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Wilson Harris 1921-

(Full name Theodore Wilson Harris; has also written under the pseudonym Kona Waruk) Guyanese novelist, short story writer, essayist, critic, and poet.

The following entry presents an overview of Harris's career through 2001. For further information on his life and works, see CLC, Volume 25.

A highly regarded figure in contemporary Caribbean literature who has written over twenty novels, Harris is best known for two major series, The Guyana Quartet (1985) and The Carnival Trilogy (1993). Harris defies narrative convention and recognizable genre categories in his works which blur the boundaries between external reality and internal states of mind. His narratives are complex and highly imaginative works, interweaving conventional plot with experimental fictional elements often described as poetic, mystical, or surrealistic. Most of Harris's novels are set in the cities, villages, and Amazonian jungles of Guyana. These settings convey the region's history of European conquest and colonization, and Harris's characters include such diverse representatives of Guyana as the descendents of the aboriginal Amerindians, the slaves brought from Africa and India, and the European colonizers. His frequent use of symbolism is drawn from a rich cultural history of Amerindian folk legend, classical mythology, Christian iconography and allegory, Jungian psychoanalytic theory, and English literature. Harris is celebrated as a postcolonial writer whose works have wide appeal for addressing universal human questions. His major themes include redemption, the role of the imagination, the ambiguity of language, the forging of identity, and the nature of artistic creation. While there are numerous darker elements in his fiction, Harris's works ultimately convey a positive, life-affirming outlook. Recognized as an important literary and cultural critic, Harris has also published commentary in several collections of essays.

Biographical Information

Harris was born March 24, 1921, in New Amsterdam, British Guiana (now Guyana), of Amerindian, African, and English descent. His father was an insurance agent. From 1934 to 1939, Harris attended Queen's College in Georgetown, the capital of Guyana. Upon graduation, he studied land surveying and geomorphology until 1942 when he began working as a government surveyor, leading expeditions into the Amazonian forests in the interior of Guyana. His familiarity with the geography and cultural diversity of Guyana has contributed to the content and themes of many of his novels. In 1945, Harris married Cecily Carew, but later divorced. In 1959, he moved to London, England, where he met and married the Scottish writer Margaret Burns. From this point, Harris began to focus on fiction writing, publishing his first novel, Palace of the Peacock, in 1960. During the 1970s and 1980s, Harris lectured as a guest or visitor at many colleges and universities throughout the world, including State University of New York at Buffalo, Yale University, University of California, and University of Texas at Austin, as well as Mysore University in India and University of Aarhus in Denmark. Harris also served as writer-in-residence at many colleges and universities, including University of West Indies, University of Toronto, and Newcastle University, Australia. Harris won the Guyana National Prize for Fiction in 1987.

Major Works

Harris's earliest published works include the poetry volumes Fetish (1951), The Well and the Land (1952), and Eternity to Season (1954). The Guyana Quartet is comprised of Harris's first four novels: Palace of the Peacock,The Far Journey of Oudin (1961), The Whole Armour (1962), and The Secret Ladder (1963). In this series, the landscape, history, and culture of Guyana become symbols for the landscape of the mind. In Palace of the Peacock, the unnamed narrator and his brother, Donne, begin a journey through Guyana, and ultimately experience a type of rebirth. Donne is a cruel plantation owner, whose workers have fled to escape his oppressive treatment of them. The narrator, who is considered a dreamer, goes with Donne in search of the workers. Led by Donne's female companion, the two brothers embark on a journey of self-discovery in which they experience a series of visions. The Far Journey of Oudin is set in an East Indian community in Guyana and recounts the complex history of the family of Oudin, a recently deceased man who emerges as the hero of the story. Oudin, a servant, flees with Beti to save her from the unwanted advances of another man. Beti becomes pregnant with Oudin's child and the two forge a contract to relinquish their baby to another man when it is born. After Oudin's death, it is discovered that Beti had swallowed the contract in order to keep her child. The Far Journey to Oudin has a more conventional plot and is less dream-like than Palace of the Peacock.The Whole Armour focuses on Magda, a prostitute in a brothel, and her son, Cristo, who is accused of murder and flees for his life. He is joined by Sharon, with whom he conceives a child. Cristo is eventually captured and sentenced to death. The Whole Armour contains a more realistic narrative, eschewing the blurring of dream-states and reality which characterizes Palace of the Peacock.The Secret Ladder also features a primarily realistic plot. Told by a third-person narrator, the story revolves around Russell Fenwick, a government surveyor who is sent to a remote village to carry out an assignment. Fenwick becomes involved in the cultural and political struggles of the ethnically diverse population, which hampers his ability to complete his job. Heartland (1964) includes characters from Palace of the Peacock and serves as a sequel to The Guyana Quartet.

The Eye of the Scarecrow (1965) is one of Harris's most unconventional narratives. The novel is set in Georgetown, Guyana, and the Amazonian rainforest. The story unfolds as a series of diary entries written by the narrator. Events are narrated in non-chronological order as the narrator recounts a quest with a character called L—— for a mythical four-gated city. The story eschews conventional linear narration with a series of dream-like associations and memories. The characters themselves begin to fragment and meld together, so that they become interchangeable as well as indistinguishable. In The Eye of the Scarecrow, Harris invented a narrative presence, referred to as “It,” which transcends all story-telling conventions. The “scarecrow” of the title functions as a metaphor for language and the process of writing. The Waiting Room (1967) achieves even greater degrees of abstraction, narrative fragmentation, and metaphorical meaning than Harris's previous novels. The story is told through the diary of Susan Forrestal, a woman who is blind despite having undergone several eye operations. She and her husband are killed in an explosion, and her diary is found among the debris. The diary focuses on Susan's various eye surgeries and her memories of a former lover who disappeared into the forest years earlier. Tumatumari (1968) interweaves conventional storytelling with elements of Harris's more experimental narrative devices. After Prudence suffers a mental breakdown, she is nursed by Rakka, her Amerindian servant. Prudence's memories of the past are narrated through dream-states and varied levels of consciousness. The image of the mask which serves as a metaphor for identity is an important concept running throughout the novel.

