Post-plantation Caribbean literatures inverted the colonial landscape convention and built self-made traditions

Evidence

So, too, the works that appeared in these countries went against the convention of a falsely legitirnizing landscape scenery and conceived oflandscape as basically irnplicated in a story, in which it too was a vivid character. … So, finally, historical marronage intensified over rime to exert a creative marron age, whose numerous forms of expression began to fonn the basis for a continuity. Which made it no longer possible to con si der these literatures as exotic appendages of a French, Spanish, or English literary corpus; rather, they entered suddenly, with the force of a tradition that they built themselves, into the relation of cultures. — Édouard Glissant, Poetics of Relation, 405

Categorization

• DEFINE: Glissant here distinguishes historical marronage (actual slave flight) from ‘creative marronage’ (the literary/aesthetic fugitivity that grew out of it) — an important term in his vocabulary.
• XREF: The inversion of landscape from apology into ‘vivid character’ and the notion of a tradition these literatures ‘built themselves’ gestures toward the self-constituent, non-derivative identity Glissant opposes to essentialist fixity — the reader’s core concern. — connects to: Caribbean culture is synthetic and adaptive rather than authentic; Decolonized writers transformed English fiction via imported-colonial language — Aijaz Ahmad, In Theory: Classes, Nations, Literatures, 288; Colonial language can be repurposed into a new anticolonial literary language — Aimé Césaire, Discourse on Colonialism, 284

Broader Connections

• Colonial language can be repurposed into a new anticolonial literary language #corroborates (0.85) — Aimé Césaire, Discourse on Colonialism, 284
• Caribbean culture is synthetic and adaptive rather than authentic #corroborates (0.80)
• Decolonized writers transformed English fiction via imported-colonial language #expands (0.72) — Aijaz Ahmad, In Theory, 288