UNIVERSITY OF NAIROBI

FACULTY OF ARTS

DEPARTMENT OF LITERATURE

COURSE TITLE: CARIBBEAN LITERATURE

COURSE CODE: CLT 521

COURSE INSTRUCTOR: DOCTOR GODWIN SIUNDU

TERM PAPER: The Caribbean individual is a captive of a persistent restlessness and a devastating psychological torment passing for existential freedoms. Critically respond to this assertion while drawing on Caryl Phillipss The Final Passage to support your answer.

SUBMITTED BY: CHRISTINE NJOKI MBUGUA

REG. NO: C50/ 68683/2011

DATE OF SUBMISSION: 27th JANUARY, 2012

INTRODUCTION
Alienation and the feeling of not belonging is a predominant theme of many Caribbean writers. Caryl Phillips in his first novel, Final Passage, captures this phenomenon in his female protagonist Leila. Leila is a nineteen year old girl from an unidentified island in the Caribbean. The novel provides glimpses into significant aspects of her life which includes the people who form part of this momentous process. Her relationship with her husband Michael, her mother a single parent, her best friend Millie and the island on which she has lived for most of her life, as well as to England which she emigrates to, all form a significant part to understanding her representation as not just an individual, but as being allegorical of the Caribbean individual who feels dislocated whether in the Caribbean Islands, or in Europe where his/her sense of displacement is made even stronger.

Paul Smethurst in his journal article Postmodern Blackness and Unbelonging in the Works of Caryl Phillips, posits that The dominant theme in Caryl Phillipss work is belonging, or rather, unbelonging, the condition felt by characters at odds with their environment. More specifically, his work articulates the unbelonging felt by immigrants and their descendants, something Phillips himself encountered while growing up in Britain. [The Journal of Commonwealth Literature Vol. 37 (June 2002): 25-19] As a result of this feeling of alienation or dislocation, described as unbelonging by Smethurst, then it is unsurprising that the Caribbean individual is on a constant journey in search of his/her place. This paper will seek to examine how Caryl Phillips explores the characteristic restlessness of the Caribbean individual who feels trapped in a place that does not define him/her and is thus constantly in search of a place where he/she feels fully accepted both emotionally and at a racial level.

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THE TITLE AS AN ALLUSION TO THE HISTORICAL MIDDLE PASSAGE

Charles P Sarvan and Hasan Marhama in a journal article entitled provide a context to give us an understanding of the term middle passage: The phrase "the middle passage" comes down from the days of slavery. The "first passage "was when a ship left England for Africa, carrying baubles, cheap industrial products that were bartered for slaves. Then began the dreadful "middle passage," to the American and Caribbean plantations, during which voyage many died and were thrown overboard. (It is estimated that as many as twenty million Africans were abducted from the continent.) The survivors were sold at auction; with the money realized, raw materials were purchased to feed the voracious industrial machines back home, and the ship began "the final passage," so much the richer for the "enterprise [35]. When we apply this understanding of the Middle Passage to Phillips Final Passage we see that the Caribbean individual as a descendant of people dislocated and transported as slaves to the islands, still retains that sense of alienation from a place that he or she seems to instinctively recognise is not really home. The epitaph of the book is extracted from a poem by T S Eliot, Little Gidding and talks about the idea that A people without history Is not redeemed from time, for history is a pattern Of timeless moments. So, while the light fails On a winter's afternoon, in a secluded chapel History is now and England [8]. Phillips here, through his foregrounding of Eliots lines, appears to be equating the disruption caused by the slave trade on the psyche of the Caribbean people so that they are not only uprooted, but now remain rootless feeling that they have no real definition as a cohesive group of people in terms of established space or time. The
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replacement of the slave trade with British sovereignty underscores that the known history is that of the British. The Caribbean subject has little in way of a clear understanding of his own past and as a result, seeks to identify himself with those who have established themselves as being of significance in place and time so that in so doing so, he can also share in this clarity of identity and thus have a sense of belonging.

