... of literary Creole. Authors discussed include Henry Garland Murray, Kamau Brathwaite, V. S. Naipaul, Cynric Williams, and Samuel Augustus Mathews. In other words, if I follow the logic of Brathwaite’s argument, literary Creole can never be truly authentic Creole because it is a written form, and a written...

... McKay, others much less so. Chapter 3, “The Charles Dickens of Jamaica,” focuses on Henry Garland Murray—a Black (or perhaps Brown) Jamaican performer and author of Creole tales whose popular success as a performer in late nineteenth-century Jamaica, Panama, and the United States was not matched...

... the quickening element remains native speaker expertise and local perspective. Edmondson follows her account of ventriloquism with a discussion of how Black writers take over the discourse, their increasing mobility intensifying contact with speakers of other codes. Thus she moves to an account of Henry Garland...

... of contemporary perspectives. Edmondson’s tight organization of chapters that patiently moves the reader forward to the present deserves special mention. The details on lesser-known personalities (J. B. Moreton, Henry Garland Murray) who played important roles in an underread literary tradition and the inclusion...

... and McTurk belong, and the “cultural nationalist” one of “black uplift” of the kind sketched by Baugh. 7 The first spans from Matthews through to the early twentieth century, and the second starts to gain momentum when Henry Garland Murray began publishing his Creole lectures in Jamaica in the late 1860s...