery?

3. Do you view you view The Pagoda as a trans novel or not? Considering that it was written in the late 1990s, discuss pronouns for the main character and how Lowe negotiates his sexual identity.

4. How do you define “passing” and “crossing” as regards the performances of gender? Lowe describes the “stench of puberty.” Discuss what shifts for the character at this age in Kwangtung.

5. The Pagoda’s title suggests the centrality of architecture and building for community and also archives. Explore the Jamaican Chinese magazine by the same name. What do you notice about how the community represents itself to itself?

This passage stands out to me because, on the face of it, it would appear to be merely a basic depiction of the male puberty experience. Still, upon closer inspection, this is the birth of what is likely Lowe's dysphoria. To me, this is apparent via the description of other people's reactions to the changes, namely his parents'. It is also apparent, given the usage of repetition in repeating Lowe's age at the time, with the description sectioned off into 3: the physical, the sociological, and the psychological changes in Lowe's life.

Powell uses personification frequently. For instance, the statement, “he crumpled the sheet and it sat tortured’, Powell uses the crumbled sheet as a tangible symbol of Lowe’s pain and shattered confusion. She uses the phrase, “Lamplit silence” as another subtle form of personification. By describing the environment as silent and “lamplit,” Powell wants the reader to visualize the setting as isolated, allowing the character to feel profound emotions. She also uses repetition to emphasize her point. Here, the phrase, “willing” emphasizes Lowe’s lack of control and effort to calm himself. In addition, the “racing heart” and “roar in his head” are powerful metaphors that convey Lowe’s severe anxiety and panic. Particularly, “roar” suggests the mental noise that disturbed Lowe, because he knew that his past and secrets were catching up, making it hard for him to maintain the disguise as a man.

The description of Lowe's complicated attraction and what can be described as a mixture of fear and excitement is enticing. There is a manner in which his internal world is portrayed that I find very dynamic, particularly when detailing his lack of agency and the way in which he basically objectifies himself. I think that repetition does a lot here to illustrate this. The refrain "who's to say" is almost meta in its address to the reader, as it forces us to question and sit with the complexities of the relationship unfolding here alongside Lowe's response. Furthermore, the maternal imagery invoked here makes the passage all the more disturbing.

             For example, through the use of Juxtaposition, Powell writes how Lowe has plans for this newspaper to capture the “obituary section” and still announce “weddings and births.” The difference the between the two emphasizes that the newspaper has only one purpose and that is to document the Chinese community’s existence. It will capture the full cycle of life, and that includes birth, growth, life, and even death. However, Powell displays the threat facing such an existence using a powerful metaphor and imagery. In particular, in the statement “those murdered in cold blood by the warmongering people,” the term warmongering people functions as a metaphor for the hostile individuals. Powell, explores the idea that these anti-Chinese people commit arson and murder against Lowe’s community, further perpetuating violence stemming from racism and fear of cultural difference. In addition, “shops they looted and burned down” creates a visual imagery of the violence and destruction. It differs with Lowe’s dream of people, “opening up new businesses” highlighting the continuous struggle between ruin and creation.

Moreover, “the title of one of his father’s short stories. The Pagoda” acts as an allusion of Lowe’s past and his familial heritage giving the name a much deeper meaning.  By naming the club, “The Pagoda” Lowe connects his future dream to his roots building that cultural legacy. Lastly,  this name functions as the central symbolism, representing cultural preservation, community, resilience, and identity in a world where there is no togetherness.    

From this excerpt we see one of the reasons why the main character always refers to himself as he, from a very young age the father of the main character instilled in her ideas of how to act and her years of observation as she played her role as a Man she developed a deep disdain for herself and women in general, but also and deep admiration for women. Throughout the book, the main character voices herself to be a man because even in her own thoughts, she feels she’s unworthy of being a woman and simultaneously distances herself from who she would be if she was a woman.

This paragraph describes Kingston, the capital of Jamaica, as the heart of the ghetto, and a place of poverty and ongoing violence. We see this same description shown to us visually in episode 1 of Get Millie Black which happens to take place in Kingston. There are certain groups of people such as the ones at local bars who've established their own "gang," and also those who contribute to the violence there, such as the group of men who attacked Hibiscus and members from the queer community. The society of Kingston is depicted as divided, where queer people are forced to live in the Gully for safety, a place that suffers from poverty and is essentially an abandoned sewage channel. The Waterhouse described in this paragraph of Dub is like the Gully in Get Millie Black, an area shaped by violence, threats, and neglect.

“…On a later visit, however, I was met outside by a young boy returning home from school, who lived in the house with his family. "You a tourist!" he asked me as I raised my camera to take a photo of the famous carved door that still stands at the studio's entrance. "Not exactly," I told him, "I'm writing a book about King Tubby." "He died" was the boy's simple reply.

In a way, that simple sentence became a recurrent theme during my trips to Kingston. The challenges and occasional surreality of researching a music that had reached its social, commercial, and stylistic apogee more than two decades earlier was compounded by the fact that many of its most important practitioners had since perished in the violent climate of King-ston. I had the impression that I was sometimes researching in a ghost town, despite the profusion of life - including musical life— at every turn.

Ironically, this impression was reinforced by the reverberating sound of the dub music I listened to following my daily travels around the city.” I find this to be a reminder that the music of Jamaica came from an era when a persons art was deeply political and influenced by political violence. Creating music was rebellion revolutionary and could get you killed. It had a message and meaning that would voice the truth of problems that people suffered. And it could and would be cracked down on violently. It makes me wonder if the music that was more dancehall was made by artists who had revolutionary ideas but were concerned for the safety of themselves and their families so they instead tried to mold their music to just make money and avoid violent intervention into their lives.

