Towards an Oceanian Modernism

Towards an Oceanian Modernism Matthew Hayward (bio) and Maebh Long In essay on Herman Melville, D. H. Lawrence describes the Pacific Islands as "a vast vacuum, in which, mirage-like, continues life of myriads ages back."1 Modernist studies has yet to awaken from this dream Oceania hazy antithesis modernity, a place "not come any modern consciousness": although tide is turning, typically been treated not active site cultural production, but tropical backdrop for adventures likes Gauguin, Stevenson, Melville (Lawrence, "Herman Melville," 114).2 Uncalculated scholarly exclusion may be, it cannot reinforce sense that modernism modernity demand unmodern Other, figuring peoples binaries new modernist worked undermine. Yet Islanders have long actively involved writing their modernities, both with oral other narrative forms developed across generations, written religious, mythical, historical, autobiographical texts published nineteenth century, Indigenous introduced languages. By mid-twentieth adapting modes taught through colonial education systems, more Oceanians began write poems short stories English, 1960s 70s surge anthologies, collections, series, little magazines turned relatively isolated literary endeavors into movement. Literature decolonizing was outpouring expressive traditions media, precipitation traditions—what Samoan author Albert Wendt described "the creation cultures which are free taint colonialism based firmly our own pasts."3 became part voyage exploration, "quest … Oceania" (Wendt, "Towards New Oceania," 58). [End Page 209] If, we claim here, constitutes identifiably movement, literature be reduced set stylistic commitments or strict formal concerns. It movement at grassroots, sea routes level; aesthetic transnational communities separated by dramatic linguistic diversity, vastly different socioeconomic positions, deeply varied access education, unified desire being local regional identities. Writers whose works would dominate scene were joined contributors names less well known, men women inspired join currents flowing Pacific. Their contributions vary widely style, form, theme, complexity, direct transcriptions legends erudite allusion intricate imagery. "Self-expression," writes Wendt, "is prerequisite self-respect," urban university graduates villagers first workshops, found ways prioritizing self-expression region awash foreign ink 53). field grown immeasurably over last forty years, scholars postcolonial, feminist, queer, Marxist, transnational, historicist, studies, interdisciplinary backgrounds revise its borders terrain. With understood manifest variety depending location time, modernism—imbricated modernity—has seen multiple, fluid, diverse. argue value reading satellite, right. how do grapple oceanic range include? Is every post-1960 text modernist, just those employ particular style explore specific theme? Might impetus publish book Solomon poets, who wrote time poetry workshop, themselves not? Can whole even if output always such? Similarly, should distinguish between political, ideological, dimensions modernism? work ideology no characteristics, whatever these might be? Or only when political/ideological...