The Middle Passage in the context of the history of the slave trade permanently exiled not only the slaves from their homes in Africa, but in effect did the same for their descendants in contemporary times. The search now is to find either home in the Islands where their families have lived for generations, or to seek it in new locations, usually in the West. This search for belonging is one that is captured effectively by many Caribbean writers. Jan Carew comments that: The Caribbean writer today is a creature balanced between limbo and nothingness, exile abroad and homelessness at home, between the people on the one hand and the creole and the colonizer on the other. Exile can be voluntary or it can be imposed by stress of circumstances; it can be a punishment or a pleasure. The exile can leave home for a short time or he can be expelled forever [453]. As Leila waits to board the ship that will take her to England, Phillips describes her and other passengers as looking like refugees fleeing from the front -line of some war-torn country [16]. His choice of words corresponds with Carews depiction of the Caribbean writer so that in some way, Phillips novel not only describes his fictional characters restless search for belonging, but also reveals his own feels o f alienation from the Islands he left as a baby when his own parents emigrated from St Kitts in the Caribbean to England as well as his discomfort in identifying himself completely with an England that is portrayed as regarding West Indians and people of West Indian descent as Other and therefore outsider.

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Historically, the final passage referred to the slave ship returning to Europe with the wealth obtained from selling slaves in the Americas and the Caribbean Islands. In Caryl Phillips novel, the title Final Passage thus evokes the notion of both the journey motif prevalent in literature that examines the selfs search for identity, as well as capturing the idea of gains made at the end of this journey. Both Michael and Leila are portrayed as being in a journey in discovery of themselves but the outcomes of this journeys they undertake both separately and together will prove to be doubtful in terms of positive gain.

THE END IS WHERE WE START FROM

Caryl Phillips epitaph in Final Passage comes from Chapter V of T S Eliots Little Gidding. This chapter begins with the following lines which seem relevant to the narrative structure of the novel: What we call the beginning is often the end And to make and end is to make a beginning. The end is where we start from. Final Passages first chapter is thus entitled The End. This chapter mainly focuses on the final hours that Leila has on the Caribbean island she has lived on all her life as she waits to board the ship that will sail at midnight for England. It is in this process of waiting that we get to understand that Leila feels like the Other in this place where she should feel a sense of belonging. The first sign is the way she is described as being an observer rather than as a participant: Leila watched as the women sold their food, cursing, pushing, laughing [10]. On the next page, we are told that Then Leila watched as the fishing boats came home [11]. The verb watched suggests a detachment from what is happening.

Later on in the text, we learn that Leila is a mulatto with a black mother and an absent white father. This puts her apart from the majority of the people of the island,
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with the black people like Michaels grandmother calling her the white girl, while the whites clearly see her as a coloured person. This hybridity means that Leila feels accepted by neither black nor white, the end result being that she feels alienated from this island. When her marriage seems to be almost completely disintegrated she decides to leave behind the shambles that her life has become and to emigrate to England, not only to check up on her mother who had gone there earlier seeking medical treatment, but also to begin afresh. Ironically, Michael who in part is the reason she is so disaffected with the island, decides to also emigrate with her telling her that it will be a chance to rejuvenate their failed marriage. The night before she leaves the island, we are told that Leila had decided that if England was going to be a new start after the pain of the last year, then she must take as little as possible with her to remind her of the island [14]. At this point in the text we are unaware of what could have been the cause of this pain she mentions. It is only when we read the book that we see that Michael was the primary cause for most of the heartache she had to endure in the previous year, and yet ironically, in her bid to escape from the pain she takes the source of it with her. Leila is thus portrayed as being captive to her situation, unable to break free.

As Leila waits to take a bus to the quayside where she will soon leave for England, she notices a house and that Beside the house someone had tried to scratch a garden into the dust, but the baffled shrubs lay rootless on the beaten hardness of the ground [16]. One can see the correlation between the house, the garden and the Caribbean individual. The house is described as a lonely structure [16] and this describes the Caribbean characters portrayed in this novel for the most part, who seem isolated and distanced from each other despite close familial ties. We see this distance between Leila and her mother, Leila and her husband, Michael and his grandparents and also between Michael and Beverly.

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In addition, Leila is said to have seen in this house the sign of a Christian -inspired endeavour [16] which implicates the inability of religion to convey solace or inspire a sense of acceptance for the Caribbean individual. The garden beside the house conveys an attempt at creating an Edenic environment but the ground has a beaten hardness, evocative of the generations of abuse and exploitation that has characterised the Caribbean islands. The baffled shrubs [that] lay rootless suggests the confusion that typifies the Caribbean individuals search for a place where they feel they can belong. In relation to this, Jan Carew explains that The history of our exile is a dismal one of ethnocide, slavery, indentured labor, racism, colonialism, and more recently

neocolonialism. Everywhere that we touch the earth in this hemisphere and seek to establish roots, the roots are bound to invade the graves of the innocent dead.

