Design of Water-Based Fire Protection Systems Essay

Storage Tanks are the tanks in which flammable and combustible liquids are stored. The storage tanks should be constructed of steel in case they are constructed above grounds. The non-combustible substance can be used for the construction if it is used to store a combustible liquid. The material used for the construction must be that helps the tank to be protected against the fire. In one of the storage tank fires broke out at the island of Palau Merimau, Singapore and the fire started catching tankage containing petroleum, motor gasoline and diesel product. Despite the size of fire and adverse logistics, fire fighting efforts were successful in controlling the fire. This require operational and design engineering considerations, proper fire fighting strategy, prefire and emergency response plans, fire water management and fixed/semifixed system. A permanent water supply, of sufficient volume, duration, pressure, required to properly operate the fire fighting equipment shall be made available as soon as combustible materials accumulate and in the same way underground waters are to be provided, installed and made available for use as early as possible at the place of fire. In case were fixed water protection system is not installed with the tank with flammable or combustible liquids the floating roof to cover on liquid which helps to protect the fire to be broke out. Most fires in this design of tank burn only at the seal and are usually easily extinguished. Tanks with floating roofs are not likely to be involved in serious fires. This is because there is far less liquid surface is exposed to the fire. When storage tanks are not equipped with fixed fire protection then it must contain a stable liquid storage at a pressure 17kPa (gauge). The tanks containing flammable liquids should be normally kept closed for protection of unless the tank is venting. Where drainage facilities are provided to drain water from dike areas, efforts should be made to prevent flammable liquids from entering into any natural resources as it constitute fire hazard. REFERENCE Referred to sites:1. http://www. ofm. gov. on. ca/english/Publications/Guidelines/part4/4commen5. asp SECTION 4. 3 TANK STORAGE Subsection 4. 3. 1. – Design, Construction and Use of Storage Tanks 2. http://www. osha. gov/doc/outreachtraining/htmlfiles/subpartf. html Fire Protection and Prevention DEFINITIONS APPLICABLE TO THIS SUBPART – Â §1926. 155 3. http://www. ofm. gov. on. ca/english/Publications/Guidelines/part4/4commen5. asp SECTION 4. 3 TANK STORAGE Dated 4th August 2007

Women’s Judo Debate

Women's Judo My dear fellow judos, martial arts practitioners and sports women, l, Gamma Gibbons, am delighted you have joined me today to unravel the nauseating, adverse light that has been shown upon women's Judo recently. After, having unfortunately been exposed to an atrocity of a biased article revolved around yours truly, I felt compelled to express my rage and dismay towards the sexist, ignorant writer behind these fabricated words, Andrew M Brown. Ladies, who is he to tell us which sports are socially acceptable to practice?Does he have the right to make sexist remarks bout our careers, when he himself, has spent time In a mental ward? Mr.. Brown, your article creates the wrong assessment of the beautifully orchestrated sport of women's judo. In your absurd article, you have displayed forms of incredibly offensive sexism, relating to my sport. The showcasing of your old fashioned opinions towards women being dominant in a strong sport has infuriated me. Your lack of understan ding and knowledge for female athletes participating In any sport, only make you look thick and sexist.Being a Judo myself, I have first hand experience of he sport, which puts me in a respectable position to inform that your accusations circling the sport is indeed, false. I apologize for my inconsiderate behavior, a Judo Mr.. Brown, is someone who practices Judo as a sport, male or female. Clearly from your fictional lies mentioned in your article you have no significant knowledge of the sport let alone the names of Its professional practitioners.I am not exactly sure how he could have the tremendous talent of successfully enraging the entire sports community from Just the insensitive, foul, sexist language used in the title of your written piece. The title – a few words in length and Mr.. Brown has already showcased his hidden talent of triggering the anger in a group of female athletes in just one click of the publish button. His disregard towards not only the sport but I ts athletes have immediately given the text a very condescending and patrolling voice as narrator, referring to Judos as â€Å"girls†.I'll have It known to you Mr.. Brown, that the entire female Olympic judo team includes adults ages 26 and above. He must have been blinded by the â€Å"disturbing† sight of a popular Olympic event that consists of watching â€Å"girls beat each other up†. If he is so emotionally â€Å"unsettled† by watching a match, we're happy to direct him back to his soap operas at home. HIS referral to the sport using what I consider street slang Infuriates me as the implication that no skill or training is required in order to participate in the sport.His low class view sickens me, furthering my disgust when he compares my match between my opponents as â€Å"two drunken women bashing ten bells out of each other†. How dare he dishonor this highly respected Olympic sport? He is a writer not a sports critic, so a piece of advice f or Mr.. Brown, stick to your own career. We do not â€Å"beat† or Have some respect for the commitment and strength it takes to hold a sport like judo. Additionally, I find it incredible that he can assert that he â€Å"probably sound appallingly sexist†.He has predicted his own criticism, suggesting the fact that he is fully aware that his discriminative mind is unsuitable for expressing his concern over a female sport, that's better known for its male practitioners. His condescending tone sounds as if he assumes that everyone will understand his reasoning. Newsflash Mr.. Brown, we are not so easily fooled by your attempt to evoke a family man status for yourself n order to counterbalance and deflect the controversy you caused. Anecdotes about his daughters have made me wonder, what if he had sons? Would his views be the same?He is only trying to step into the role of a respectable man to dodge the criticism he would receive; his literacy devices did not have its effe cts on us though right, ladies? Does he really call himself a writer? His opinion is old- fashioned portraying women as the weaker, inferior people in this society, describing our â€Å"soft limbs battered black and blue with bruises† after a match. We are a lot stronger than you think Mr.. Brown, we can handle a few bruises and scratches but not in any way are our limbs any softer than your office restrained limbs.In conclusion, as I have ferociously argued against Mr.. Brown's fabricated Judgments on a highly honorable Olympic sport, my opinions and feeling lie obvious. I am extremely appalled and repulsed by his sexist views and ignorant voice regarding not only me but also my fellow Judos and many other female athletes. I hope that I have conveyed my message across that women's Judo is far more skill related and respectable than what meets a washed up, sexist writer's eyes.

Art: Is It Important or Not?