In Ascent to Omai (1970), Victor embarks on a quest in the jungle to seek a land claim made by his father, Adam. In the jungle, Victor is bitten by a tarantula and enters a realm of unconscious childhood memories. Black Marsden (1972), a relatively conventional narrative, is set in Scotland and features Clive Goodrich, who becomes wealthy after successfully gambling in soccer pools. His meets a beggar known as Doctor Marsden and subsequently undertakes an internal journey into his imagination and his dreams. Companions of the Day and Night (1975) features central characters from Black Marsden. Clive Goodrich, the fictional “editor” of Companions of the Day and Night, constructs a complex narrative from a compilation of papers, diaries, and artwork produced by a figure known as Idiot Nameless. Goodrich recounts the journey of Idiot Nameless into Mexico during the Easter season. The novel interweaves references to Christian iconography with Mexican history. In Da Silva da Silva's Cultivated Wilderness (1977), da Silva is a painter living in London. The narrative, which emerges from da Silva's paintings, addresses the theme of redemption through love. In this work, Harris makes use of strong metaphorical allusions and striking visual imagery. The novel also uses sketches and graphs to illustrate central ideas within the narrative. The Tree of the Sun (1978) serves as a sequel to Da Silva da Silva's Cultivated Wilderness. The story in The Angel at the Gate (1982) is presented as the “automatic writing” of Mary Stella Holiday, who undergoes hypnosis by Father Joseph Marsden. The narration is split between two characters, Mary and Stella. Other characters in the novel are drawn from the song “Mack the Knife.”

The Carnival Trilogy is comprised of Carnival (1985), The Infinite Rehearsal (1987), and The Four Banks of the River of Space (1990). This trilogy has been compared to Homer's Odyssey.Carnival, one of Harris's longest novels, traces the life and death of Everyman Masters, a South American plantation owner. The narrator, Jonathan Weyl, meets Everyman Masters on a ship headed for England and discovers that their family histories are intimately intertwined. Carnival addresses several major themes of Harris's earlier works, such as redemption and the imagination. The Infinite Rehearsal is an autobiography of a fictional character, Robin Redbreast Glass. The novel interweaves passages from Harris's earlier novels with allusions from such writers as T. S. Eliot, James Joyce, Joseph Conrad, and William Shakespeare. Resurrection at Sorrow Hill (1993) is set in an insane asylum where the inmates believe they are historical figures such as Montezuma, Leonardo da Vinci, Socrates, Buddha, and Karl Marx. Two inmates, Hope and Butterfly, fall in love and are eventually shot by D'eath, Butterfly's jealous lover. Jonestown (1996) focuses on two fictional survivors of the Jonestown massacre that took place in Guyana in 1978. The narrative interweaves elements from the incident with the historical fall of the ancient Mayan culture in pre-Columbian South America. The historical context of The Dark Jester (2001) is the conquest of the Incas by the Spanish in 1532. The narrator, known as the Dreamer, engages in extended conversations with a mysterious figure called the Dark Jester.

Critical Reception

Critics have agreed that Harris's abstract, experimental narratives are difficult to read, often describing his work as dense, complex, or opaque. Many critics, however, have asserted that although reading Harris's work is challenging, it is rewarding. Harris has been lauded for his exploration of the themes of conquest and colonization and the struggles of colonized peoples. Reviewers also have noted his skillful tapping of the geography and history of Guyana as a metaphor for the landscape of the mind. Many critics have declared that his novels are an attempt to express truths about the way people experience reality through the lens of the imagination. Some commentators have faulted Harris's novels for nonlinear plot lines, which are difficult to follow, and for his preference of internal perceptions over external realities. Other critics have faulted Harris's characterizations, viewing them as fragmented and unconventional. Harris's use of language has been described as poetic, and many critics applaud what they feel to be a rhythmic, musical flow in his prose. Many critics have praised Harris for his ultimately positive world view as expressed in both his fiction and his literary criticism. He has also been recognized for his rich array of cultural and literary references. Critics have frequently extolled Harris's extensive use of recurring symbols and metaphors throughout his fiction. Commenting on his nonfiction, several reviewers have noted that Harris's essays push the boundaries of traditional literary criticism, just as his fiction pushes the limits of the novel genre. Several detractors have considered Harris's essays to be incomprehensible, but others contend that his vision is important in examining issues such as colonialism, multiculturalism, and the possibility for a truly global literature.

Early Writing    |    Poetry    |    Fiction    |    Extracts from Novels
Collections of Essays    |    Essays    |    Interviews    |    In Translation

 

Early Writing: Contributions to Kyk-Over-Al (1945-1961)

This bibliography of Wilson Harris's early writing was compiled by Reinhard W. Sander and was published in Hena Maes-Jelinek, ed., Commonwealth Literature and the Modern World (Brussels: Didier, 1975), pp. 175-176; rpt. in Hena Maes-Jelinek, Wilson Harris (Boston: Twayne Publishers, 1982), pp. 180-181.
  • 'Tell Me Trees! What Are You Whispering?' (Poem), 1 (December 1945), p. 10. Also 19 (Year-end 1954), pp. 91-92.
  • 'Tomorrow' (Fiction), 1 (December 1945), pp. 30-34.
  • 'Savannah Lands' (Poem)(June 1946), p. 8. Also 19 (Year-end 1954), p. 76.
  • 'Words Written Before Sunset' (Poem), 3 (December 1946), p. 9.
  • 'Studies in Realism' (Poems), 4 (June 1947), pp. 7-8.
  • 'Fences Upon the Earth' (Fiction), 4 (June 1947), pp. 20-21.
  • 'Quiet's Event' (Poem), 5 (December 1947), p. 8.
  • 'Green Is the Colour of the World' (Poem), 6 (June 1948), pp. 7-8.
  • 'The Guiana Book by A.J. Seymour' (Review), 7 (December 1948), pp. 37-40.
  • 'In Memoriam 1948' (Poem), 7 (December 1948), p. 6.
  • 'Spring Equinox' (Poem), 8 (June 1949), pp. 5-6.
  • 'Palace of the Stillborn' (Poem), 9 (December 1949), p. 19.
  • 'The Reality of Trespass' (Non-fiction), 9 (December 1949), pp. 21-22.
  • 'Review' (On Denis Williams's Paintings), 9 (December 1949), p. 32.
  • 'Art and Criticism' (Non-fiction), 13 (Year-end 1951), pp. 202-205.
  • 'Orpheus' (Poem), 14 (Mid-year 1952), p. 38.
  • 'Other Dimensions' (Poem), 14 (Mid-year 1952), p. 39.
  • 'The Question of Form and Realism in the West Indian Artist' (Non-fiction), 15 (Year-end 1952), pp. 23-27; rpt. in Tradition, the Writer and Society.
  • 'The Fabulous Well' (Poems), 15 (Year-end 1952), pp. 48-55.
  • 'The Beggar is King' (Poems), 16 (Mid-year 1953), pp. 148-151.
  • 'Bim, 17 (5.17, December 1952)' (Review), 16 (Mid-year 1953), pp. 195-198.
  • 'The Spirit of Place' (Poems), 17 (Year-end 1953), pp. 228-234.
  • 'Bouquet for Burrowes' (Non-fiction), 18 (Mid-year 1954), pp. 8-9.
  • 'Banim Creek' (Extract from an unpublished novel), 18 (Mid-year 1954), pp. 36-42.
  • 'These Are the Words of an Old Man' (Poem), 19 (Year-end 1954), p. 117.
  • 'The Chorus' (Poem), 19 (Year-end 1954), pp. 128-129.
  • 'The Sun (Fourteen Poems in a Cycle)', 20 (Mid-year 1955), pp. 175-182.
  • 'Two Periods in the Work of a West Indian Artist' (On Denis Williams's Paintings), 20 (Mid-year 1955), pp. 183-187. Repr. in Charlotte Williams & Evelyn A. Williams, eds, Denis Williams: A Life in Works: New and Collected Essays (Amsterdam & New York: Rodopi, 2010), pp. 41-47.
  • 'Poems by Leo I. Austin' (Review), 20 (Mid-year 1955), pp. 205-206.
  • 'The Death of Hector, Tamer of Horses' (Poem), 22 (1957), pp. 23-24.
  • 'The Stone of the Sea' (Poem), 22 (1957), pp. 24-25.
  • 'Charcoal' (Poem), 22 (1957), p. 25. Also in Paula Burnett, ed., The Penguin Book of Caribbean Verse in English (Harmondsworth: Penguin, 1986), p. 185.
  • 'Troy' (Poem), 22 (1957), pp. 26-27.
  • 'Sun Poem XV' (Poem), 23 (May 1958), p. 7. Also in New World (Guyana Independence Issue, 1966), p. 54.
  • 'Greatness and Bitterness' (Letter to A.J. Seymour), 23 (May 1958), pp. 23.
  • 'Spirit of the Sea Wall' (Fiction), 28 (December 1961), pp. 181-183.
  • 'Laocoon', from Eternity to Season, in Paula Burnett, ed., The Penguin Book of Caribbean Verse in English (Harmondsworth: Penguin, 1986), pp. 185-186.
A. J. Seymour, the editor of Kyk-Over-Al, reprinted some of Harris's early contributions in vol. 33-34 (April 1986). These include the following poems: 'Agamemnon', pp. 30-31; 'The Death of Hector, Tamer of Horses', pp. 31-32; 'The Stone of the Sea (Ulysses to Calypso)', p. 32; 'Charcoal (epilogue to the Senses: the Heart', p. 33; 'Troy', pp. 33-35, as well as the short story 'Fences upon the Earth', pp. 86-89.

