By Emily Greenwood
Afro-Greeks examines the reception of Classics within the English-speaking Caribbean, from approximately 1920 to the start of the twenty first century. Emily Greenwood makes a speciality of the ways that Greco-Roman antiquity has been positioned to artistic use in Anglophone Caribbean literature, and relates this local classical culture to the academic context, in particular the best way Classics used to be taught within the colonial tuition curriculum. Discussions of Caribbean literature are inclined to imagine an adversarial dating among Classics, that's handled as a legacy of empire, and Caribbean literature. whereas acknowledging this imperial and colonial backstory, Greenwood argues that Caribbean writers corresponding to Kamau Brathwaite, C. L. R. James, V. S. Naipaul, and Derek Walcott have effectively appropriated Classics and tailored it to the cultural context of the Caribbean, making a exact, local tradition.
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Additional info for Afro-Greeks: Dialogues between Anglophone Caribbean Literature and Classics in the Twentieth Century
34 Fanon  1990: 39. 35 See Hartog  2001, especially 3–39, with the comments of Dougherty 2001: 5–7. In his anthropological travel account of his travels amongst remote Brazilian tribes, Claude Le´vi-Strauss also adopts an Odyssean authorial persona. Echoing the description of the Homeric Odysseus as the man who ‘saw the cities of many men and came to know their minds’ (Odyssey 1. 3), Le´vi-Strauss comes out with phrases such as ‘I had seen something of the world’ (33) and ‘being sufﬁciently experienced to know’ (Le´vi-Strauss  1976: 33 and 35, respectively).
In addition, Fermor’s journey is punctuated by Odyssean staging posts, such as the hedonistic sojourn with Monsieur de Jaham in the foothills of Mount Vauclin (Martinique), where the single adjective ‘nepenthean’ keys the reader into an Odyssean allusion: ‘Miraculously, none of us felt next day a trace of the potations and fatigues of the night before. The morning passed in a nepenthean coma under the poison-trees reading and talking, or gliding off into sleep’ (54). 24 Froude  1888: 38. ‘Provincialism loves the pseudo-epic’, Another Life, l.
In that sense, then, the ﬁrst impulse of the referential—what I have called the free-form choice—is not to verify the sources, but to accept the references, however “wrong” they may be’ (243). , my italics). The disjunctive conjunction forces an exclusive choice that is the opposite of the ‘free-form’ choice model of referentiality that Walcott was to articulate in ‘Reﬂections on Omeros’. 56 While Fermor did not set out to mock the Caribbean, the comparisons that he sets up between the Caribbean and Greece continually serve to remind the reader of Caribbean absences or debts: there is no (neo)classical architecture, or what there is is ‘borrowed’ from Europe.
Afro-Greeks: Dialogues between Anglophone Caribbean Literature and Classics in the Twentieth Century by Emily Greenwood