Leonardo dad Vinci is known for his paintings, one of the art works Is called Mona Lisa. This work of art is Just a painting of the woman without any artistic perspective. But It Is not just a painting of a woman, because If It was we could not feel mysterious feeling. By looking at the Mona I-Sis that Leonardo loved which took four years to finish; we can feel his will to finish this planting with perfection, we can feel Is love toward this woman, and we can feel his sadness that come from the fact that she Is already someone's wife.Like this, we could feel the emotions that we might not have felt without work of arts. Arts teach us about the human emotions. The music is one of many subjects of arts, and it is most popular one. There are people that listen to music just to party, but some music has meaning and teaches us history. For example R;B music; this music is originated from the African American that was enslaved by white people. They sang this song to relieve the pain or sin g about the pain they felt. By listening to this kind of music, we can learn about he pain they felt and know the history when they were suppressed and enslaved.We can keep reminded that the enslaving people is bad thing and painful experience that we should not let anyone feel. Music teaches us about the history and also the emotions of creator of the music. There might be a people that think art is useless and meaningless, but it is a fact that arts possess meaning and teaches us about the world. By looking at the work of art we can feel what artist wants us to feel, we can learn the history, and we can earn the culture of time period when artist lived or place where art originated from.Also, we can see what kind of emotions that people felt during the time period of when art was created. The art is shows every human can feel, and we must learn from It. Art: Is It Important or Not? By hung meanings in the arts. The work of arts includes all the aspect of our society. The arts can express many feelings that we could not feel without it. There is countless Leonardo dad Vinci is known for his paintings, one of the art works is called Mona Lisa.This work of art is Just a painting of the woman without any artistic perspective. But it is not Just a painting of a woman, because if it was we could not feel mysterious feeling. By looking at the Mona Lisa that Leonardo loved which took four years to finish; we can feel his will to finish this painting with perfection, we can feel is love toward this woman, and we can feel his sadness that come from the fact that she is people that listen to music Just to party, but some music has meaning and teaches us from it.

The Way to Salvation Essay Example | Topics and Well Written Essays - 1250 words

The Way to Salvation - Essay Example In his disappointment, He sends the floods to destroy all His creations, save for the family of Noah, His chosen one, who lives up to His model behavior. Such a punishment God deeply regrets doing and thereupon enters into a covenant with Noah and all his descendants that never shall any such holocaust come upon His chosen people. As a reminder of that covenant, God sends forth the symbol of His reconciliation, the rainbow, which appears whenever clouds would form in the horizon. In addition, He gifts man with the power over all living things so that he may be able to live to the fullest according to his creative endowments and thus live in God’s continuing favor. But do we recognize God and the continuing favor He bestows upon us? Or instead of resting upon the credits of our inheritance from His outpouring of love, we choose to exhibit our forefathers’ disobedience and do as we please according to our desires and forget our covenant with Him? The first reading reminds us of this agreement that binds us all descendants of Noah. Let us remember God’s unconditional love and His ever-flowing mercy and forgiveness. At the same time, let us remind ourselves of the sign of God’s promise and the equivalent response befitting a beneficiary of God’s provisions. ... Jesus Christ is the fulfillment of god’s promise of salvation. Jesus is the evidence of His undying love for us His children. God loves us so much that instead of punishing us in the way of the Floods, He takes the opposite track of offering His son to die that all of us may live. And God knows how we would respond: we reject Jesus, we spit at him, we kick him, we insult him, we stone him, we do everything and anything but love him. Yet for all of these responses, our God who is in Jesus takes them all in silent submission till His crucifixion and death on the cross. We would crucify our own God and Savior to His death, and just as it was written, Jesus resurrects to tell the world, including his tormentors and crucifiers, that all is forgiven. That’s how much we are loved. How much do we love in return? Lent is a rainbow that calls us to our covenant, and as we enter this season, let us remember what and how we have been to Jesus. It is almost definite that whatever we are or have been, a saving grace is always waiting to welcome us to the loving Father, as Peter in the second reading reminds us. Our life may not be a life in Jesus but if the crucifiers have been embraced by the Father, no other indiscretion or sin could be more serious as not to be forgiven and accorded loving mercy. A recourse is ever available to allow us a renewal of our baptism in the Lord’s favor. Our sinfulness is our own temptation in the desert and even when we have mired ourselves a great distance away from Jesus, the same sinfulness can be our entry passage to a life of repentance and fullness. No longer will we be punished with the rampaging waters of

Malaya Political History Research Paper Example | Topics and Well Written Essays - 750 words

Malaya Political History - Research Paper Example The Malay population, however, has been more involved in the cultivation of rice and has therefore contributed in a great way to the agricultural sector. They have formed a greater part of the rural population of Malaysia, a fact that has been tried to be altered by the Malaysian government through conscious social engineering, in an attempt to provide the Malays with more employment opportunities. 3. Since 1957 Malaysian politics has been governed by the politics of ethnicity. British colonial rule had encouraged large-scale Chinese and Indian immigration, which contributed to the social and economic deprivation of the Malays, the Muslim indigenous population. The United Malays National Organization, the most important component of the BN coalition, has always stressed Malay development as its priority. However, because of the number and political importance of the minority groups, it has needed to govern in close collaboration with parties representing Chinese and Indian community interests. ... 4. The policy of the Japanese government towards Islam in Malaysia was one that accorded respect to the freedom of the Malaysians to follow a religion of their own choice. However, on the ground, they were unable to follow their own policy as a result of the intolerance and insensitivity that their soldiers practiced while they were expected to enforce the policy of tolerance towards religion. They continually engaged in the consumption of alcohol in mosques and other such activities on premises that were considered sacred by Muslims. This resulted in anger on the part of the Muslims towards the Japanese forces, who had in any case caused great damage to the economy and lifestyle of the Malaysians. 5. The  United Malays National Organization is  Malaysia's largest political party which has played an important role in Malaysian politics since  independence. The  Pan-Malaysian Islamic Par is an  Islamist  political party  in Malaysia and is currently headed by Dato' Serià ‚  Abdul Hadi Awang. In rural peninsular Malaysia, and particularly the relatively poor northeast, Parti Islam Se-Malaysia has been the primary opposition party since 1977 when it split from the BN. Though ostensibly non-racial, its main support base lies among Malays who would like to see Islamic values implanted more firmly in the constitution and daily life. Though it failed to make significant impact at the federal level until the 2008 elections, PAS has controlled the Kelantan state government since 1990, and the wider challenge that it poses has contributed to UMNO adopting an increasingly Islamist stance in order to appease the pro-Islam sections of the population. 6. UMNO is generally regarded as the "protector and champion Malay supremacy, which states that

