Abstract:

This essay argues that Lorna Goodison’s poetry collection Controlling the Silver (2005) is infused with African and Indigenous Caribbean modes of storytelling which honor oral traditions and reclaim the Jamaican landscape from the history of colonization. The poems “Rainstorm is Weeping: An Arawak Folk Tale Revisited,” “Traveling with Photographs of Our Generations Flanking St. Christopher on the Dashboard,” and “Creation Story: Why Our Island is Shaped Like a Turtle” re-map Jamaica and honor Arawak/Taíno landscape and seascape. Drawing on scholarship that rejects the vanishing Arawak/Taíno myths, the author uses Katherine McKittrick’s theories of geographies in relation to Indigenous communities in order to re-think the meaning of “uninhabitable” spaces. Considering complex histories of habitation of Jamaican landscape and space unravels the lasting impacts of colonization while also celebrating the resilience of Indigenous Caribbean cultures.

摘要：

本文认为，洛娜·古迪森的诗集《控制白银》（2005年）注入了非洲和土著加勒比地区的讲故事模式，这些模式尊重口头传统并从殖民历史中重拾牙买加的景观。诗歌“暴风雨正在哭泣：重新审视阿拉瓦克民间故事”，“在仪表板上沿着圣克里斯托弗侧翼拍摄我们这一代的照片”和“创作故事：为什么我们的岛被塑造成乌龟的样子”重新映射了牙买加和荣誉Arawak /Taíno风景和海景。作者利用拒绝消失的阿拉瓦克/塔伊诺神话的学术研究，使用凯瑟琳·麦基特里克（Katherine McKittrick）的与土著社区有关的地理学理论来重新思考“不可居住”空间的含义。