 

Poetry

  • Fetish (Guyana: Miniature Poets Series, 1951).
  • Eternity to Season (Georgetown: published privately, 1954; rpt. London: New Beacon Books, 1978). Also in Jose Antonio Jarvis, George Campbell, Basil McFarlane, R.L.C. McFarlane, John Figueroa, Peter Blackman, Wilson Harris (St Thomas, Virgin Islands: The Art Shop, 1970).
  • 'The Muse on the Trail', New World (Guyana Independence Issue, 1966) p. 45.
  • 'The Winter Christ', Three Poems, Temenos Academy Review (Spring 1999), pp. 46-49.

 

Fiction

Novels

  • Palace of the Peacock (London: Faber & Faber, 1960).
  • Palace of the Peacock (London: Faber & Faber; 1968). Paperback edition with a preface by Kenneth Ramchand.
  • Palace of the Peacock (London: Faber & Faber; 1988). Paperback edition with the author's amended 'Note on the Genesis of The Guyana Quartet'.
  • Palace of the Peacock (London: Faber & Faber; 1998). Faber Caribbean Series, with a new note by the author and an essay by Kenneth Ramchand.
  • The Far Journey of Oudin (London: Faber & Faber, 1961).
  • The Whole Armour (London: Faber & Faber, 1962).
  • The Secret Ladder (London: Faber & Faber, 1963); rpt. with minor changes in the 1985 edition of The Guyana Quartet (see below).
  • The Whole Armour and The Secret Ladder; rpt. in one volume with an 'Author's Note' (London: Faber & Faber, 1973).
  • The Guyana Quartet with a 'Note on the Genesis of The Guyana Quartet' (London: Faber & Faber; first published in this edition in 1985).
  • Heartland (London: Faber & Faber, 1964).
  • The Eye of the Scarecrow (London: Faber & Faber, 1965).
  • The Waiting Room (London: Faber & Faber, 1967).
  • Tumatumari (London: Faber & Faber, 1968).
  • Ascent to Omai (London: Faber & Faber, 1970).
  • The Sleepers of Roraima, A Carib Trilogy (London: Faber & Faber, 1970).
  • The Age of the Rainmakers (London: Faber & Faber, 1971).
  • Black Marsden (London: Faber & Faber, 1972).
  • Companions of the Day and Night (London: Faber & Faber, 1975).
  • Da Silva da Silva's Cultivated Wilderness & Genesis of the Clowns (London: Faber & Faber, 1977).
  • The Tree of the Sun (London: Faber & Faber, 1978).
  • The Angel at the Gate (London: Faber & Faber, 1982).
  • Carnival (London: Faber & Faber, 1985).
  • The Infinite Rehearsal (London: Faber & Faber, 1987).
  • The Four Banks of the River of Space (London: Faber & Faber, 1990).
  • The Carnival Trilogy (London: Faber & Faber; first published in this edition in 1993). With an introduction by the author, pp. vii-xix.
  • Resurrection at Sorrow Hill (London: Faber & Faber, 1993).
  • Jonestown (London: Faber & Faber, 1996).
  • The Dark Jester (London: Faber & Faber, 2001).
  • The Mask of the Beggar (London: Faber & Faber, 2003).
  • The Ghost of Memory (London: Faber & Faber, 2006).

Short Fiction

  • 'Kanaima', in Black Orpheus, Anthology (Ibadan, 1964); rpt. In Kenneth Ramchand, ed., West Indian Narrative (London: Nelson, 1966), pp. 196-205; in Anna Rutherford & Donald Hannah, eds., Commonwealth Short Stories (London: Edward Arnold, 1971); pp. 106-115; in Livingston, James, T., ed. Caribbean Rhythms.The Emerging Literature of the West Indies (New York: Pocket Books, Simon & Schuster, 1974), pp. 99-107; in Charles H. Rowell, Ancestral House. The Black Short Story in the Americas and Europe (Harper/Collins, 1995), pp. 256-261; in Victor Ramraj, ed., Concert of Voices: An Anthology of World Writing in English (Peterborough, Ontario: Broadview, 1994), pp. 145-151.
  • 'Yurokon', in Whispers from the Cotton Tree Root: Caribbean Fabulist Fiction, ed. Nalo Hopkinson (Montpelier, Vermont: Invisible Cities Press, 2000), pp. 22-37.