The Weimar Cinema Essay Example | Topics and Well Written Essays - 2000 words

The Weimar Cinema - Essay Example From this study it is clear that  during the era of the Weimar cinema, there was experienced stylistic, economic and cultural transformation in the film industry of Germany. Isenberg’s quote is highly relevant as it higlights the various aspects in which the Weimar cinema impacted on the film industry in Germany. The economic, cultural and stylistic changes encountered at the time have had a profound effect on the history of cinema as practiced in Germany. The Germany film industry in the present day has been thoroughly influenced by the establishments of the Weimar cinema, whose influence is evident in the modern making of films.This report highlights that  The Weimar cinema occurred during the Golden Age of cinema that notably was the silent era of filmmaking in Germany and elsewhere in the world. While the modern day production of films in Germany has advanced tremendously following the technological developments, a lot of credit goes to the Weimar cinema for such advan cement. â€Å"During the Weimar cinema period in Germany, an exceptional variety and number of films were released on various themes that have continued dominating the film industry in Germany and internationally†.  Isenberg’s views are significantly important in pointing to the contuinity of thematic issues in the modern time of filmography as was during the Weimer cinema.  The Weimar cinematography was fundamentally inspired by the sordid politics that surrounded the aftermath of the World War I.

REFUGEE LAW AND PROTECTED PERSON in Canada Essay

REFUGEE LAW AND PROTECTED PERSON in Canada - Essay Example Firstly, the Immigration and Refugee Board of Canada together with Citizenship and Immigration Canada (CIC) provides for protection when a person cannot live permanently without fear of persecution (Canadians, 2010). In assessing gravity of Serbians in Croatia, we find that the client meet this constitutional provision. In assessing magnitude of torture and persecution in Croatia, it will be prudent to examine Croatia and â€Å"Ethnic Cleansing† (http://www.cgs.c.u-tokyo.ac.jp/download/cgs01_07_shimizu). In this article, it details how hundreds of thousands of Serbian became victim of genocide. As early as 1941, 750,000 defenseless Serbs were killed in cold blood (Daiute & Turniski, 2005). UNHCR report blames political rivalry during these early phases of anti-Serbian campaigns (http://www.refworld.org/country,,,,HRV,,553f617f4,0.html). In the recent past, the Croatian captured media attention when Whistle blower Chris Hedges came out to highlight plight of Serbians in 1998. The International Criminal Court (ICC) implicated Defense Minister Gojko Susak for the senseless killings of Serbians (http://45lines.com/levar/scare/scare.html). More recently, the cry to end tribulations of the Serbian population continues to grow. Many young and old are living in fear. Roman Catholic Church, the majority rising against Orthodox mainly the Serbians is evident (http://archbishop-cranmer.blogspot.com/2011/04/at-last-true-horror-of-persecution-of.html). The report further is supported by the ICC decision that found guilty Anto Gotovina and Mlade Markac of commanding operations to kill the Serbian

Trends in Mining Industry Case Study Example | Topics and Well Written Essays - 500 words - 98

Trends in Mining Industry - Case Study Example Aluminum cost is going even lower in China beyond much of other countries. This is due to the funding by the Chinese government which has now reduced competition for the aluminum product from China. Silver and copper are amongst those expected to drop as well, however, this may not be immediate but rather gradual. Diamond and gemstone are the minerals whose mining are expected to experience a boom realizing the largest industry growth in Australia. The mining industry in Australia has experienced a tremendous growth over time and is thus expected to affect a change in the mining industry. However, explorations or mines are in a downturn. There is slush in companies’ exploration budgets. Additionally, there is a plummet of about 30% in the exploration of non-ferrous metals. Thus the focus is shifting away from the exploration of minerals to production. The nursery sector of mining is shrinking due to a rise in troubled small miners. Small miners are experiencing problems due to lack of economies of scale. Costs are likely to careen beyond control due to the resultant pullback in the budgets for exploration threatening to widen the rift between supply and demand. The mining sector is in a decline falling with over 7.5% in 2014. The effects of these challenges have subsequently made companies mothball their projects as well as cap capacity. Therefore only an adoption of new ways of business will break this cycle. Nonetheless, CIBC world Market projects a likely rise in gold at about $US1383 per ounce as silver on the other end is to fall to about $US22.81 per ounce similarly, copper will experience a drop to $US3.17 per pound. A critical evaluation of Dicores customers and Dicores competitors shows the table below using strengths, weakness risks and opportunity (Amin, Razmi, & Zhang, 2011).

Federalism and the Thirteen Independent Sovereignties Coursework

Federalism and the Thirteen Independent Sovereignties - Coursework Example blish how the documents presented in Chapter 5 support this contention as well as identify exactly what were the main issues that are deemed to have been responsible for pitting Americans against Americans as well as colony against colony. One of the key issues that is seen to have pitted Americans against each other and in the process lend credence to the postulation that was made by Knox is that there appeared to be a raging conflict between members of different classes in the early American society. Zinn (2010), notes that the military across the various American states was regarded as being a place for the poor as it afforded them the opportunity of rising in rank, acquiring some money and eventually being able to change their social status. However, this dream was not realized by most of the poor Americans that joined the army as Zinn (2010) points out that Governor Robert Morris who had been appointed as the superintendent of finance had implemented policies that largely ignored the common soldier who was not getting paid, was suffering in the cold, dying of sickness while all along watching the civilian profiteers progressively get richer. Another conflict that is noted to have pitted Americans against Americans is the conflict over land that pitted Native Americans against the colonialist Americans. Zinn (2010) points out that Native Americans had for the most part bee ignored by the fine words of the Declaration which had been drafted and designed in such a manner that it would not grant them equal rights to those that were granted to White Americans. Before the Revolution, the Indians that had been living in New England and Virginia had been subdued by force and that that had been living in other regions of the country had been forced to work out modes of coexistence with the colonies. However, despite their having worked out modes of coexistence with the colonizing Americans, by around the 1750, the fast growing colonial population served to increase