“In dub, silence and sound are placed in dialogue. What was once background becomes foreground, and what was once the center disappears. The mix is no longer a container for a song; it becomes a landscape of echo, space, and eruption.”

In chapter 4 of Dub: Soundscapes and Shattered Songs in Jamaican Reggae, Michael Veal states, “In dub, silence and sound are placed in dialogue. What was once background becomes foreground, and what was once the center disappears. The mix is no longer a container for a song; it becomes a landscape of echo, space, and eruption.” Veal encapsulates how dub transforms music making it a fluid, spatial experience. Veal describes silence and sound as being “in dialogue”. He states that silence or absence of sound in dub is not emptiness but instead a creative power. The gaps and echoes define meaning. When  Veal writes that “the background becomes foreground,” he identifies the way dub engineers like King Tubby and Lee “Scratch” Perry have revolutionarily reversed musical hierarchies, by sending bass and rhythm to the front while fading the singer’s voice into echos and/or reverb. This reversal demonstrates a broader cultural act of resistance where dub challenges and undermines the structure of Western pop that place the emphasis on the individual. Instead, dub celebrates collective or shared rhythm and the art of experimentation. Lastly, Veal’s description of the mix as a “landscape of echo, space, and eruption” speaks to and reminds us of the geography of the Caribbean as well as the creativity of postcolonial Jamaica. Veal shows that dub is more than a remixing technique through this metaphor, Dub is a revolutionary reinvention of sound itself as an expressive and spatial art form. 

Wallace recontextualizes what "drug trafficking" is to be something other than that. Ganja isn't seen as criminal to Rastafarians. It is greater than something illicit. It's medicinal, spiritual, and holds cultural significance. It's not just destructive or recreational. By calling it "Ganja Business", he restructures it from drug trafficking to an economic context, rather than being a part of a criminal enterprise. "We send those so people in America could smoke the good ganja, not just for money alone." This is tied to a sense of generosity towards the people abroad, so that they can have a quality product from Jamaica.

These words are the lyrics to the song, "Gun Disease" by Cutty Ranks, an example of how violence was incorporated into dancehall lyrics. Songs like these weren't promoting violence, they were more of warning about the current economic status in Kingston, Jamaica. Relating to the poverty that the youth face, it describes how the youth may resort to violence for economic survival. We usually associate the word "gun" with violence, but in this case it is used to represent the difficulties of survival, and the limited options the youth have due to their living conditions.

The opening phrase focused on highlighting the cultural tensions present in post-slavery Jamaica. By quoting Stewart, an observer from 1823, the passage foregrounds how music became a site where racial hierarchy and social aspiration were in play. Stewart’s language personifies “European Music,” attributing it to superiority and refinement. The phrase also serves as a symbol of social aspiration and power. He continues to label the music of the formerly enslaved people as “rude”. Moreover, the phrase, “creole negroes” can be read metaphorically, as Stewart preferred European music over their music. He argued that they imitated European dances, which served as symbols of social mobility. According to him, they created music that made them superior to what they were, former enslaved people. Unfortunately, Stewart’s word choice exposes his discrimination, reflecting just how much the colonial period used classism and power to differentiate people. Ultimately, the passage not only documents musical preference but also illustrates the complex negotiations of identity, power, and belonging that shaped what dancehall is today.  

2.     Choose one song featured in the film and analyze how it deepens the meaning of the scene it accompanies. How does the soundtrack function not just as background music but as social commentary on Jamaica in the 1970s?

3.     The film portrays Ivan becoming a folk hero through media circulation. How does the movie portray the relationship between violence and celebrity? What visual cues or editing choices highlight the spectacle of his rise?

4.     Pick a specific moment when the camera lingers on Kingston’s streets, markets, or communities. How does this sequence reveal the social, economic, or political realities shaping the characters’ lives? Why couldn’t the story be told the same way without these details?

5.     Consider the scenes involving the church and the pastor. How does the film critique institutional authority through these interactions? Point to a moment when the pastor’s behavior or dialogue reveals larger systemic power dynamics at play.

My sympathy for Ivan’s shifted once he stabbed the mechanic for cheating him of his wages for fixing the bicycle. The framing of the scene was a close-up, showcasing how Ivan’s anger erupted making the it raw and unpredictable. Also, there was no music playing in the background. The silence, however was too loud. Not only does it make the viewer focus on Ivan’s and the Mechanic’s actions, it marks the exact moment when Ivan changed. He crossed from being an exploited victim to a violent man, embracing the rude boy persona, who adopts violence as a moment as a means of survival.

2. The one song that captured my attention was “The Harder They Come,” especially the studio recording scene. Although it functions as the film’s theme song, Ivan transforms it into an emotional declaration. In that moment, the camera lingers on him and the band highlighting their fierce determination. In addition, the song is an explicit manifesto because its lyrics directly articulate the reality faced by the marginalized communities in Kingston. Ivan sings lines about oppression, “the oppressors are trying to track me down, they are trying to drive me underground.” The lyrics also reveal that he feels targeted by systems that want to silence him. The tone in his voice reframes his performance as a protest and a declaration of resistance, not just a recording session. Ultimately, the soundtrack serves as social commentary, highlighting how systemic injustices shape Ivan’s identity.