 

Extracts from Novels

  • 'The Covenant', in Andrew Salkey, ed., West Indian Stories (London: Faber & Faber, 1960), pp. 135-143.
  • 'Raven's Head', Black Orpheus, 16 (October 1964), pp. 4-10.
  • 'The Far Journey of Oudin', in George Lamming & Martin Carter, eds., New World (Guyana Independence Issue, 1966) pp. 89-92.
  • 'From Palace of the Peacock and The Secret Ladder', in O.R. Dathorne, ed., Caribbean Narrative (London: Heinemann, 1966), pp. 61-81.
  • 'The Waiting Room', Black Orpheus, 19 (March 1966), pp. 24-44.
  • 'Extract from a Story', Ariel, 1.1 (January 1970), pp. 43-45.
  • 'Dark Rumour', in A.J. Seymour, ed., New Writing in the Caribbean, Guyana Lithographic Co., 1972, pp. 213-218.
  • 'Genesis of the Clowns', Commonwealth: Essays and Studies, 1 (1974), pp. 57-61.
  • 'Genesis of the Clowns', Review, 16 (Winter 1975), pp. 69-74.
  • 'Da Silva da Silva's Cultivated Wilderness', in Carifesta Forum (Jamaica: Institute of Jamaica, 1976), pp. 169-176.
  • 'Companions of the Day and Night', Hambone, 3 (Fall 1983), pp. 24-34.
  • 'Black Marsden', Hambone, 5 (Fall 1985), pp. 110-129.
  • 'The Angel at the Gate', Hambone, 6 (Fall 1986), pp. 129-142.
  • 'The Four Banks of the River of Space', Temenos, 10 (1989), pp. 54-60.
  • 'Resurrection at Sorrow Hill. Excerpt from a Novel in Progress', Callaloo, 15.4 (Fall 1992), pp. 899-902.
  • 'From Jonestown (Imagination Dead Imagine)', Callaloo, 18.1 (Winter 1995), pp. 5-12.
  • 'Jonestown', CARIBANA, 5 (1996), pp. 7-18.
  • From Palace of the Peacock, in John Thieme, ed., The Arnold Anthology of Post-Colonial Literatures in English (London: Arnold, 1996), pp. 524-532.
  • 'Extract from Jonestown', in Marc Delrez & Bénédicte Ledent, eds., The Contact and the Culmination. Essays in Honour of Hena Maes-Jelinek (Liège: L3 Liège Language and Literature, English Department, University of Liège, 1996), pp. 9-16.
  • 'From Jonestown,' Review of Contemporary Fiction, 17.2 (Summer 1997), pp. 24-41.
  • 'From The Angel at the Gate', in Caryl Phillips, ed., Extravagant Strangers (London: Faber & Faber, 1997), pp. 126-134.
  • 'Work-in-progress, from Jonestown. Draft 1994', in Stuart Murray, ed., Not On Any Map. Essays on Postcoloniality and Cultural Nationalism (University of Exeter Press, 1997), pp. 182-191.
  • 'From Jonestown', in The Archipelago. New Caribbean Writing; Conjunctions, 27 (Fall 1996), pp. 39-50.
  • From Jonestown, Atlanta Review, 3.2 (Spring 1997), pp. 71-77.
  • Extract from Palace of the Peacock, in Onyekachi Wambu, ed., Empire Windrush. Fifty Years of Writing about Black Britain (London: Victor Gollancz, 1998), pp. 63-67.
  • Black Marsden (1972), in James Procter, ed., Writing Black Britain 1948-1998. An Interdisciplinary Anthology (Manchester: Manchester University Press, 2000).
  • 'The Mask of the Beggar: Extract from a Novel in Progress', Temenos Academy Review, 5 (2002) pp. 3-9.
  • From The Dark Jester, Callaloo, 24.4 (2001), pp. 1052-1057.
  • From The Mask of the Beggar, Temenos Academy Review, 5 (Autumn 2002), pp. 161-167.
  • From The Mask of the Beggar, Moving Worlds, 3.2 (2003), pp. 8-11.
  • From The Ghost of Memory, Arts Journal, 2.2 (March 2006).

 

Collections of Essays

  • Tradition, the Writer and Society (London: New Beacon Books, 1967); rpt. 1973. See extract in John Thieme, ed. The Arnold Anthology of Post-Colonial Literatures in English (London: Arnold, 1996), pp. 532-537.
  • Fossil and Psyche (Austin: University of Texas at Austin, 1974); rpt. in Explorations.
  • Explorations, A Selection of Talks and Articles 1966-1981, ed. with an Introduction by Hena Maes-Jelinek (Mundelstrup: Dangaroo Press, 1981).
  • The Womb of Space: The Cross-Cultural Imagination (Westport, Connecticut: Greenwood Press, 1983).
  • The Radical Imagination, Lectures and Talks, ed. by Alan Riach & Mark Williams (Liège: L3 - Liège Language and Literature, English Department, University of Liège, 1992), 132 pp. [ table of contents ]
  • Selected Essays of Wilson Harris, in Wilson Harris. The Unfinished Genesis of the Imagination, ed. Andrew Bundy (London & New York: Routledge, 1999).