Managing Resources Essay Example for Free

Managing Resources Essay The learning resource I have chosen is actually also used as an ice breaker for a lesson and then used to build on students communication, reading and understanding skills. The task is used to put students under a time constraint to complete a task of ready and answering simple and possibly trick questions in a short time frame. This resource is not used in a way to trick students but used to then get them to reflect on their ready and interpretation of a question. For example, the first part of the document tell them what they must do and this also asks them to use the space before the number to write their answers. Many students do not do this and proceed to write their answers at the end of the question. When a student is under stress, they may be able to learn skills in much less than the usual time. This is the theory also used in military basic training. It is known as ‘Quick Learning Under Pressure’, it reduces the time it takes to learn a skill through study. This theory has been interpreted under many different ways and Ann Dupuis suggests that under pressure students will gain new skills without taking time to study. Her theory goes onto describe how a Physician caught on a battlefield will under pressure help other people and learn surgery to assist other. I feel this adapts itself to my resource. Many students do not know how to adapt their skills under a timed period such as an exam and placing them under pressure for a short period of 5 minutes will get them later to reflect on their actions. This learning resource however may not be suitable to all students and it is not always used where I am aware of slow reader or maybe people who suffer with dyslexia. The choice to use this is based upon group dynamics and ability. When I thought of designing this resource I took into account how learners who complete this task can reflect on each question and question other peer group member answers. This then is reflected within Kolb’s idea on the learning cycle. Kolb works on a four stage cycle of Concrete Experience, Reflective observation, Abstract Conceptualization and Active Experiment. The experience side of things is the student actual having to complete the task. The reflective observation is covered by completed a group review of the answers. So at the end of the 5 minutes I will lead the students through the questions and statement finding out the students answers and getting them to reflect both personally and as a group on what they had originally written. Now they are reflecting are they changing their mind about the answers? Do they see their initial error when reading the question? The 3rd stage Abstract Conceptualization is then covered by the students looking at the task and ideas or concepts of others around them. The other student interpretation of the questions. The student will then process this information and is able to make a more informed decision. Final the Active Experiment part. 9/10 students want a copy to take a way and try on friends and family so they can put their new skills or understanding into practise of others. This theory is adapted from Kolbs 2006 theory which he updated added extra reasoning behind the 4 main stages. The learning resource once we have gone through the answers can now have the idea and new acquired skills in practising exam questions or exam papers under timed conditions. It also teaches the students not to read something once and immediately think the understand what is being asked of them. When I am moving on from this learning resources onto practise exams I am conscience of the different learning styles I have in the room. I have to ask myself what type of learning styles I have in the room. Do I have the reflector, the theorist, the activist or the pragmatist? The understanding behind this is designed by Honey Mumford. They came up with these 4 titles. Reflectors like to stand back and look at a situation from different perspectives. They like to collect data and think about it carefully before coming to any conclusions. They enjoy observing others and will listen to their views before offering their own. Theorists adapt and integrate observations into complex and logically sound theories. They think problems through in a step by step way. They tend to be perfectionists who like to fit things into a rational scheme. They tend to be detached and analytical rather than subjective or emotive in their thinking. Activists like to be involved in new experiences. They are open minded and enthusiastic about new ideas but get bored with implementation. They enjoy doing things and tend to act first and consider the implications afterwards. They like working with others but tend to hog the limelight. And finally; Pragmatists are keen to try things out. They want concepts that can be applied to their job. They tend to be impatient with lengthy discussions and are practical and down to earth. The one good thing about this resource is as long as I have it on paper to hand out (good planning) I don’t need any other resource or technology. I have used this learning resource as a back up lesson in the past when either our computer systems have gone down, or I have arrived at a venue that does not have ICT facilities of some way of showing resources on a smart board or projector. This learning resource is shared out so widely. As mentioned earlier many students ask for a copy to take away with them so I ensure I always have spares to hand to give out and share the experience. Even if it is just for fun.! The main learning outcomes are to show the students that they need to read the question carefully, even if under pressure. To look out for trick questions or two part questions. And finally extracting the information out of the question that is not relevant to exactly what is being asked of them. In relation to legal requirements, this learning resources has been adapted from a many similar styles. I have used a number of my own questions, however I have added questions I have seen elsewhere and this includes from magazine riddles for fun and other websites. This resource has been changed several times and questions replaced with what I felt where better one to get the students thinking more. This then I believe fall under my Intellectual property right. This is the ownership of ideas or work. Copyright is different as copyrighted material means information created by someone else and a you are not allowed to copy it without the owner permission which may incur costs. An easy understanding of this would be music. If I brought a cd from a store and copied it onto a blank disc and then sold it I would be breaking copy right laws as I am selling something someone else owns. This is the same with learning materials.

