: like his father, he had the sense that Istanbul was cut off from the world and that he was “marooned in the provinces,” at the periphery of the empire; he confessed that his father “read novels to escape his life and flee to the West…” and added: “… just as I would do later.” 8 Only several years
Narratives of the South Atlantic Past
The ambiguous morality of the ‘air of liberty’ governing the Afro-Portuguese past had its impact on the creole cultures (white, black, Jewish) of the Dutch territories of Suriname and Curaçao. Although this influence is gradually disappearing, it is astonishing to witness the engagement with which writers and visual artists have interpreted this heritage in their different ways. Recent narratives from Angola and Brazil offer an appropriate starting-point for an examination of strategies of self-representation and national consolidation in works by authors from the Dutch Caribbean. In order to reveal this complex historical pattern, the (formerly) Dutch-related port communities are conceived of as cultural agents whose ‘lettered cities’ (Ángel Rama) have engaged in critical dialogue with the heritage of the South Atlantic trade in human lives.
Artists and writers discussed include (colonial period): Caspar Barlaeus, David Nassy, Frans Post, and John Gabriel Stedman; (modern period): Frank Martinus Arion, Cola Debrot, Gabriel García Márquez, Albert Helman, Francisco Herrera Luque, Boeli van Leeuwen, Tip Marugg, Alberto Mussa, Pepetela, Julio Perrenal, and Mário Pinto de Andrade.
Peter D. McDonald
anecdote about the moment he bought a copy of War and Peace for his “personal library” when he was sixteen (i.e. sometime in 1956). This was Aylmer Maude’s translation first published by Oxford University Press in 1922–23: Aylmer Maude’s War and Peace , in its original maroon and cream wrapper, has