Essays

  • 'The Place of the Poet in Modern Society: A Glance at Two Guyanese Poets', The Graphic (May 1966); rpt. in Explorations.
  • 'Impressions after Seven Years', New World, 44.1 (July 1966), pp. 17-20.
  • 'Denis Williams', Kaie, 4 (July 1967), p. 22.
  • 'The Unresolved Constitution', Caribbean Quarterly, 14.1&2 (March-June 1968), pp. 43-47.
  • 'A Comment on A Passage to India', Literary Half-Yearly, 10 (July 1969), pp. 35-40.
  • 'Interior of the Novel: Amerindian / European / African Relations', in K.L. Goodwin, ed., National Identity (London & Melbourne: Heinemann, 1970); rpt. in Explorations.
  • 'The Phenomenal Legacy', Literary Half-Yearly, 11 (July 1970),pp. 1-6; rpt. in Explorations.
  • 'The Native Phenomenon', in Anna Rutherford, ed., Common Wealth (Aarhus: Akademisk Boghandel, 1971), pp. 144-150; rpt. in Explorations.
  • 'Kith and Kin', Journal of Commonwealth Literature, 7 (June 1972), pp. 1-5.
  • 'A Talk on the Subjective Imagination', New Letters, 40 (October 1973), pp. 37-48; rpt. in Explorations.
  • 'The Enigma of Values', New Letters, 40 (October 1973), pp. 141-149.
  • 'Reflection and Vision', in Hena Maes-Jelinek, ed., Commonwealth Literature and the Modern World (Brussels: Didier, 1975), pp. 15-19; rpt. in Explorations.
  • 'Journey into the Canje', in Bernth Lindfors & Ulla Schild, eds., Neo-African Literature and Culture, Essays in Memory of Janheinz Jahn (Wiesbaden: Heymann, 1976), pp. 346-352.
  • 'The Making of Tradition', in Alastair Niven, ed., The Commonwealth Writer Overseas, Themes of Exile and Expatriation (Brussels: Didier, 1976), pp. 33-39; rpt. in Explorations.
  • 'Scented Gardens for the Blind', in Jeanne Delbaere, ed., Bird, Hawk, Bogie (Mundelstrup: Dangaroo Press, 1978), pp. 63-67; rpt. in Explorations and in Jeanne Delbaere, ed., The Ring of Fire, Essays on Janet Frame, (Mundelstrup: Dangaroo Press, 1992), pp. 92-96.
  • 'Tradition and the West Indian Novel', in Tradition, the Writer and Society; rpt. in Edward Baugh, ed., Critics on Caribbean Literature (London: George Allen & Unwin, 1978), pp. 31-37.
  • 'Some Aspects of Myth and the Intuitive Imagination', Lecture given at the University of Guyana in March 1978, in Explorations, pp. 97-106.
  • 'Carnival of Psyche: Jean Rhys's Wide Sargasso Sea', Kunapipi, 11.2 (1980), pp. 142-150; rpt. in Explorations.
  • 'An Open Letter to Toussaint L'Ouverture of the San Domingo Revolution', in Great Leaders: Ancient and Modern. Special issue of Journal of African Civilizations, ed. by Ivan Van Sertima, 9 (December 1987), pp. 409-425. Rpt. 1993.
  • 'Raja Rao's Inimitable Style and Art of Fiction', World Literature Today (Autumn 1988), pp. 587-590.
  • 'The Frontier on which Heart of Darkness Stands', Research in African Literatures 12.1 (Spring 1981), pp. 86-93; rpt. in Explorations; also rpt. in Robert D.Hamner, Joseph Conrad: Third World Perspectives (Washington D.C.: Three Continents Press, 1990), pp. 161-167; also in Robert Kimbrough, ed., Joseph Conrad, Heart of Darkness. An Authoritative Text, Background and Sources Criticism. A Norton Critical Edition (New York & London: Norton & Company, 1988), pp. 262-268; also in Peter Childs, ed., Post-Colonial Theory and English Literature (Edinburgh University Press), pp. 227-233.
  • 'The Complexity of Freedom' (on Wole Soyinka's The Road), in Explorations, pp. 113-124; rpt. In Adewale Maja-Pearce, ed., Wole Soyinka: An Appraisal (Oxford: Heinemann, 1994), pp. 22-35.
  • Review of Joyce Sparer Adler's War in Melville's Imagination (New York: New York University Press, 1981), Ariel, 13.2 (April 1982), pp. 83-85.
  • 'Metaphor and Myth', in Robert Sellick, ed., Myth and Metaphor (Adelaide: Centre for Research in the New Literatures in English, 1982), pp. 1-14.
  • 'Reflections on William Faulkner's Intruder in the Dust in a Cross-Cultural Complex', World Literature Written in English, 22.1 (Spring 1983), pp. 98-106.
  • 'The Quest for Form', Kunapipi, 5.1 (1983), pp. 21-27.
  • Review of Keith Warner, Kaiso! The Trinidad Calypso, Research in African Literatures, 14, 3 (Fall 1983), pp. 417-421.
  • 'Character and Philosophic Myth', in Britta Olinder, ed., A Sense of Place, Essays in Post-Colonial Literatures (Göteborg: The English Department, Gothenburg University, 1984), pp. 124-130.
  • 'On the Beach', Landfall 155, 39, 3 (Sept. 1985), pp. 335-341.
  • 'A Note on the Genesis of The Guyana Quartet', in The Guyana Quartet (London: Faber & Faber, 1985), pp. 7-14.
  • 'Jean Rhys's "Tree of Life"', Review of Contemporary Fiction, 5.2 (Summer 1985), pp. 114-117.
  • 'Adversarial Contexts and Creativity', New Left Review, 154 (November-December 1985), pp. 124-128.
  • 'Carnival Theatre: A Personal View', in Masquerading, The Art of the Notting Hill Carnival (London: The Arts Council of Great Britain, 1986), pp. 38-42.
  • 'Character and Philosophic Myth', Hambone, 6 (Fall 1986), pp. 98-107. A different essay from that in Britta Olinder's A Sense of Place.
  • 'Houngan and Shaman', Hambone, 6 (Fall 1986), pp. 108-128.