Carew goes on to explain why this search for identity usually leads to the Caribbean individual eventually leaving the islands for either Europe or the United States: the creole, from the beginning of his emergence as a middleman in the Columbian era (the word creole originally meant "bred in the house" so that the creole stood between the field slave and the master), has been forever trying to sever his connections with the dark hinterlands under the sun. His journeys have been outward bound ones, toward the "superior" culture of the colonizer and away from the "inferior" one of the colonized [466]. Both Leila and Michael look forward to England as a superior place to the island where their hopes of finding acceptance will materialise. Leila towards the end of the chapter thinks to herself that she feels sorry for those satisfied enough to stay. Then she stiffened, ashamed of what she had just thought [19]. Her attitude towards the nebulous islanders who are contented with their lot is a patronizing one, as if those who possess a sense of self that allows them to define themselves as islanders are to
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be pitied as if they are pathetic. This contrasts sharply with the end of the novel where Leila rejects all things English, even going as far as to burn the clothes bought in England, and making plans to return to the island as a place which she feels is less alien to her.

The sad aspect of titling the first chapter The End is that it implicates that the novels ending will also be heralded by uncertainty and a lack of identification with a specific place. The restlessness of the Caribbean individual is persistent, in other words, and cannot be easily resolved.

HOME: WE SHALL NOT CEASE FROM EXPLORATION

In this particular chapter of the novel, Caryl Phillips takes us back to that painful year that Leila is so eager to forget. This back and forth movement is characteristic of the novel and seems to not only mimic the movement of the sea that is ever-present for the Caribbean individual, but also the movement of Little Gidding, the T S Eliot poem from which Phillips extracts the epitaph for Final Passage. Jan Carew explains this phenomenon in in his journal article, The Caribbean Writer and Exile: The Caribbean writer and artist, if he must end his exile, is compelled by the exigencies of history to move back and forth from the heart of those cultural survivals and others into whatever regions of the twentieth century the island, the continent or the cosmos his imagination encompasses. In this chapter, Phillips presents a vision of a society where families are for the most part fragmented. Leila comes from a single-parent family and has no idea who her father might have been except for the fact that he was white. Her mother brings her up very strictly and closely monitors her interactions outside the home. The readers
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discover the reason for Leilas mothers severity when later on in in the text a glimpse is provided of a childhood marred by sexual exploitation by white men. Perhaps she is too ashamed to tell her daughter about her past and it is this lack of communication that creates a gap that although meant to protect instead ends up isolating both women from each other, and in the case of Leila will lead her to search for acceptance in a manner that proves to be her undoing. Michael, Leilas husband, was orphaned when his parents sunk with a boat that was ferrying immigrants to Britain. This linking of immigration with disaster will inform Michael and Leilas own experience of immigration which although does not end in their physical death, will result in the death of their troubled marriage. Michael is brought up by his grandparents and when his grandfather sees that Michael is determined to go his own way, he offers him some strange advice: You must hate enough, and you must be angry enough to get just what you want but no more! No more! For, if you do, you just going end up hating yourself. Too much laughing is bad for the coloured man, too much sadness is bad for the coloured man, but too much hating is the baddest of them all and can destroy a coloured man for true. [32]. The emphasis on the importance of hating but not too much highlights the violent past of the islands founded as they were on genocide, slavery and the racial domination of the white race. The grandfather rejects what Frantz Fanon in Black Skin White Masks identifies as the white mans expectation of the black man: the black man is supposed to be a good nigger; in other words, subservient, docile and not too bright. Michaels grandfather advises him that hate, in the right doses, is essential for the black man to assert himself in a white-dominated world.

