The Dead Yard
Tales of Modern Jamaica
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- 109,00 kr
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- 109,00 kr
Utgivarens beskrivning
Jamaica used to be the source of much of Britain's wealth, an island where slaves grew sugar and the money flowed in vast quantities. It was a tropical paradise for the planters, a Babylonian exile for the Africans shipped to the Caribbean. It became independent in 1962.
Jamaica is now a country in despair. It has become a cockpit of gang warfare, drug crime and poverty. Haunted by the legacy of imperialism, its social and racial divisions seem entrenched. Its extraordinary musical tradition and physical beauty are shadowed by casual murder, police brutality and political corruption.
Ian Thomson shows a side of Jamaica that tourists rarely see in their gated enclaves. He travelled country roads in buses and met ordinary Jamaicans in their homes and workplaces; and his encounters with the white elite, who still own most of Jamaica's businesses and newspapers, are unforgettable. Thomson brings alive the country's unique racial and ethnic mix; the all-pervading influence of the USA; and the increasing disillusionment felt by its people, who can't rely on the state for their most basic security. At the heart of the book is Jamaica's tense, uneasy relationship with Britain, to whom it remains politically and culturally bound.
PUBLISHERS WEEKLY
Journalist Thomson (Bonjour Blanc) offers a portrait of contemporary Jamaica beyond the clich s of "golden beaches and guns, guns, guns." Thomson spoke to Jamaicans from all strata of society: white Jamaicans, beneficiaries of fortunes built on slave labor, now hiding in their crumbling plantation mansions, terrified of the encroaching violence; Rastafarians and Maroons; rabbis and priests; tired bureaucrats and armed youths; Indian and Chinese shopkeepers; the musicians and producers that have exported Jamaican music all over the globe. At times the book is overcrowded with characters and lacks a cohesive argument, but the elegant capsule histories of major figures and events ground the interviews in context. What emerges is a portrait of a country haunted by its colonial past, still trying to define itself apart from the two imperial powers (U.S. and British) that have shaped it thus far, and of a diverse people who struggle to hold on to their hope for a brighter future.