The Social And Legal Factors Economics Essay

The Social And Legal Factors Economics Essay Barratt Development plc, a national house builder in the UK construction industry, listed in the FTSE 250, is the second largest house builder in the UK by revenue and by market size (LSE 2010). Like its two biggest competitors, Taylor Wimpey plc and Persimmon plc, it has within the last two years been badly affected by the recession which hit the UK economy in 2008. Before then the company, which was founded in 1958 in Newcastle upon Tyne, had enjoyed relative boom in the UK house building sector, culminating in the acquisition of Wilson Bowden plc in 2007. This acquisition enabled the company to effectively expand its commercial property development arm. As at present, Barratt Developments is represented in all house sectors in the UK, with Barratt Homes in the residential housing market, David Wilson Homes in the up-scale housing market, Ward Homes (a regional brand operating in Kent and south-east), and Wilson Bowden Developments in the social housing and commercial property deve lopment market. The onset of the recession has however presented unprecedented challenges to Barratts operations, causing it to have to rethink strategies and policies in a bid to reduce mounting debts and cope with falling house prices and a drop in sales due to falling demand for new homes. Business-related events Political Factors Political, economic, social, technological, legal and environmental factors in the UK have in the past determined strategies adopted by Barratt Developments plc and will continue to do so. Political decisions determine economic and regulatory policies which have to consider in formulating strategy. For example, the governments Home Owners Mortgage Support Policy Scheme assists home owners who have met certain criteria and are unable to meet their mortgage commitments to pay off their mortgages by providing up to 80% of total interest guaranteed (Communities and Local Government 2010). This policy will in some way determine part of Barratts strategy because the more people who can afford mortgages, the more houses developers like Barratt will sell. Social and Legal Factors Social and legal factors also affect the strategies Barratt adopts because change in patterns of living may dictate what type of houses become more in demand, (for example, family style houses as opposed to flats or vice versa), while changing laws and regulations also have to be satisfied in the course of carrying out their core business activity. Economic Factors The main focus here however is on the prevalent economic factors and how Barratt responds in term of strategy. Lets look into the GDP and unemployment rate, the GDP has been fall even seriously compared to the previous recessions, most sectors of the economy are still struggling with the effects of the down-turn. The result, coupled with high unemployment rates, is that people have less money to spend, and tend to spend their limited resources on essential commodities. This invariably means that the high end market where Barratt is represented by the David Wilson brand may suffer. However, the government has made efforts to ensure that more credit is available for people through the banks by issuing bailout funds. These measures may yet still be inadequate, as depicted in a recent Financial Times Online article, where Barratt called for banks to increase lending and review current stringent mortgage criteria (FT 2010). These developments also means that Barratt may have to sell its c onsiderable stock of built houses at prices far lower than were originally estimated, in order to raise cash and improve liquidity. Porters 5 Forces Buyer Power Depends on individual buyers. Barratt sells to individuals and groups and the government. Individual customers have less bargaining power, while groups and government have more bargaining power. Supplier Power Many suppliers and therefore high competition, several alternative materials are available. Suppliers depend on the major house building firms like Barratt for repeat work and are likely to agree price discounts. Threat of substitute products Most products in the market are known already. Barratt is at the forefront of developing new products, so the threat of new products is relatively low for now. Barratts competitors Taylor Wimpey: Largest sales revenue, market size of 130,000 Persimmon Group: 3rd largest sales revenue, market size of 12,000 Berkeley Group: 4th largest sales revenue, market size of 6,000 Threat of new entrants to the market Barriers to entry: High capital requirement, land acquisition expertise, economies of scale, depresses property market. SWOT Analysis Strengths (internal positive factors) These will include Barratts diverse product portfolio which allows it to switch products with demand. The board of Barratt consists of five executive and five non-executive members from diverse. Barratts leading role in innovative house building technology is an advantage. Weaknesses (internal negative factors) Lack of adequate finance and debt is a continual setback to the survival of the company. Timing of merger with the Wilson Bowden brand has affected Barratt negatively in terms of finance within the last few years. Unsold stock of houses is still a problem as it ties up much needed cash. Opportunities (external positive factors) Advancement in technology and emphasis on sustainability means that Barratt can take advantage of its innovativeness to gain competitive advantage. The underdeveloped nature of the specialized retirement home market means that Barratt can expand to that market. The economic forecasts show that the recession has technically come to an end. Barratt can position itself to take advantage of the recovering economy when it fully sets in. Threats (external negative factors) Government plans to cut spending in future could hamper Barratts ability to reach full recovery. While is still tries to return to profitability, some of Barratts competitors are already profitable. This could pose challenges to Barratts progress. Consumer confidence in the market may not return to pre-recession levels long after the recession reverses.

