Léon-Gontran Damas’s Lyric Masterpiece,. Black-Label rebelliousness of Damas’s Pigments had been mainly personal and ahistorical. In London: croom. the Négraille’s Testament: Translating Black-Label (Léon-Gontran Damas), open access at ULg individual poems (unlike Pigments, Névralgies, Graffiti) but one long poem in four movements, without titles. Here .. London: Lexington Books. This essay links Léon-Gontran Damas’ poetry to Matthias subversive collection, the polemical Pigments .. New York, London: A. A. Knopf.
|Published (Last):||17 May 2004|
|PDF File Size:||20.20 Mb|
|ePub File Size:||5.74 Mb|
|Price:||Free* [*Free Regsitration Required]|
Calligraphic Stammering The layout and the use of capital letters are fundamental to the rhythm, but do not constitute any particular obstacle for translators other than the need to be attentive to them. So, an important feature in the poem, which has to be taken into account in the translating process, is this overwhelming sense of uncertainty and blurring of boundaries between past and present, here and there, reality and imagination ; even damqs colour line is crossed in interracial love that seems to be more imagined than actually lived.
Pig,ents this case, the layout of the translated text ought to mirror the original. Finally, there are the pigmehts capitalized punch-like blocks about the man who was hanged: The Practice of Diaspora: Research in African Literatures Black-Label has many other instances of lines that play on repetition of sounds and syllables, of short words that provide the typical oigments of his most violent attacks on assimilation and alienation.
We decided to keep most of them as such. Black Poetry from Africa and the Caribbean. The nouns used to describe the islands repeatedly slip into neologisms. In the following stanza, the monosyllabic drunken repetitions leading back to the first line are: Just after the passage in damass first movement when he imagines going back to his uncle, the first two lines of a litany in a stanza detailing his distress read: Africana Homestead Legacy Publishers.
Mort au cancre au pou mort au chancre au fou Black-Label 23 Death to canker to the bug death to cancer to the mug 16 me who in spite of its being strictly forbidden as has always told me the grammar of grammars of grandmothers of GrandMother JOAL me who now with you share and insist on it and dare.
Literature, Translation, and the Rise of Black Internationalism. An Anthology of Translations gntran the French.
Damas remained at that prestigious institution and was Professor of African Literature at Howard University at the time of his death. However, references emerge which help us picture the scale of displacement.
By this pihments, critics judge as unworthy of attention a poem that seems dominated by the voice of an indecisive, emotional, vulnerable lyric self.
Julien Royal 4 years ago Reply. While the second and third phrases are semantically close to the original, the image in the first is markedly different. He does not belong anywhere. It might just indicate as, indeed, it does in the translation that the enumeration is open, but, on closer Oln, SFPS 4, The translation does not take any of this away.
Damas, Léon – Postcolonial Studies
See, for instance, painter and songwriter Bernard Ascal He was corresponding with writers such as John LaRose or Andrew Salkey, and dreamt, half a century before Glissant, of anthologies of the African diaspora beyond linguistic, geographical and colour demarcations. As Robert Goffin Some of the stylistic devices often employed in his poetry include alliteration, bontran and enumeration.
Using an appropriate rhythm is important all through the poem, and particularly with the four lines that open and close the work, recurring as a chorus throughout the four movements. But this is an instance of sound partly taking precedence over sense, because such is obviously the case in the original. Save my pigmenhs, email, and website in this browser for the next time I comment.
Francophone Writers at the End of French Empire. An Anthology of Translations from the French. Overshadowed in most essays and anthologies devoted to the movement by his Senegalese and Martinican fellow writers,5 Damas deserves renewed academic and public attention,6 especially since some critics have misunderstood his work.
International Journal of Francophone Studies He served in the French assembly as deputy from Guiana, but was not elected for a second term.
Léon Damas – Wikipedia
Three Continents Press, In fact, one of the most striking features in the poem is its use fontran reiterative patterns. Smith, Fall Last edited: Kennedy, Ellen Conroy, ed. Amsterdam and New York: Literature of the African Diaspora 6.
It is indeed in his body that the pigmebts experiences the deep-lying roots of racism and discrimination. At the end of the second movement we come upon an ironic reminder of how European artists and intellectuals looked for exoticism in African culture: Unbelonging The first lines of Black-Label introduce readers to an exiled subject in a condition of terrible loneliness and despair.
It is firmly committed to retaining the complexity of the original.
The poetical subject testifies to an incurable displacement and therefore dislocation of the self. His style has also been described as blunt and cryptic. The answer lies in the shape of the quatrain on the page: The importance of sounds sometimes results in our changing words.
This individual experience ties in with the collective burden of his country as a French colony associated with the Middle Passage, with slavery and colonialism, and used for centuries as an overseas prison.
In most cases they can be reproduced with slight alterations. In Anissa Talahite-Moodley ed. Once his parents heard of his new interests and activities, they cut him off financially, piggments Damas was forced to take on a variety of odd jobs in order to support himself.