We now begin to understand why his hostile attitude to Leila the mulatto girl. It was because
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Most people thought Leila too good for Michael. But he felt that to talk of this with anyone, including Bradeth, was admission to his alleged inferiority. Therefore he kept his anger locked up. This frustrated him, but it also made him more determined to prove something to himself and everyone. What exactly it was he was trying to prove he was still unsure. And how he would prove it he had no idea. [37] Leila herself has gone out of her way to please him, but he fails to see her as an individual and can only focus on what she represents to him racial superiority that he must wrest away from her. As such, his relationship with Leila is marked with his emotionally brutal treatment of her that seems to be his way of exerting authority over someone his society deems his superior. Frantz Fanon states that the first impulse of the black man is to say no to those who attempt to build a definition of himthe first action of the black man is a reaction [23]. Throughout the novel, Michael is seen as always quick to assert himself even at the expense of logic or fairness.

Michael seems to be in desperate search of a freedom that seems always just out of reach, whether materially or emotionally. David Banam says that Sartre characterizes the human condition by (1) our forlornness at the loss of external values and determinants of our nature; (2) anguish at the resultant responsibility to create human nature ourselves; and (3) despair of finding value outside of ourselves and reliance upon what is under our own control. [The Ethics of Absolute Freedom] In this context, Michael can be said to be free, but if you consider that his freedom is driven by his hatred of those who look down him, or those he perceives would be held to be racially superior like Leila, then he is not actually free but rather trapped in an inner torment that escalates with each passing day rather than diminishing.

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Leila is also identified as being in pursuit of a freedom that is fleeting and is frequently out of reach. When Michael takes her for a ride on his bike the first time, we are told that Leila had never been on a bike and the sensation shocked her. It was the freedom which struck her most, the idea that for a brief moment you could escape behind a wall of sound and speed, unsure as to whether you would ever emerge from it. [47] The wall of sound and speed that she finds freedom behind, ironically conjures up an image of entrapment or captivity and freedom is thus established as being an illusory concept. The irony is further heightened by the fact that Leila knows that Beverly, Michaels mistress and mother of his child, bought the bike for him. The source of her momentary freedom, in other words, is also the same source that will prove to be so psychologically tormenting to her.

Towards the end of the Home chapter, we see further disintegration of already fragmented families. There are natural causes like deaths and illness, but even these are punctuated by hostility and silences that crate an unhealthy atmosphere. It is no wonder then that Leila seeks to make a fresh start in England where her mother had gone some months earlier in search of medical treatment.

ENGLAND: HISTORY IS NOW

The chapter England is quite a brief one and is another forward movement after the backward motion presented by the previous chapter Home. At this point in the novel, Leila has been in England for some time now and is on the bus as she goes to visit her mother in hospital. The striking aspect of this chapter is how it echoes the first chapter, End where Leila is described as being more of an o bserver than a participant. Phillips writes that
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She sat in the front seat on the top deck of the bus, looking down at the people and the life in the street below. She noticed that in some areas there were many coloured people and in other areas there were very few. She noticed that coloured people did not drive big cars or wear suits or carry briefcases, that they seemed to look sad and cold. She noticed that the eyes of the white people on the posters never left her no matter how quickly she glanced at them. [86] In the chapter End the word used to describe Leilas passive interaction was watched. In this particular chapter, her passivity is still very evident and is drawn to our attention with the word noticed. Leila left the island to among other things, find a place where she could feel a sense of belonging. Ironically, what happens is that Britain proves to be even more alien to her as the verb notice implies a far briefer action of observation than the earlier verb watch. It seems as if Leil a is withdrawing more into herself and interacting less with the world around her as her sense of dislocation and alienation grows.

THE PASSAGE: THEY DEPART, AND WE GO WITH THEM

The action in this particular chapter now takes us back to the actual voyage to England. Leila has so far been established as a passive observer. On board the ship this is still very evident in her. We read that She would look around at the sad brown gazes of her fellow emigrants, men and women who lined up before her like the cast of some tragic opera. There was the old man who sat as if close to tears, his large jocular chin glued to the palm of his hand, his crooked elbow to his knee, his eyes staring out into the distance as if unable to reconcile the conflict of where he had come from with where he was going to [98].

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The description of Leilas fellow immigrants is perplexing as it contains none of the enthusiasm one would expect from those who are moving of their own free will from the islands to England. The last line is particularly evocative and captures what Leila herself will be feeling when she decides to return to the islands towards the end of the novel.