Understanding Of Ancient Pompeian And Herculaneum Civilisations History Essay

Understanding Of Ancient Pompeian And Herculaneum Civilisations History Essay Pompeii and Herculaneum became Roman towns more than a century before the eruption and many aspects of Roman society were reflected through their social structure.  [1]  Society in Pompeii and Herculaneum was a mix of different social classes that was well-ordered and divided into three the upper class, middle class and lower class.  [2]  Buildings, frescoes, statues, graffiti and inscriptions revealed some names and faces of men and women from all levels of society. This essay will be discussing an upper class woman, Julia Felix an upper class man Marcus Nonius Balbus and prostitution. According to the Romans the social status of men and women was influenced by their wealth, their family background or their official positions.  [3]   Julia Felix was a very wealthy Roman woman. She inherited her money from her family and owned a villa that took up an entire block in Pompeii.  [4]   A house is a strong reflection of social status.  [5]  The features and size of the house of Julia Felix suggest that it belonged to a wealthy person. It was well furnished, decorated with paintings depicting scenes from the Forum and frescoes depicting scenes from everyday life and items enjoyed by the household.  [6]   Excavations revealed that after the 62AD earthquake the house was ruined. Julia then decided to rent out part of her house to help people from the shortage of accommodation. The house then consisted of apartments, shops, toilets, gardens, and bars. She also opened her private bath to the public. This supports that the household was wealthy, as in ancient Pompeian times not all houses featured baths as they were costly. An inscription has been found in the House that said: To let, in the estate of Julia, daughter of Spurius: elegant baths for respectable people, shops with upper rooms and apartmentsà ¢Ã¢â€š ¬Ã‚ ¦ the lease will expire at the end of the five years.  [7]  This suggests that women could own property without the interference of any male meaning they were independent and can take charge of constructing buildings with their own money.  [8]  This inscription also reveals that Julia was involved in business activities. She was a main public figure that made her influential in Pompeii. However historians may never know the true extent of the independence of women.  [9]   When excavations took place many sections were uncovered they include, the triclinium, garden, and private bath. The triclinium in the house of Julia Felix was well decorated with frescoes depicting everyday life scenes. It consisted of marble beds with a fountain with a waterfall and three klinai, on which diners would sit to take their meals. Each couch had room for three diners who could lie down on cushions while they were served by slaves.  [10]   The private baths were complex. They consisted of a dressing room with cold tub, a warm and hot bath, a cloak room, an open pool as well as a waiting room where bathers could have a chat and purchase snacks from the tavern.  [11]  At first the bath was strictly used by the households but later it was used by the public if they paid.  [12]   The garden of the house was ample of space and water. It was divided into two parts, one part was a great viridarium decorated with statues, fountains, and marble columns whereas the other part was planted with trees and there was a fruit orchard divided by paths for walking.  [13]  And a small shrine to the Egyptian goddess, Isis was found in the garden.  [14]   Another archaeological source revealing information about the upper class is the marble statue of Marcus Nonius Balbus. Marcus was born in Nuceria, but lived in Herculaneum; he was the proconsul of Crete and Cyrene, a supporter of Octavian and the tribune of the lower class in 32BC.  [15]  He is also known as a supporter of the Vespasian in the Civil War in AD68-69.  [16]   Marcus was also an important political figure; as he was a good friend of Julius Caesar and helped in having the First Triumvirate, between Caesar, Crassus and Magnusin in 60 BC.  [17]   Inscriptions reveal that Marcus was a duumviri; he was elected ten times which indicates that he was active in the community.  [18]   The altar and statue were located near the suburban baths in Herculaneum, but unfortunately the statue was found in pieces, as the head was several meters away from the body. It is believed that the altar and statue were built in the early Augustan period, by the local senate of Herculaneum dedicated to Marcus.  [19]   Inscriptions found state: To Marcus Nonius Balbus, son of Marcus, praetor and proconsul, from the Herculaneans and Marcus Nonius Balbus, son of Marcus, proconsul, [built] the basilica, gates [and] wall with his own money.  [20]   These reveal that Marcus was named the patron of Herculaneum as the 62AD earthquake Herculaneum was ruined therefore; he donated money to the reconstruction and renewal of the city. A basilica, public baths were built along with walls surrounding Herculaneum.  [21]  Therefore, building inscriptions reveal that upper class men owned sufficient amount of money to improve qualities of the city and honour the person who built them. The altar and statue imply that upper class men were honoured and respected and had influential powers. When he passed away he was greatly honoured and this is shown through an inscription carved on the altar where his body was burnt and his ashes were collected.  [22]   Another aspect of social status in Pompeii and Herculaneum was prostitution. Prostitution was common in Pompeii. It was not illegal, as it was a normal business just like other businesses but prostitutes were considered low.  [23]  It is difficult to determine the status of the prostitutes but it was believed that they were slaves, freedwomen and foreigners many from Egypt and Syria.  [24]  Upper class women such as wives, and daughters were forbidden to practice prostitution. Prostitution was a normal part of the sexual life of any Roman man.  [25]  Many men visited brothels as well traders from other towns.  [26]  Twenty five brothels were identified by the Professor Thomas McGinn in Pompeii, whereas none were identified in Herculaneum; however it is assumed prostitution was also practiced there.  [27]   Professor Andrew Wallace-Hadrill excavating at Pompeii and Herculaneum used a criteria to identify the brothels: brothels were situated on a corner isolated from the main areas of social activity consisted of at least five rooms upstairs featuring stone beds large amount of graffiti and wall paintings Lupanar was one of the main brothels in Pompeii; it was situated two blocks east from the forum.  [28]  It was a two storey building consisting of ten stone beds with mattresses, each bed in a separate room, and a toilet under the stairs. The walls revealed the different sexual activities offered, the prostitutes names and the prices. The average price was six hundred sesterces.  [29]   Graffiti revealed the customers opinions on Lupanar and the prostitutes. One hundred and twenty graffiti were found. A graffiti states: Here I had sex with a very beautiful girl admired by many.  [30]   Prostitutes operated in different places and were differently paid depending on their social status. The poor prostitutes such as slaves did their business in archways while high class courtesans operated in better surroundings.  [31]   Prostitution was profitable, prostitutes were to register with the aediles and tax was introduced during the emperor Gaius period.  [32]   To conclude, the social status of men and women was influenced by their wealth, their family background or their official positions.  [33]  The survival of ancient buildings such as House of Julia Felix and Lupanar, and statue of Marcus Balbus, graffiti, frescoes and inscriptions greatly contributed to the understanding of the ancient society of Pompeii and Herculaneum, by revealing much information that gave historians and archeologists an insight of that ancient society.

Getting Things Done: The Art of Stress-Free Productivity :: Book Review, David Allen

The book I chose to read is Getting Things Done: The Art of Stress-Free Productivity by David Allen. David Allen is considered by Forbes Magazine to be in the top five executive coaches in the United States. He has over thirty years of experience in coaching some of the highest ranking executives in some of the biggest businesses in the United States. Time Magazine called this book, â€Å"the defining self-help business book of it’s time." The book is broken down into three main parts and thirteen chapters and sub-sections. The first part is titled The Art of Getting Things Done. It contains information on societal shifts in the workplace and ways to manage work. Among his tips, he believes everyone should physically write down every task they must accomplish on a daily basis, whether they write it on paper or electronically. They must then make decisions based on length and importance and decide which tasks to accomplish and when to accomplish them. His main point of emphasis in this first chapter is that the mind becomes too cluttered and that short-term memory should be used to focus not store things. In chapter two, the author introduces his five keys or stages to controlling/managing workflow. They are (1) to collect, (2) process, (3) organize, (4) review and (5) do. He points to these five steps as a way to organizing work that needs to be accomplished and successfully completing it. The last chapter in the firs t section is about vertically focusing on the thought process to complete projects. Allen outlines five more steps to accomplish any task. They are (1) defining purpose and principles, (2) outcome visioning, (3) brainstorming, (4) organizing, and (5) Identifying next actions. The second part of this book, which is well over  ½ of the entire book, is somewhat of a repeat of the first part but a much more detailed perspective of the methodology of David Allen. He recommends taking two days at the start of his process just to get organized. Within these two days, one should set up private workspace not only at work but at home also. In chapter five and six, Allen refers back to his five keys to control workflow, he points out to accomplish the collecting phase completely before moving onto the processing and organizing stages. This will eliminate distractions. During the processing phase, a person is not really completing any items but rather identifying what needs to be done with each one.

