Leah Gordon is a former punk artist from London. She is also a photographer and this book reflects upon her experiences of Kanaval on the streets of Jacmel in Haïti between 1995 and 2010. Haïti was the first black republic in the Western hemisphere, a black slave nation that overthrew the yolk of its French European masters. A core component of the revolution’s power was the African-inspired Vodou belief system and intertwined with politics the Kanaval (Creolisation of Carnival) traces its routes to the clandestine slave gatherings in the upland forests of the island. Gordon takes powerful black and white images of the key Kanaval characters and interviews these characters, capturing a series of oral histories from the poor local inhabitants who invest their energy effortlessly, creating characters, making costumes, designing props, organising dance routines and applying makeup, to create this pre-Lentern annual orgy of street theatre and fiesta. We meet the Lanse Kòd (The Rope Throwers), Jwif Eran (Wandering Jew), Papa Sida (Father of AIDS), Oungan (Vodou Priest), St Michel and also the Satanic Zel Maturin (The Wings of Maturin). These characters act out a fight of good versus evil, they challenge the audiences to raise small amounts of money and to reflect upon the political realities of Haïtian life. There is a series of critical essays throughout the book from key researchers of Haïti, that reflect upon the essence of Leah Gordon’s work. The book is enlightening and the images, that can be very disturbing, project an exoticism and spirituality that gives the reader a true taste of the Kanaval performers’ messages and allows the reader a glimpse of the post-colonial ‘Other’ that is the Caribbean.
The Cuban author offers a postmodern view of the Caribbean. It is a sociocultural study that encompasses aspects of history, economics, sociology, cultural anthropology, psychoanalysis, literary theory, and non-linear mathematics, incorporating chaos theory. The book’s aims and theories are laid out in a flowing introduction whereby Benítez-Rojo’s notion of the ‘repeating island’ is explored, through the lens of polyrhythms and meta-archipelagoes. Benítez-Rojo sees in all of the Caribbean a repetitive streaming of ideas, of resistance to slavery, of Plantation culture of postcolonialist discourse. The book focuses on a series of Caribbean authors and poets, from Gabriel García Márquez to the author’s poet of preference, the Cuban Guillén. Critical essays explore how a multitude of creative characters have interpreted their lives in the Antilles, and recurring themes of the cult of the Virgen de la Caridad del Cobre or of the sacrificed slave Mackandal, reverberate in the author’s dissections of West Indian culture. This book gives a valuable postmodernist insight into the supersyncretic culture that comprises the Caribbean.
This is an enthralling, well-researched book, that reveals many unknown new facts about the global cocaine industry. The book opens with a chapter focussing on the USA, the biggest market for the Cocaine industry, where 66% of Cocaine users exist. We then enter into the producing and transit phase of the drug and examine Colombia, Mexico and the Caribbean in detail. Colombia has the infamous Medellín and Cali cartels, much responsible for the initial production of Cocaine. The role of the FARC, AUC and the Colombian Civil War is documented and the political difficulties with America’s Plan Colombia and the extreme bribery involved in Colombian political life. In Mexico, we see how the various cartels such as Sinaloa, Juárez, Gulf and Tijuana have gone to war, recruiting the services of such paramilitaries as Los Zetas. The Caribbean covers Jamaica in detail and also Cuba, Haiti and the various tax haven islands. In Jamaica we see how politics have heavily influenced the gang culture and the rise of the Shower Posse is documented. In all of the Western producer country sphere, the USA and its policies is never far from the forefront. The ‘War on Drugs’ in force from many successive administrations at the White House, often focuses on producer and transit countries and is totally supported by draconian United Nations international legislation. The European market, in particular the United Kingdom is the second largest market for Cocaine and some countries here have introduced decriminalisation. In places such as Holland and Portugal, drug use is not penalised. The author explores how users are affected by the drug and explores addiction, in particular the problems of crack cocaine. In the final part of the book we look at possible legalisation solutions although, despite Feiling’s enthusiasm for this to happen, I fear it will be many generations before this becomes politically possible. Perhaps with potential cannabis decriminalisation and legalisation on the agenda, it will open up the doors for other narcotics to follow suit? I enjoyed the book and it really does go into detail on what is an interesting subject and a truly global industry.