![]() ![]() ![]() Through the blending of fact and fiction into something that defies genreĬonventions and questions the nature of reality.Ĭharacters from other texts. ![]() ![]() Through the characterisation, the interaction with and use of history, and This content with its postmodern form and style. What stands as the most interesting feature of the novel is the interaction of Narrative, that explores issues such as feminism, slavery, religion, and race. Historical background with elements of magic realism, in a revealing, first-person (2015) “In What Ways Might Maryse Condé’s I, Tituba, Black Witch of Salem Be Read As a Metafictional or Postmodern Novel?”,Ĭoncerns the events of the 1692 Salem witch trials. This paper argues that the postmodern form and style of Condé’s novel is intrinsically linked to its representation of oppressed groups, encourages critiques of historical narratives, and is revealing in ways that a more naturalistic style could never be. In addition, anexamination of the feminist angle of the novel, and the way in which this clashes with its historical setting, suggest an unconventional approach to the representation of oppressed groups. It uses postmodern theorists such as Lyotard, but predominantly Baudrillard and his ideas of Simulation and Simulacra, to elucidate ways in which Condé’s novel questions the ways in which reality is understood and depicted in fiction. This paper examines the ways in which this novel can be considered postmodern. This particular choice can be considered political appropriation, an idea which Condé deconstructs as she uses. Unlike most fictional and non-fictional accounts of these events, Condé’s novel uses the perspective of a non-white person. Maryse Condé’s 1987 novel I, Tituba, Black Witch of Salem presents a fictionalised account of the historical events of the 1692 witch trials in Salem, Massachusetts. ![]()
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