George Orwell :: essays research papers

Eng. 12 Essay #3 Revision Save Face Or Do What’s Right? In the essay "Shooting an elephant" George Orwell describes an incident he had while working as an Imperial Police officer in Burma. An elephant had gone out of control and was loose in a town. He was forced to make a decision on whether to follow the will of the local people, or to save the elephant's life. Orwell knew it was wrong to kill the elephant. He had not wanted to from the beginning. He had brought a gun just in case he might need it. When he finally came to the elephant, who was peacefully eating outside of the town it no longer posed a threat. But, a large group of people had formed behind him, and they were now expecting him to kill the elephant, giving them a show and some food. The people who had abused him the entire time he had been in Burma now found him worth some interest. If he didn't kill the elephant, he would be disappointing all of the people. He considered it his job at that point to impress the people. So he killed the elephant for the people, hoping to gain respect from them. In my personal experience, I was once faced with a situation like Orwells. I was put in a situation where I had the choice of saving face or doing what was right, unlike Orwell I chose to do what was right. This passed week it happened, A couple of friends were going to Philadelphia to go to a overnight club. They were going to stay there for three days, which meant I would have missed three days of school and work. My friends were pressuring me to go, fortunately for me I don’t care what people say or think about me. They called me names. They said I was chicken, nothing serious, but it hurts when your own friends call you names. When they were leaving they called me one last time. They kept pressuring me to go. Like In "

