This is a great book on many levels. Although it was published already in 2017, it hardly matters given the historical context and the fact that the Caribbean nations have not changed dramatically since then.
Joshua Jelly-Schapiro knows the Caribbean intimately and is extremely well-read in the region and its culture, from history and literature to music. He covers the places he visits or stays in for longer periods from the time of Columbus’ journeys, the colonial period when the islands were used for sugar plantations relying on slave labor, to contemporary cultural trends. This is how a travelogue should be: personal but anchored in the larger historical-geographic-political context, erudite but entertaining.
Yet, it took me some time to wade through the 430+ pages. Not because I wasn’t interested but because some of the chapters (each dealing with a specific island) were rather heavy going. Some sections on the larger islands — Jamaica and Cuba each get three chapters — are lively, mixing culture and societal commentary with the author’s personal experiences.
In the case of Jamaica, rasta culture and reggae, naturally, play an important part. It’s not only about Bob Marley, but also Toots Hibbert, Peter Tosh and many others get their share. Jelly-Schapiro spends time with Chris Blackwell, the founder of Island Records that brought reggae to a wider audience, now living in the villa where Ian Fleming dreamed up James Bond. Jelly-Schapiro places these cultural and musical factors firmly into the socio-political setting.
Similarly, the highly personal section on Cuba brings together history, politics, economy, music and culture. He explores the notion of cubanidad, which “first crystallized as an important, if still vague, idea when the cause of Cuban independence” was promoted by José Martí in the 1880s and 1890s (p. 120). He equally explores the roots of the specifically Cuban music that we love in the mélange of African and European traditions. He highlights the role of Israel “Cachao” Lopez, the legendary musician and composer broght to broader fame in his later years through Buenavista Social Club. The last of the three chapters concerns Cuba in the twilight of Fidel Catro’s reign.
The chapter on Puerto Rico emphasizes the island’s relationhip with the United States and the diaspora in the Bronx. The chapter also traces the history of Puerto Rican nationalism and its hero, Pedro Albizu Campos.
The three chapters dedicated to Hispaniola are weighed down by history, perhaps inevitably given how important it is in explaining the current state of affairs. The two countries that share the island — Dominican Republic and Haiti — are often contrasted, with the first one coming on top as a developmental success story and the second as a hopeless basket case. Jelly-Schapiro brings much nuance to this interpretation highlighting the violent and dictatorial history of the Dominican Republic, while bringing out the humanity in Haiti. He sheds light on the curious racial relations on the island, stemming from the two sides’ histories as Spanish vs. French colonies, and how these continue to cause tensions between the two.
The four chapters covering eight smaller islands in the Lesser Antilles are shorter, perhaps because there’s not that much to report (and perhaps because the author seems to have spent less time on each of them, which is perfectly understandable). His reporting from these islands tends to poke holes to the image of them as paradise. Yet, Jelly-Schapiro’s understanding still brings forth many distinctive features between, say, Barbados and Barbuda, both with a history as British colonies and sugar plantations.
Grenada has a distinct political history and a charismatic leader, Maurice Bishop, executed by his political rivals in 1983. Ronald Reagan found the island’s socialist experiment so threatening that he sent in the marines to subdue the tiny island nation, on the pretext of the presence of Cuban workers helping to expand the airport.
Montserrat, a British Overseas Territory where Sir George Martin, the legendary producer built a house and studio, rose to international attention in 1995 when the long-dormant Soufrière volcano erupted destroying Plymouth, the capital, and forced two-thirds of the island’s population to flee. Jelly-Schapiro explores the volcanic zones with an American geography professor, Lydia Pulsipher, and her husband. They note how, following the disaster, the British governmental aid agency DFID, relocated people into new houses in a non-affected area: “they’re well bjuilt, but they’ve got nothing to do with how Montserratians live; with the old social structure here, and with homes they built to fit it” (p. 319). Unfortunately, this is a picture that often emerges when well-meaning outsiders try to assist countries to rebuild after a disaster (for example in the aftermath of the 2004 Indian Ocean Tsunami).
Martinique, which still today is a French territory and the westernmost extension of EU, deserves a lengthy chapter, largely due to the writers and political thinkers it has produced, such as Aimé Césaire and Patrick Chamoiseau. Jelly-Schapiro writes (p. 358):
“Few large countries, let alone little ones, boast the literary riches allowing one to trace the whole modern arc of their culture, and the contours of that culture’s conflicts, through those of its books.”
Accordingly focusing on these writers and their poetry and their legacy at the expense of the author’s own experiences, these 32 pages took me more effort than most other parts of the book.
Throughout, the book discusses numerous authors from the islands, many of whom have achieved fame outside of the Caribbean: C.L.R. James and V.S. Naipaul (Trinidad), George Lamming (Barbados), Jamaica Kincaid (Antigua), Franz Fanon (Martinique), Jean Rhys (Dominica), and the already-mentioned Aimé Césaire and Patric Chamoiseau
Luckily, he saved the best for the last. The 40-page final chapter on Trinidad is superbly crafted. Its culture and social and political issues are presented in a very animated way. Jelly-Schapiro has spent ample time on the island, including as a visiting scholar at the university. The carnival, the calypso and steel bands form a sort of a backbone to the chapter. Jelly-Schapiro tells the dramatic story of Michael Abdul Hakim (a.k.a. Michael X), a Black activist, and the people around him.
His best informant is Jay Telfer, an octogenarian figure whom he befriended. Telfer who in the 1960s played a central role in bringing West Indian culture, including the Notting Hill Carnival, to London, is a font of information and a delightful character. Before that, in the 1950s, Jay Telfer studied at NYU and worked at the jazz clubs in Greenwich Village where he met many jazz legends, and where Thelonius Monk told Telfer he was the only man able to dance to Monk’s music. Although involved in politics throughout his career, Jelly-Schapiro says of Telfer: “Personal ethics, like personal style, were for him much more important than politics” (p. 411).
Jelly-Schapiro has written a highly interesting and valuable book, although it is somewhat uneven. He generally writes well alternating between the casual when describing his own personal experiences and the academic. There are places where his style can get a bit out of hand. Take, for example, this sentence about Chamoiseau (p. 334):
“And his ideas’ shadows have been palpably present, too, over polemics surrounding the French Antilles’ great human export of now; those other public artists — soccer players — whose goals in World Cup stadia, firing France to victory in a Coupe de Monde contested in Paris in 1998, prompted scenes of joy on the Champs-Elysées more massive than any since the Liberation, and forced a country still unaccustomed to seeing itself reflected in the brown and black faces of its colonies to ask pointed questions about what, two centuries after Robespierre’s fall, a Frenchman is.”
Apart from these squabbles, it is a book worthy of its author, a fellow geographer, with a PhD from UC Berkeley. Finally, Jelly-Schapiro confesses to having adopted C.L.R. James as “a kind of intellectual hero and style icon alike” (p. 401):
“Here was a scholar activist who wrote with equal verve and brilliance about the Haitian Revolution and the game of cricket, Hegelian philosophy and Hollywood movies, Herman Melville and calypso music — and whose synthetic aptitude for doing so, moreover, found him placing all those subjects within the larger telos not only of modern capitalism but also of humanity’s struggle for democracy reaching back to the Greeks.”
If this cultural-historical-political-social mixture was what Joshua Jelly-Schapiro aimed for in this book, I think he pretty much succeeded.
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