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Locating the Destitute: Space and Identity in Caribbean Fiction

Locating the Destitute: Space and Identity in Caribbean Fiction Comparative Literature COMPARATIVE LITERATURE / 358 reappropriation of historically expropriated spaces of colonial domination and its legacies" (81). The story ultimately serves as an example of "irreparable loss" of self and identity because the protagonist's relationship to the space remains based on a logic of ownership rather than communal use or attachment (185). In contrast to Naipaul's depiction of a failed struggle for self and autonomy based on ownership, Radovi presents three explorations of self and identity based on communal sharing: Patrick Chamoisau's Texaco (1992), Beryl Gilroy's Frangipani House (1986), and Raphaël Confiant's L'Hôtel du Bon Plaisir (2009). Radovi contrasts the limits of Mr. Biswas's quest for individual space with the communal space of the urban slum in Chapter 4, "Squatters in the Cathedral of the Written Word: Patrick Chamoiseau's Texaco." Relying on the urban spatial notion of terrain vague, Radovi reads the urban slum (Texaco) as an alternative form of space that reveals the communal struggle for space and identity. Chapter 5 offers a different perspective on self and identity in the interior space of a nursing home in "Heterotopia of Old Age in Beryl Gilroy's Frangipani House." Relying on Foucault's heterotopias of old age and captivity, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Comparative Literature Duke University Press

Locating the Destitute: Space and Identity in Caribbean Fiction

Stieber, Chelsea
Comparative Literature , Volume 68 (3) – Sep 1, 2016
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Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
0010-4124
eISSN
1945-8517
DOI
10.1215/00104124-3631629
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Abstract

Comparative Literature COMPARATIVE LITERATURE / 358 reappropriation of historically expropriated spaces of colonial domination and its legacies" (81). The story ultimately serves as an example of "irreparable loss" of self and identity because the protagonist's relationship to the space remains based on a logic of ownership rather than communal use or attachment (185). In contrast to Naipaul's depiction of a failed struggle for self and autonomy based on ownership, Radovi presents three explorations of self and identity based on communal sharing: Patrick Chamoisau's Texaco (1992), Beryl Gilroy's Frangipani House (1986), and Raphaël Confiant's L'Hôtel du Bon Plaisir (2009). Radovi contrasts the limits of Mr. Biswas's quest for individual space with the communal space of the urban slum in Chapter 4, "Squatters in the Cathedral of the Written Word: Patrick Chamoiseau's Texaco." Relying on the urban spatial notion of terrain vague, Radovi reads the urban slum (Texaco) as an alternative form of space that reveals the communal struggle for space and identity. Chapter 5 offers a different perspective on self and identity in the interior space of a nursing home in "Heterotopia of Old Age in Beryl Gilroy's Frangipani House." Relying on Foucault's heterotopias of old age and captivity,

Journal

Comparative Literature – Duke University Press

Published: Sep 1, 2016

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