for interest see the below interview with LKJ....
WITH YOUR POETRY AND LYRICS, YOU USE A CREOLE, JAMAICAN TYPE OF ENGLISH TO CRAFT WORDS. IS THIS A MORE PERSONAL WAY TO EXPRESS YOURSELF, BY RESHAPING THE LANGUAGE?
It's interesting that you should ask that because only this year a book came out that I reviewed for the Guardian newspaper. It's called A DICTIONARY OF CARIBBEAN ENGLISH by Richard Allsop. He tries to codify a lexicon of Caribbean speech, given the different island variations. For example, one fruit could be called one thing on one island and could be called an entirely different thing on another island. There has been, from the late sixities, a dictionary of Jamaican creole which was compiled by a man named Cassidy.
As far as the writing is concerned, a revolution was started in Caribbean poetry by Edward Brathwaite where he was trying to create a new aesthetic that wasn't based on the meter of English poetry, the iambic pentameter. He incorporated the rhythms of Caribbean speech, jazz rhythms, blues rhythms, calypso rhythms and so on. In a sense, what I've been doing with reggae, what I call reggae poetry is to consolidate that revolution that was started by Brathwaite in terms of the language and in terms of the aesthetics.
WITH YOUR POETRY AND LYRICS, YOU USE A CREOLE, JAMAICAN TYPE OF ENGLISH TO CRAFT WORDS. IS THIS A MORE PERSONAL WAY TO EXPRESS YOURSELF, BY RESHAPING THE LANGUAGE?
It's interesting that you should ask that because only this year a book came out that I reviewed for the Guardian newspaper. It's called A DICTIONARY OF CARIBBEAN ENGLISH by Richard Allsop. He tries to codify a lexicon of Caribbean speech, given the different island variations. For example, one fruit could be called one thing on one island and could be called an entirely different thing on another island. There has been, from the late sixities, a dictionary of Jamaican creole which was compiled by a man named Cassidy.
As far as the writing is concerned, a revolution was started in Caribbean poetry by Edward Brathwaite where he was trying to create a new aesthetic that wasn't based on the meter of English poetry, the iambic pentameter. He incorporated the rhythms of Caribbean speech, jazz rhythms, blues rhythms, calypso rhythms and so on. In a sense, what I've been doing with reggae, what I call reggae poetry is to consolidate that revolution that was started by Brathwaite in terms of the language and in terms of the aesthetics.
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