  • 'Guyanese Folk-Speech', review of Slave Song by David Dabydeen (Mundelstrup: Dangaroo Press, 1984), The Race Today Review, 17.4 (December 1986), pp. 24-25.
  • 'An Inventive Thinker', in Paul Buhle, ed., CLR James: His Life and Work (London: Allison & Busby, 1986), pp. 230-231.
  • 'Fiction and Idea: A Note on Ellison's “Black Mask of Humanity”', in Benston-Kimberly, W., ed., Speaking for You: The Vision of Ralph Ellison (Washington DC: Howard University Press, 1987).
  • 'Guyana Prize Address', Kyk-Over-Al, 38 (June 1988), pp. 24-27.
  • 'Literacy and the Imagination', in Michael Gilkes, ed., The Literate Imagination: Essays on the Novels of Wilson Harris (London: Macmillan, 1989), pp. 13-30.
  • 'Validation of Fiction: A Personal View of Imaginative Truth', in Maggie Butcher, ed., Tibisiri (Mundelstrup: Dangaroo Press, 1989), pp. 40-51. Also in Kyk-Over-Al, 38 (June 1988), pp. 27-34.
  • 'Comedy and Modern Allegory: A Personal View', in Hena Maes-Jelinek, Kirsten Holst Petersen & Anna Rutherford, eds., A Shaping of Connections, Commonwealth Literature Studies-Then and Now (Mundelstrup: Dangaroo Press, 1989), pp. 127-140.
  • 'A Note on Zulfikar Ghose's “Nature Strategies”', Review of Contemporary Fiction, 9.2 (Summer 1989), pp. 172-178.
  • 'Oedipus and the Middle Passage', Landfall 170, 43.2 (June 1989), pp. 198-208. Also in Geoffrey Davis & Hena Maes-Jelinek, eds., Crisis and Creativity in the New Literatures in English (Amsterdam & Atlanta: Rodopi, 1990), pp. 9-21.
  • 'The Fabric of the Imagination', Third World Quarterly, 12.1 (January 1990), pp. 175-186; rpt. in Anna Rutherford, ed., From Commonwealth to Post-Colonial (Mundelstrup: Dangaroo Press, 1992), pp. 18-29.
  • 'An Approach to Couvade', in Michael Gilkes, Couvade, A Dream-Play of Guyana (Mundelstrup: Dangaroo Press, 1990), pp. xi-xiv.
  • 'Identities. Whose Europe is it anyway?', New Statesman and Society (22 June 1990), p. 3.
  • 'In the Name of Liberty', Third Text, 11 (Summer 1990), pp. 7-15.
  • 'Foreword' and 'The Amerindian Legacy', in Guyana Dreaming, The Art of Aubrey Williams, compiled by Anne Walmsley (Mundelstrup: Dangaroo Press, 1990), p. 9 and p. 81. 'Foreword' has been reprinted in Kunapipi, The Windrush Commemorative Issue, 20.1 (1998), p.61.
  • 'The Life of Myth and its Possible Bearing on Erna Brodber's Fictions Jane and Louisa Will Soon Come Home and Myal', Kunapipi, 12, 3 (1990), pp. 86-92.
  • 'A Note on A.R.F. Webber's Those That Be In Bondage', Callaloo, 13.1 (Winter 1990), pp. 147-149.
  • 'The Unfinished Genesis of the Imagination', Temenos 13 (1992), pp. 69-85. Also in Journal of Commonwealth Literature, 27.1 (1992), pp. 13-25.
  • 'Review of Laurence Scott, Witchbroom, Wasafiri, 16 (Autumn 1992), pp. 65-66.
  • 'Wilson Harris', An Autobiographical Essay (Detroit: Gale Research Inc., 1992), pp. 121-137. Also published in Joyce Adler, Exploring the Palace of the Peacock. Essays on Wilson Harris, ed. by Irving Adler (Mona, Jamaica: University of West Indies Press, 2003), pp. viii-xxxiv.
  • 'Tainted Histories', Sound and Sight, February 1992, p. 31.
  • 'The Absent Presence: the Caribbean, Central and South America' (University of Cambridge, 1990), Hambone, 10 (Spring 1992), pp. 212-223. Also published in The Radical Imagination.
  • 'Imagination Dead Imagine: Bridging a Chasm', The Yale Journal of Criticism, 7.1 (1994), pp. 185-195.
  • 'An Open Letter to Janet Frame', in Elizabeth Alley, ed., The Inward Sun, Celebrating the Life and Work of Janet Frame (Wellington: Daphne Brasell Associates Press, 1994), pp. 60-66.
  • 'Quetzalcoatl and the Smoking Mirror', Wasafiri 20 (Autumn 1994), pp. 38-43. Also in Review: Latin American Literature and Arts 50 (Spring 1995), pp. 76-83; see also 'Quetzalcoatl and the Smoking Mirror (Reflections on Originality and Tradition)', Review of Contemporary Fiction, 17.1 (Summer 1997), pp. 12-23; also in Sisyphus and Eldorado: Magical and Other Realisms in Caribbean Literature, ed. Timothy J. Reiss (Africa World Press, 2002) , pp. 1-13.
  • 'The Limbo Gateway', an Extract from History, Fable and Myth in the Caribbean and the Guianas, in Bill Ashcroft, Gareth Griffiths & Helen Tiffin, eds., The Post-Colonial Studies Reader (London: Routledge, 1995), pp. 378-82.
  • 'On Marginality', Caricom Perspective, Souvenir Issue (June 1995), p.61.
  • 'On the Cross-Roads', Kunapipi, 17.1 (1995), special issue in memory of Sam Selvon, pp. 33-34.
  • 'Profiles of Myth and the New World', in Wolfgang Zach & Ken L. Goodwin, eds., Nationalism vs Internationalism. (Inter)National Dimensions of Literatures in English (Tübingen: Stauffenburg Verlag, 1996), pp. 77-86.
  • 'A Brief Memoir', in Hena Maes-Jelinek, Gordon Collier & Geoffrey Davis, eds., A Talent(ed) Digger. Creations, Cameos and Essays in Honour of Anna Rutherford (Amsterdam & Atlanta: Rodopi, 1996), pp. 28-29.
  • 'Aubrey Williams', in Third Text, 34 (Spring 1996), pp. 79-82.
  • 'Apprenticeship to the Furies', River City, A Journal of Contemporary Culture, 16.2 (Summer 1996), pp. 104-115.
  • 'The Open Door', Journal of Modern Literature, 20.1 (Summer 1996), pp. 7-12.
