Group Title: CARIFESTA Newspaper Clippings
Title: Haiti and the literary scene
CITATION PAGE IMAGE ZOOMABLE
Full Citation
STANDARD VIEW MARC VIEW
Permanent Link: http://ufdc.ufl.edu/CA00199735/00001
 Material Information
Title: Haiti and the literary scene
Series Title: CARIFESTA Newspaper Clippings
Physical Description: Book
Creator: Seymour, A. J.
Publisher: Sunday Graphic
Publication Date: 4/16/1972
 Subjects
Subject: Carifesta (1st : 1972 : Guyana), Festivals - Caribbean Area
Caribbean   ( lcsh )
Spatial Coverage: South America -- Guyana -- Georgetown
Caribbean
 Notes
Funding: Support for the development of the technical infrastructure and partner training provided by the United States Department of Education TICFIA program.
 Record Information
Bibliographic ID: CA00199735
Volume ID: VID00001
Source Institution: Caribbean Community (CARICOM) Secretariat
Holding Location: Caribbean Community (CARICOM) Secretariat
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: CARIFESTA I 1972

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ami of his time, de has preferr-
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e asae a sm ll eff te I esitatianpeople
misraay at A aow vree of younger
atimia ibe t tin ieltb fcme on the scen
beliaowfl pbue e the early 1950*s-ex-
wa ks a9 ipaierimea i, Oipen to the in-
, uiiiem iSiimasese of social justice,
Be ayrd tus fwimag pn aSwhia, etre or
r ancealss wasue, lbt endowed with
blliitfi- pnfi and the gift of
go hte ha as slapbllar.
f awdistle "Inoe names include Boland
oelsamiBy DSibaraean, Btene Phlocaete
Dw ]]aduar, asnd Jo1eanine Tavernier
Leaisandthesewritersbeing
p pbstL 1e- directed sewsous, joyous
Moie= ,ag nd even melancholy accent
HEa sr 1 e to a* sahe of the worcld..
dir of li0-
TIEamry E2GEcN or ORPUiM
&SrihraiM. Namee Piqrson has written
Phinimmge falblowinig on the poetry
awCtals of Ceasire:- "Orlanal -as
~ CtaaBa- saaare may be, he none-
e aBditt fseass belong to a literary
Ra *smchowii, le has adopted a
iTiw& poetPic art, be has draWn
H*aia to vvnP1an certain artistic re-
Wader to sources in a word, among
N^oS "Uns' ofw the o the past and
te 5&&L of ]Ihs time, he has preferr-
-..,ed6 to ase surrealism, not
be only as an ideologyy but as
sbwi a a literary vehicle.
sarswah There is tn this decision
thnel wuiangnes to re-edit
-hle legend of Orpheus, to
atadk & well establisbed
treastoni, to free himself of
as constraint16 to pluone
Wato its s.conelous, and to
Se a Wospn, which. wl
beIba emfihiost on6 1 e
ageo Ejal, papers li
saonsh in the eyes of
.Wspoier.







"Since, according to himn
the word alone, or 'the
words put together in his
fashion according to -a de-
terrrined rhythan, can ex-
ercise a magic power, he
has used surrealism as the
ideal teWelique to reach his
goal, a technique at once
political and literary.
"Studying Cesaire, one
must first notice the perfect
coherence between the MRar-
tiniquan, the African and
the universal man, and sec-
ondly the perfect cohesion
between this triple figure
and the work, where it is
reflected at each instant.
"Actually, the same pre-
occupations, the sane feel-
ings and the same aspira-
tions sweep like an intense
and generous breath through
all his work, from the be-
ginning of his career until


S GREAT PIONEERS

"Poety that is austere
abrupt, onmented, full a
I arcaam of cries of revolt,
Bof indignation, poetry that
is vehement, swollen with
anathlema, curses, protests,
such is the poetry.o6 Cesaire,-
"Cesaire. hiw been, wit
Slnghor a8nd Damas,. one of
the three great pioneers o6
l Negritude.' He .has -ield his
place among them, and, one
may even add, that whilq
-the personality of hMs com.
grades tends to be shadowed
'.his own seems to increase
in Africa.
"It is that in the Caril
bean isle, he meets the
"hostility of the planters
attached to their Interests,
the apathy of the masses
crushed by oppression, and,
POET AIMIE CESAIRm the opposition of the ap-
POT .A sR similated, more inconscient
now. Moreover, one than ever-
even put forward that cinc "Even his political client.
1939, they have oona begin to grow anxious at,
through in the first verioM his seeming lack of agres-
,of L"Cabers". .= siveness. The people also
"Since then, they hav grow weary of the idol
only been repeated, attained whose moral agony they
a higher tenor, condense wuld not be anriy to ee
themselves, ripened, zrowi "In Afrtica on the- other%
in strength. for the final hand, Cesaire keeps, his
task of delivery In dIagnil relevance, his :power to
and human reconciliation. n~ seduce and persuade, for
"All the same, it is worth. if his surrealism has lost i0.#
while notleing In Cesaire' brightness in the eyes omfthq
work, this constanaty rene-w young people, he yremainr
ed need, in the hours of desa the one who nourished Neg-
pair, distress or siapl ritude by his main thernm
discouragement, to return slavery, suffering, the
to Africa, to the 'earth-sea. black revolt, and the ri4L
to its traditions and mys- of the W'est.
,terles, to renew acquaaint4 FURIOU IANNER
ane with its sons, to faceR
with them the unftee g: ."In that lies a --great part
wall which encixcles.- them,-j that lie greatpart-
Whiach h enci the d ltha~ Io' his glory, in that is
naet ro i e onf t fau on of theprincipal
live island or in the lIthni sources of' his genius.
less exile of the world. "To the end, the black'
people will keep of Cesaire
the memory of a militant,
|of a leader, of an artist who-
'has, in a furious manner,
worked to awaken his con;-
patriots and his congeneric$
from their pecular torpor;
Ito make them. relive their
past greatness, to give the'r
back their lost dignity, to
inculate in them the taste
;for action, in the Caribbeanfl
in Africa, in the U.S.A., its
the reconciliation of men
inf all continents."




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