Abstract

The era from the late fifties to the early seventies was marked in Africa and the Caribbean by a rush of newly articulated anticolonial sentiment that was associated with the burgeoning of both international back consciousness and more localized nationalist movements. Between 1957 and 1973 the vast majority of African and the larger Caribbean colonies won their independence; the same period witnessed the Cuban and Algerian revolutions, the latter phase of the Kenyan “Mau Mau” revolt, the Katanga crisis in the Cong, the Trinidadian Black Power uprising and, equally important for the atmosphere of militant defiance, the civil rights movement in the United States, the student revolts of 1968, and the humbling of the United States during the Vietnam War. This period was distinguished, among Caribbean and African intellectuals, by a pervasive mood of optimistic outrage. Frequently graduates of British or French universities, they were the first generation from their regions self-assured and numerous enough to call collectively for a renunciation of Western standards as the political revolts found their cultural counterparts in insurrections against the bequeathed values of the colonial powers.In the context of such challenges to an increasingly discredited European colonialism, a series of dissenting intellectual chose to utilize a European text as a strategy for getting “out from under this ancient mausoleum of [Western] historic achievement.”1 They seized upon The Tempest as a way of amplifying their class for decolonization within the bounds of the dominant cultures. But at the same time these Caribbeans and Africans adopted the play as a founding text in an oppositional lineage which issued from a geopolitically and historically specific set of cultural ambitions. They perceived that the play could contribute to their self-definition during a period of great flux. So, through repeated, reinforcing, transgressive appropriations of The Tempest, a once silenced group generated its own tradition of “error” which in turn served as one component of the grander counterhegemonic nationalist and black internationalist endeavors of the period. Because that era of Caribbean and African history was marked by such extensive, open contestation of cultural values, the destiny of The Tempest at that time throws into uncommonly stark relief the status of value as an unstable social process rather than a static and, in literary terms, merely textual attribute. Rob Nixon is a Ph.D. candidate in English at Columbia University. He is working on the topics of exile and Third World-metropolitan relations in the writing of V. S. and Shiva Naipaul. His previous contribution to Critical Inquiry is “No Names Apart: The Separation of Word and History in Derrida’s ‘Le Dernier Mot du Racisme’ ”