  • Review of Michael Richardson & Krzystof Fijalkowski, Refusal of the Shadow: Surrealism and the Caribbean, Wasafiri, 25 (Spring 1997), pp. 96-98.
  • 'Spirit of the Place', Talk on BBC Radio 4, 1 June 1997.
  • 'A Note on Alan Burns's Fiction', Review of Contemporary Fiction, 17.2 (Summer 1997), pp. 186-192.
  • Merlin and Parsifal, Adversarial Twins (London: Temenos Academy Papers, 9, 1997), 15 pp.
  • 'Ways to Enjoy Literature', in Gilbert Debusscher & Marc Maufort, eds.,Union in Partition. Essays in Honour of Jeanne Delbaere (Liège: L3 Liège Language and Literature, English Department, University of Liège, 1997), pp. 201-208.
  • 'Creolization and the Creative Imagination', in Kathleen M. Balutansky & Marie-Agnès Sourieau, eds., Caribbean Creolization. Reflections on the Cultural Dynamics of Language, Literature, and Identity (University Press of Florida & The Press University of the West Indies, 1998), pp. 21-35.
  • 'Judgement and Dream' (University of Cambridge, 1989), in T.J. Cribb, ed., Imagined Commonwealth. Cambridge Essays on Commonwealth and International Literature in English (Basingstoke: Macmillan: 1998), pp. 51-67. Also published in The Radical Imagination.
  • 'The Music of Living Landscapes', Hambone, 14 (Fall 1998), pp. 169-176. Reprinted in Andrew Bundy, ed., The Unfinished Genesis of the Imagination. Selected Essays by Wilson Harris (London: Routledge, 1999), pp. 40-46.
  • 'Apprenticeship to the Furies', in Gordon Collier, Dieter Riemenschneider & Frank Schulze-Engler, eds., Post-Colonial Theory and the Emergence of a Global Society, ACOLIT, Special Issue 3 (Frankfurt am Main: ASNEL, 1998), pp. 137-149. A different essay from the one listed above under the same title.
  • 'The Psyche of Space (Intuition and Otherness)', in Jean-Pierre Durix, ed., Theory and Literary Creation/Théorie et création littéraire. Collection Kaléidoscopes (Dijon: Editions Universitaires de Dijon, 1999), pp. 11-19. Also published as 'Psyche of Space and Intuition of Otherness', CLR James Journal: A Review of Caribbean Ideas, 7.1 (Winter 1999/2000), pp. 3-13.
  • 'Closing Statement: Apprenticeship to the Furies', in Ashok Bery & Patricia Murray, eds. Comparing postcolonial Literatures. Dislocations (London: Macmillan, 2000), pp. 240-251. Same essay as in River City.
  • 'Intuition, Myth, Imagination, Memory', in Maura Dooley, ed., How Novelists Work (Bridgend: Poetry Wales Press Ltd, 2000), pp. 45-55.
  • 'The Age of the Imagination', Journal of Caribbean Literatures, 2.1&2&3 (Spring 2000), pp. 17-25.
  • 'Aubrey Williams', Journal of Caribbean Literatures, 2.1&2&3 (Spring 2000), pp. 26-30. This essay is not the same as that published earlier in Third Text.
  • 'Memoir', in All Are Involved: The Art of Martin Carter, ed. by Stewart Brown (Leeds: Peepal Tree Press, 2000), pp. 292-294.
  • 'Lectio Doctoralis', in The Literary Criterion, 35.1&2 (2000), pp. 21-27. Also in Cynthia Hyacinth Wyatt, ed., The Vitality of West Indian Literature, Caribbean and Indian Essays (Mysore : A Dhavanyaloka Publication, 2000), pp. 21-27.
  • 'Canaima: Renverser les habitudes de l'esprit dans les sillons les plus profonds de l'imagination', traduit de l'anglais par Marianne Enckell, Passerelles, 21 (Automne-hiver 2000), pp. 33-38.
  • 'Theatre of the Arts', in Theatre of the Arts. Wilson Harris and the Caribbean, ed. Hena Maes-Jelinek & Bénédicte Ledent (Amsterdam & New York: Rodopi, 2002), pp. 1-10.
  • 'On Marginality', Kyk-Over-Al, 39 (December 1988), pp. 82-87.
  • 'Theatre of the Arts', a slightly revised version of the essay published in Theatre of the Arts, in Places of Memory. Essays in Honour of Michel Fabre. Commonwealth: Essays and Studies. SP5 (2003), pp. 9-15.
  • 'Colonialism, E.M. Forster, and the Carib Bone Flute', in Make it New. The Rise of Modernism, ed. Kurt Heinzelman with a Foreword by Thomas Staley, Harry Ransom Humanities Research Center (Austin, Texas, 2003), pp. 18-19.
  • 'The Brutalisation of Truth', a talk given on 17 May 2003 at the University of Warwick. Forthcoming in a book of essays to be published by the Caribbean Centre of the University.
  • 'Resistances to Alterities', in Marco Fazzini, ed., Resisting Alterities. Wilson Harris and Other Avatars of Otherness (Amsterdam & New York: Rodopi, 2004), pp. 3-7.
  • 'The Mystery of Timelessness', Talk delivered on 18th August 2004 at the Festival of Edinburgh. The Caribbean Writer as Warrior of the Imaginary / L'Ecrivain caribéen, guerrier de l'imaginaire, ed. by Kathleen Gyssels & Bénédicte Ledent (Amsterdam & New York: Rodopi, 2008), pp. 25-30.
  • 'Foreword' to Guyana Dreaming. The Art of Aubrey Williams, compiled by Anne Walmsley (Sydney & Mundelstrup: Dangaroo Press, 1990), p. 9.
  • 'Canaima: An Overturning of Habits of Mind in Profoundest Trials of the Imagination', in Bénédicte Ledent, ed., Bridges Across Chasms. Towards a Transcultural Future in Caribbean Literature (Liège: L3 Liège Language and Literature: 2004), pp. 1-6.
  • Preface to Nathaniel Mackey, Bass Cathedral (New York: New Directions, 2008), pp. vii-xi.