Leilas first glimpse of England is bleak, foreboding the unhappy time she will experience as a coloured immigrant in a country that is racially oppressive: Leila looked at England, but everything seemed bleak. She quickly realized she would have to learn a new word; overcast. There were no green mountains, there were no colourful women with baskets on their heads selling peanuts or bananas or mangoes, there were no trees, no white houses on the hills, no hills, no wooden houses by the shoreline, and the sea was not blue and there was no beach, and there were no clouds, just one big cloud, and they had arrived. [100] This time, the word repeated is no a negative word that shows that Leila who thought that in travelling to England she would shed her emotional attachment to her island easily, and just as easily attach herself to England if not more so. However, England seems a bleak place to her in contrast with the warmth and vibrant colours of the island and even before she even disembarks, we know that she will not be able to find a sense of belonging in this new place either.

England proves to be a place not only physically unattractive to Leila, but will also prove to be devastating in an emotional sense. She hopes to become closer to her mother but finds that she is not able to establish common ground with her before she dies.

She also hopes to strengthen her fragmented marriage but Michael, who is also looking for his own fresh beginning away from the disappointments of the island,
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decides it is not worthwhile to try and reclaim a marriage that he never took the time to build up anyway: If England was the place that Alphonse Walters had led him to believe it was, then how much energy could he afford to waste continually patching up this newly repaired but still leaky marriage? The more he thought about it, the more he realized the nurturing and pretence would have to stop. On the threshold of a new life, he could not afford to fail in fulfilling the wishes of his grandparents. [118-119] Leila thus finds herself left to her own devices in a strange new land and for the first time in her life, finds herself not only alienated, a common feeling for her, but also made to feel inferior and a burden. In fact, when a white neighbour Mary befriends her Leila is at first suspicious: They both laughed, and Leila looked across at Mary who closed her eyes, though her shoulders still rippled. She was friendly and helpful, but she puzzled Leila, for she could not work out why she would want to be so towards a total stranger. But then Leila thought of home, and what would happen if Mary had moved into St Patrick's with her family, or into Sandy Bay, or any place on the island, and suddenly it did not seem so strange. [121] Just as the island is presented as having two diametrically opposite aspects: Sandy Bay representing the warm, inviting side, and Black Rocks suggestive of violent tensions and conflicts; so is England portrayed in a similar vein but now directly through the various people that Leila meets.

Through the character of Leila, Caryl Phillips seems to be exploring his own identity as a Caribbean migr. Jan Carew observes that: The Caribbean person is subjected to successive waves of cultural alienation from birth - a process that has its origins embedded in a mosaic of cultural fragments - Amerindian, African, European, Asian.
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The European fragment is brought into sharper focus than the others, but it remains a fragment. Hiding behind the screen of this European cultural fragment the Caribbean writer oscillates in and out of sunlight and shadows, exile abroad and homelessness at home [454]. Phillips in his depiction of Leila portrays his own feelings of dislocation and alienation both in the Britain that he grew up in, and in the islands that his parents immigrated from and that he still considers an integral part of his heritage.

WINTER: TO ARRIVE WHERE WE STARTED

The last chapter of Final Passage is appropriately named Winter implying the crushing of any lingering hope for Leila that she will be able to fit into this new world that she finds herself in. Michael has more or less become an absent husband and father just as he was back on the island. However, on the island, Leila had an income and a good home environment and support in the form of her friend Millie and that of Millies lover Braneth who lived with her once her mother had left for England. Leila in England finds herself totally abandoned and we see her almost at the point of breaking down completely. Caryl Phillips in an interview with F. Birbalsingh in 1991 reveals his anger at the way Caribbean immigrants, like Leila, are treated in Britain. He says that In terms of the British attitude towards black people and towards West Indians in particular, I would say it has changed since Lamming 's day when there was curiosity, then hostility. In my day, I think it's almost hostility distilled. There is no longer any curiosity about black or West Indian faces. I think part of the anger or hurt which may permeate my work comes from the fact that when I look at the life of my parents, and people of my parents' generation, I feel they have been given a terrible

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deal by Britain. I also feel that it would be very difficult for me to see a future for myself in England if I was a married man with children. Looking ahead now, I feel slightly angry and upset at the fact that I won't be comfortable bringing up another generation of West Indians who, because of intractable British attitudes, will have to go through the same problems I went through. These are the same problems that were depicted in The Lonely Londoners, thirty years ago [41]. He makes it clear that the immigrant experience is so alienating that it would be preferable to return to the islands even if one feels like an outsider there as well. Phillips basically presents it as being the lesser of two evils, where at least on the islands one is treated with human decency.

