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By J. Michael Dash

Edouard Glissant is an entire and influential novelist and poet, and has lately emerged as a big theorist in Caribbean stories and postcolonial literature. during this first full-length learn of Glissant's artistic and theoretical paintings J. Michael sprint examines his poems, novels, performs and essays within the context of recent French literary hobbies and the post-negritude Caribbean scenario, supplying either an invaluable advent to, and a hard review of, Glissant's paintings to this point. sprint indicates how Glissant has centred in an extraordinary means at the Caribbean by way of the various and hybrid tradition that has been created within the area, and the way his principles on a cross-cultural politics are the shaping strength within the Francophone Caribbean "Creolite" flow.

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The latter, in order to be fulfilled, immediately conceals itself; this centre, once illuminated, shines like a star. At the same time the project, from being diffuse and soon diffused, is pulled together and fortified. ) From the outset this complex relationship between conscious intention and the surge of the unconscious, between premeditated prose and spontaneous improvisation, has a shaping force on Glissant's approach to the Caribbean. Indeed, this everchanging, creatively unstable relationship between intention and imagination can be seen as the model for investigating all areas of human experience.

Alors, forcant l'ecume, j'irai par les plages ou meurt le mot . . 31 (Then forcing my way through the surf I will journey along the beaches where the word dies . . ) These lines which bring Un champ d'tles to a close show that Glissant's work does not provide a triumphant denouement. The wintry space from which the poem emerges, with the The poetic intention 41 clumsy poet searching as it closes, indicate the extent to which this crossing is framed by failure. ' The 'crossing' evoked in Un champ d'lles takes place as if in conformity with the unity of time and place, in one revolution of the sun.

His job as editor put him at the centre of a vast field of cultural and linguistic relationships, a multinational crossroads. Je suis directement en contact avec cent cinquant-huit pays et vingtsix langues, j'apprends beaucoup sur les relations culturelles entre peuples, j'essaie de mettre ce que j'apprends au service de la collaboration culturelle entre peuples19 (I am directly in contact with 158 countries and 26 languages, I am learning a lot about cultural relations between peoples, I am trying to apply what I learn to collaboration between peoples on the cultural level) The eight years spent in Paris with UNESCO represented for Glissant a period of great personal satisfaction.

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