 

Interviews

  • Interview by Ian Munro & Reinhard Sander, Kas-Kas, Interviews with Three Caribbean Writers in Texas (Austin: University of Texas at Austin, 1972), pp. 43-55.
  • Interview by Anna Rutherford & Kirsten Holst Petersen, Commonwealth Newsletter, 9 (January 1976), pp. 22-25.
  • Interview by Helen Tiffin, New Literatures Review, 7 (1979), pp. 18-29.
  • Interview by John Thieme, 'The Legacy of Conquest', Caribbean Contact (March 1980), pp. 17-18.
  • Interview by Michel Fabre, Kunapipi, 2.1 (1980), pp. 100-106.
  • 'Wilson Harris', A Conversation between Wilson Harris and Alan Burns, in Alan Burns & Charles Sugnet, eds., The Imagination On Trial. British and American Writers Discuss their Working Methods (London: Allison & Busby, 1981), pp. 64-65.
  • Interview by Michel Fabre, World Literature Written in English, 22.1 (Spring 1983), pp. 2-17.
  • 'Exile, Philosophic Myth, Creative Truth, Thrust and Necessity: An Interview with Wilson Harris', by Kalu Ogbaa, Caribbean Quarterly, 29.2 (June 1983), pp. 54-62.
  • 'Conversation with Wilson Harris', in Daryl Cumber Dance, New World Adams. Conversations with Contemporary West Indian Writers (Leeds: Peepal Tree Books, 1984), pp. 79-95.
  • Interview by Jöran Mjöberg, Svenska Dagbladet, 2 June 1985.
  • Unpublished Interview by Anne Walmsley, 11 February 1986.
  • Interview by Jane Wilkinson, Kunapipi, 8.2 (1986), pp. 30-45.
  • Unpublished interview by Stephen Slemon & Helen Tiffin (24 April 1986).
  • 'An Interview with Wilson Harris' by André Dommergues, Commonwealth: Essays and Studies, 9.1 (Autumn 1986), pp. 91-97.
  • 'Wilson Harris: in conversation with Fred D'Aguiar', Wasafiri, 5 (Autumn 1986), pp. 22-25. Also published in Susheila Nasta, Susheila, ed., Writing across Worlds: Contemporary Writers Talk (London: Routledge, 2004), pp. 33-44.
  • Interview by Claudette Earle, 'Marginal Societies, Arts of the Imagination and the Need to Interrogate the Building Blocks of Civilization', Sunday Chronicle (Guyana), 13 December 1987, p. 6.
  • Interview by Stephen Slemon, Ariel, 19.3 (July 1988), pp. 47-56.
  • 'Wilson Harris interviews by Rovin Deodat', Kyk-Over-Al 39 (December 1988), pp. 82-87.
  • 'Sul fiume della Guyana 1'esploratore trova la frontiera della fantasia', by Michele Neri, article and interview after publication of Il palazzo del pavone, La Stampa, 21 Gennaio (Jan.) 1989, pp. 4-5.
  • An Interview with Wilson Harris, by Munira, H. Mutran, Estudos Anglo Americanos, Sao Paulo, Brazil, 14-15 (1990-1991), pp. 1-4.
  • 'Some Intimations of the Stranger', Kirsten Holst Petersen & Anna Rutherford in conversation with Wilson Harris, in The Uncompromising Imagination, pp. 27-30.
  • 'The Landscape of Dreams', Michael Gilkes talks to Wilson Harris, in The Uncompromising Imagination, pp. 31-38.
  • Riach, Alan & Williams, Mark, "'Extracts from an Interview with Wilson Harris', Landfall, 46.4 (December 1992), pp. 389-396.
  • An Interview with Wilson Harris Conducted by Hena Maes-Jelinek, CARIBANA, 3 (1992-1993), pp. 23-30.
  • 'Profile of Wilson Harris'. A conversation with Fred D'Aguiar, Pauline Melville, David Dabydeen and Edward Blishen. A BBC Radio 4 Kaleidoscope first broadcast on 27 November 1993. Produced by Fred D'Aguiar. Kyk-Over-Al, 45 (December 1994), pp. 63-74.
  • 'The Composition of Reality: A Talk with Wilson Harris', by Vera Kutzinski, Callaloo, 18.1 (Winter 1995), pp. 15-32.
  • 'An Interview with Wilson Harris', by Charles H. Rowell, Callaloo, 18.1 (Winter 1995), pp. 192-200.
  • 'Interview with Wilson Harris' by Kerry Johnson, Journal of Caribbean Literatures, 1.1 (Spring 1997), pp. 83-95.
  • 'A Conversation with Wilson Harris', by Monica Pozzi, Il Tolomeo, 3 (1998), p. 179-184.
  • 'An Interview with Wilson Harris', by Maurice Lee, in Farhat Iftekharrudin, Mary Rohrberger & Maurice Lee, eds., Speaking of the Short Story (Jackson, MS: University Press of Mississipi: 1997), pp. 133-151.
  • 'Una Domanda a Wilson Harris, caraibico', by Carmen Concilio, L'Indice dei Libri del Mese, Anno XVII-N.6, 2000, p. 19.
  • 'Extracts from an Interview with Wilson Harris', by Alan Riach, Landfall 184 (December 1992), pp. 389-396.
  • 'A Conversation with Wilson Harris', by Monica Pozzi, in Journal of Caribbean Literatures, 2.1&2&3 (Spring 2000), pp. 260-270.
  • 'Wilson Harris and Fred D'Aguiar in conversation with Gordon Rohlher, in Theatre of the Arts. Wilson Harris and the Caribbean, ed. Hena Maes-Jelinek & Bénédicte Ledent (Amsterdam & New York: Rodopi, 2002), pp. 231-247.
  • 'When one dreams one dreams alone', interview by Fred D'Aguiar, Bomb, 82 (Winter 2002/2003), pp. 74-80.
  • 'An Interview with Wilson Harris', a shorter version of the interview which first appeared in Kas-Kas: Interviews with Three Caribbean Writers in Texas (1972). See above. Munro Ian & Sander Reinhard, eds.,Caribbean Writer, 17 (2003), pp. 211-222.
  • 'An Interview with Wilson Harris in Macerata', by Marina Camboni & Marco Fazzini, in Resisting Alterities, Marco Fazzini, ed., (Amsterdam & New York: Rodopi, 2004), pp. 53-64.
  • 'Wilson Harris with Fred D'Aguiar (1986)', in Susheila Nasta, ed., Writing Across Worlds. Contemporary Writers Talk (London & New York: Routledge, 2004), pp. 33-44.

 

In Translation

Novels

Palace of the Peacock

  • Le palais du paon, traduit de l'anglais par Jean-Pierre Durix, avec la collaboration de Hena Maes-Jelinek et Claude Vercey. Préface de Jean-Pierre Durix (Paris: Edition des autres, 1979); rpt. (Paris: Le serpent à plume, collection 'Motifs', 1994).
  • Der Palast der Pfauen, Aus dem Englischen von Inge Uffelmann. Mit einem Nachwort von Hena Maes-Jelinek (Zurich: Ammann Verlag, 1988).
  • Il palazzo del pavone, trans. Susanna Basso (Torino: Einaudi, 1989).
  • Palacio do Pavâo, traduçâo: Carlos Felipe Moisés (Sâo Paulo: Globo, 1990).
  • El palacio del pavo real, tr. Delia Mateovic (Barcelona: Diagonal, 2003).

The Secret Ladder

  • L'échelle secrète, traduit de l'anglais et préfacé par Jean-Pierre Durix (Paris: Belfond, 1981).

The Angel at the Gate

  • L'ange sur le seuil, traduit de l'anglais et préfacé par Jean-Pierre Durix (Paris: Belfond, 1982).

The Far Journey of Oudin

  • Longa Jornada de Oudin (Sâo Paulo: Globo).

Short Fiction

'Kanaima'

  • 'Tumatumari' (erroneous title), 'Kanaima' translated into French by Jean-Pierre Durix, in Gulliver, 11 (Summmer 1993), special issue on "World Fiction", pp. 133-40.
  • 'Kanaima', in Racconti Dai Caraibi. A cura di Paolo Bertinetti. Traduzioni di Paolo Bertinetti, Maria Clara Pasetti e Irene Pologruto (Milano: Arnoldo Mondadori Editore, 1997), pp. 197-206.
  • 'Canaima: Renverser les habitudes de l'esprit dans les sillons les plus profonds de l'imagination', traduit de l'anglais par Marianne Enckell, Passerelles, 21 (Automne-hiver 2000), pp. 33-38.

Poems

  • 'Tre poesie di Wilson Harris' ('Troy', 'Behring Straits' & 'Amazon', from Wilson Harris's Eternity to Season), translated into Italian by Andrea Gazzoni, ALI, 7 (2011), pp. 76-79.

Essays

  • 'Creolità: il crocevia di una civiltà?', Scritture Migranti, 3 (2009), pp. 143-157. 'Creoleness: The Crossroads of a Civilization?', translated into Italian by Andrea Gazzoni.

Miscellaneous

  • Beginning of The Four Banks of the River of Space translated into French by Jean-Pierre Durix, Revue noire, 9 (August 1993), p. 39.

© Hena Maes-Jelinek. Please do not reproduce without permission.
If you use this bibliography extensively, please kindly cite it among your sources.

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