When Michael just before departing the island visits Alphonse Walters, a returned migr from England, Alphonse tells him quite cynically, But I don't care what anyone tell you, going to England be good for it going raise your mind. For a West Indian boy like you just being there is an education, for you going see what England do for sheself and what she did do for you and me here and everyone else on this island and all the other islands. It's a college for the West Indian. [74] Nah Charles Nyitsotemve in his article Signposts of Alterity: Cary Philipss The Final Passage comments on this advice given to Michael and says that This may sound cynical but it expresses one of the wisest thoughts about the West Indian consciousness of alterity. The West Indian would not know who he is until he goes to England. Being in England gives him a clearer vision of his relationship with the British and reawakens in him the traumatic search of home. His presence in England dispels two principal ideas, first that the West Indian and the British do not make up the same flag and the same empire, and second, that England is no home for the West Indian. Going to England therefore enables him to discover who he is and where he belongs,
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though his sense of belonging would neither be clearly defined in London nor in the West Indies [5]. It is clear that according to Phillips, the Caribbean individual must accept that Britain will not give him the identity he looks for and that he is much better of in the islands where although not quite belonging there either, he is not made to feel so clearly that he is the Other as in Britain.

CONCLUSION
Caryl Phillips concludes Final Passage with a stark depiction of the loneliness that the Caribbean migr in Europe endures. The anonymous Christmas card dropped through the slot heightens the isolation felt by Leila where even the time of year that draws people together is made to sound detached and almost meaningless. Although Leila has decided to return home to the islands, the novel ends on a bleak note as her feelings of displacement that she experienced while living in the islands have not been resolved. The reader instead gets the feeling that returning to the islands is merely the lesser of two evils. It can thus be argued that Caryl Phillips in Final Passage captures in Leila and Michael, the restlessness of the Caribbean individual who never manages to feel a sense of belonging. The freedom sought by both Leila and Michael from their perceived captive existence on the islands proves to be illusory, and though Michael seems determined to still hunt it down, Leila stops dreaming and resigns herself to a perpetual state of waiting, which she infers she will teach her children to also do. The bleakness of this unresolved placement of the Caribbean as belonging to no specific place underscores perhaps Caryl Phillips own feelings of restlessness suggesting that there is no discernible solution that Phillips can suggest. Instead it is a cycle that will be passed on down the succeeding generations until the individual

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can perhaps acquire the distinct feeling of belonging that characters like Millie possess.

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LIST OF WORKS CITED

Banach, David. The Ethics of Absolute Freedom. 2006. Web. 26 Jan 2012. < http://www.anselm.edu/homepage/dbanach/sartrelecture.htm> Carew, Jan. The Caribbean Writer and Exile. Journal of Black Studies, Vol. 8, No. 4 (Jun., 1978): 453-475. JSTOR. Web. 26 Jan 2012. Eliot, T. S. The Four Quartets: Little Gidding. Web. 26 Jan 2012. < http://allspirit.co.uk/gidding.html> Fanon, Frantz. Black Skin, White Masks. Trans. Charles Lam Markmann. London: Pluto Press, 1986. Pdf. Nyitsotemve, Nah Charles. Signposts of Alterity: Cary Philipss The Final Passage. The Indian Review of World Literature in English, Vol. 5 No.II (July, 2009). Web. 26 Jan 2012. < http://worldlitonline.net/signposts-of-alterity.pdf > Phillips, Caryl. Final Passage. London: Random House, 1985, 2004. Epub. Phillips, Caryl and F. Birbalsingh. Interview with Caryl Phillips. Caribbean Quarterly, Vol. 37, No. 4 (December, 1991): 40-46. JSTOR. 25 Jan 2012. Sarvan, Charles P and Hasan Marhama. The Fictional Works of Caryl Phillips: An Introduction. World Literature Today, Vol. 65, No. 1 (Winter, 1991): 35-40. JSTOR. Web. 25 Jan 2012. Smethurst, Paul. Postcolonial Blackness and Unbelonging in the Works of Caryl Phillips. The Journal of Commonwealth Literature, Vol. 37 (June 2002): 2 5-19. Web. 26 Jan 2012. < http://jcl.sagepub.com/content/37/2/5.extract#>

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