A comparison between Jean Rhys and Una Marson Essay

Voyage into the Metropolis: Exile in the Works of Jean Rhys and Una Marson. In Jonathan Miller’s 1970 production of Shakespeare’s â€Å"The Tempest† the character of Caliban was cast as black, therefore reigniting the link between the Prospero/Caliban paradigm as the colonizer/colonized. It was not a new idea, indeed Shakespeare himself envisaged the play set on an island in the Antilles and the play would have had great appeal at the time when new territories were being discovered, conquered, plundered and providing seemingly inexhaustible revenue for the colonisers. What is particularly interesting, however, is how powerful the play later becomes for discourse on colonialism. This trope of Caliban is used by George Lamming in â€Å"The Pleasures of Exile† where he likens Prospero in his relationship with Caliban, to the first slave-traders who used physical force and then their culture to subjugate the African and the Carib, overcoming any rebellion with a self righteous determinism. In â€Å"The Pleasures of Exile† Lammi ng sees Caliban as: â€Å"Man and other than man. Caliban is his convert, colonized by language, and excluded by language. It is precisely this gift of language, this attempt at transformation which has brought about the pleasure and the paradox of Caliban’s exile. Exiled from his gods, exiled from his nature, exiled from his own name! Yet Prospero is afraid of Caliban. He is afraid because he knows that his encounter with Caliban is, largely, his encounter with himself.† 1 The Prospero/Caliban paradigm is a very relevant symbol for the colonizer/colonized situation of the West Indies but it nevertheless remains a paternalistic position. Where does that leave women of the Caribbean? It could be argued that the Caribbean woman has been even further marginalized. That in making Caliban the model of the Caribbean man it is therefore providing him with a voice. Yet nowhere in the Tempest is there a female counterpart, rendering the Caribbean woman invisible as well as silent and ignoring an essential part of their historical culture. Another issue raised here, is that Caribbean literature has for many years been male dominated. Just as the colonizer sought to ignore and marginalize their savage ‘Other’ so the Caribbean male has ignored their female counterpart. Opal Palmer Adisa, in exploring this issue, believes that it is â€Å"out of this patriarchal structure, designed to make her an object, part of the landscape to be used and discarded as seen fit by the colonizer, that the Caribbean woman has emerged.†2 It was out of such a ‘patriarchal structure’ that Jean Rhys and Una Marson emerged. The writing of both women revise and expand theme and personae, subverting a colonial and patriarchal culture. Both women â€Å"may exist in different ethnological and ontological realms but they both exist in worlds which have, at one time or another, attempted to censure, silence or ignore the ideals and interests of women†3 Like many of their male Caribbean counterparts to succeed them, their writing was greatly influenced by voyaging into the colonial metropolis and living in exile. In this essay I will discuss the importance of that journey in seeking to find a voice, an identity, and even a language to challenge established notions of Self, gender and race within the colonial structure. But essential to their experience is their struggle. Naipaul recognised, in Rhys, the themes of â€Å"isolation, an absence of society or community, the sense of things falling apart, depende nce, loss†.4 This could also be said of Marson. Jean Rhys was born Ella Gwendoline Rees Williams on 24th August 1890, in Roseau, Dominica to a Creole mother of Scottish descent and a Welsh father who was a doctor. Rhys left Dominica in 1907, aged sixteen and continued her education in a Cambridge girls’ school and then at the Academy of Dramatic Art which she left after two terms. Rhys experienced feelings of alienation and isolation at both these institutions and these feelings were to stay with her for much of her life. Upon pursuing a career as a chorus girl under a variety of names Rhys embarked on an affair with a man twenty years older than herself and which lasted two years. It is broadly accepted that this early period of her London life formed the structure for Voyage In The Dark, and like all of Rhys’s novels, explores homelessness, dislocation, the marginal and the migrant. The character of Anna, like most of her female protagonists exists in the demimonde of city life, living on the wrong side of respecta bility. What Rhys does effectively in this novel is to centralize the marginalized, those subjects â€Å"who belong nowhere, between cultures, between histories.†5 Una Marson was born in rural Jamaica in 1905. Her father was a well respected Baptist minister and as a result of his standing within the community Marson had the opportunity to be educated on a scholarship at Hampton High School, a boarding school for mainly white, middle class girls. After finding employment as a stenographer, Marson went on to edit the ‘Jamaican Critic’, an established literary publication, and from 1928-1921, her own magazine ‘The Cosmopolitan’. Having established herself as a poet, playwright and women’s activist Marson made the decision to travel to Britain. Her achievements in London were impressive; a social activist within the League of Coloured Peoples which led to her taking a post as secretary to the deposed Emperor Haile Selassie and later she was appointed as a BBC commentator. In reality, however, Marson, like Rhys found the voyage into the Metropolis very difficult. Facing blatant racial discrimination like ‘so many West Indian women migrants of the 1950s, Una found herself blocked at every turn. She complained and cried; she felt lonely and humiliated,’. 6 In spite of many literary and social connections she remained an isolated and marginal figure. Her poetry displays the uncertainty of cultural belonging where her language ties her to colonialism yet also provides her with a powerful tool with which to challenge it. In placing Rhys alongside Marson as pioneering female writers, it is important to explore the notion of nationality, of being Caribbean and to question the grounds upon which such ideas are constructed. Both women were writing at the same time, having been born and educated in the British colonies. Both these writers, whose lives span the twentieth century, are situated at the crossroads of the colonial and post-colonial, the modern and post modern, where the threat of fascism and war result in anti colonial struggles and eventual decolonisation across the world. Their voyages from the colonies into the metropolitan centre generate similar experiences. What is clear with both is that by journeying into the metropolis, as women, they occupy a double marginal position within an already marginalized community. Their journey can be seen as an exploration of displacement where, according to Edward W. Said, the intellectual exile exists ‘in a median state, neither completely at one with the new setting nor fully disencumbered of the old, beset with half involvements and half attachments, nostalgic and sentimental at one level, an adept mimic or a secret outcast on the other.’7 Rhys and Marson, having left the Caribbean are asking us to consider what it means to write from the margins. Within their work, both women challenge notions of women’s place within society and women’s place as a colonized subject in the metropolitan centre. The protagonist, Anna Morgan, in Voyage in the Dark, reflects Rhys’s own multi indeterminate, multi conflicted identity. Anna, like Rhys is a white descendent of British colonists and slave traders who occupy a precarious position of being â€Å"inbetween†. Hated by the Blacks for their part in oppressing the slaves and continuing to cling on to that superior social position, they are also regarded by the ‘mother country’ as the last vestiges of a degenerate part of their own history best forgotten. Moreover, 1930s England, still under the shadow of Victorian moral dicta, continued to judge harshly a young woman without wealth, family, social position and with an odd accent. Throughout the novel Anna is identified with characters who are â€Å"usually objectified and silenced in canonical works: the chorus girl, the mannequin, the demimondaine.†8 Much has been made of her reading of Zola’s Nana and indeed there are many parallels between the two characters. Anna, like Nana becomes a prostitute and in the first version of Voyage in the Dark Anna like Nana dies very young. There is of course the obvious anagram of her name but, as Elaine Savory highlights, some interesting revisions by Rhys. Whereas Zola, in Nana, creates a character who brings about the downfall of upper class men not through power but â€Å"with only the unsophisticated currency of youth and raw female sexuality†9 Rhys, in Anna, creates a character who is herself destroyed by men. â€Å"In Rhys’s version the men who use her youth and beauty are for the most part evidently cowardly or downright disreputable: Anna herself begins as naively trusting, passes through a stage of self destructive hopelessness and passivity and ends, in Rhys’s preferred, unpublished version, by dying from a botched abortion.†10 If we are to see Walter Jeffries as the original European, existing in a world viewed certainly by himself as principally ordered and reasonable then Rhys is, through this character, highlighting the degenerate aspect of using power to commodify and even destroy, thereby subverting the colonizer’s position in relation to the colonized. Through the character of Anna, Rhys explores those oppositions of â€Å"Self† and â€Å"Other†, male and female, black and white. Even though she outwardly resembles the white European, enabling her, unlike Marson, to blend visually within London, her association with the Caribbean sets her apart as between black and white cultures and as an exotic â€Å"Other†. This ambiguity of Anna’s position results in â€Å"slippage†. Anna and her family would have been regarded in the West Indies as the white colonizers. In England and in her relationship with Jeffries she becomes the colonized â€Å"Other†. In being read as the colonized subject Anna is continually having to adapt her world view and sense of identity to the perspective being imposed on her. A good example of this is the chorus girls’s renaming her as the â€Å"Hottentot† aligning her more with the black African and demonstrating the homogenizing of the colonized peoples b y the colonizers. This is similar to Spivak’s belief that ‘so intimate a thing as personal and human identity might be determined by the politics of imperialism.’11 Interestingly, â€Å"Hottentot† is the former name for the Nama, a nomadic tribe of Southern Africa. A somewhat apt comparison which reflects Anna’s own nomadic existence as she moves from town to town as a chorus girl and from one bed sit to another. The term â€Å"Hottentot† developed into a derogatory term during the Victorian era and became synonymous firstly with wide hipped, big bottomed African women with oversized genitals and then with the sexuality of a prostitute. Jeffries is fully aware of the implications of the name â€Å"Hottentot†. In response to hearing Anna’s renaming he says, â€Å"I hope you call them something worse back.†12 Elaine Savory makes a strong connection between Anna’s renaming and her relationship with Jeffries, her eventual seducer. Whilst â€Å"not looking at Anna’s body in an obvious way, eventually the transaction between them is understood fully on his side to be a promise of sexual excitement from a white woman whom he perceives as having an extra thrill presumably from association with racist constructions of black females in his culture.†13 Franz Fanon, in his book Black Skin, White Masks perceives these complex colonial relations as being in a state of flux rather than fixed or static. In his introduction to Fanon’s text, Homi Bhabha highlights this point, stating that the ‘familiar alignment of colonial subjects†¦Black/White, Self/Other†¦is disturbed†¦and the traditional grounds of racial identity are dispersed.’14 So it is in the relationship between Jeffries and Anna. In transposing the colonizer’s stereotypical images of a black woman onto Anna he is disrupting and dispersing those ‘traditional grounds of racial identity’. Moreover, Anna is subconsciously enacting a mediated performance, aware of her impact upon him and the implications of her actions, in an attempt to adhere to his preconceptions of her. The relationship cannot be sustained on these fundamentally unstable preconceptions. Anna, both as a female and racial â€Å"Other† is penetrated by Jeffries and with the exchange of money is commodified. Without independent means Anna becomes that purchasable girl who is at the mercy of and eventually becomes dependent upon the upper middle class Jeffries. The relationship between these two characters reflects Rhys’s own location in the world where the West Indies was at the time still a commodity of the British Empire. In another analysis of the colonial stereotype, Homi Bhabha challenges the ‘limiting and traditional reliance of the stereotype as offering, at any one time, a secure point of identification on the part of the individual,’15 in this case Jeffries and Hester. Bhabha does not argue that the colonizer’s stereotyping of the colonized ‘Other’ is as a result of his security in his own identity or conception of himself but more to do with the colonizer’s own identity and authority which is in fact destabilized by contradictory responses to the Other. In order to maintain a powerful position it is important, according to Bhabha, for the colonizer to identify the colonized with the image he has already fixed in his mind. This image can be ambiguous as the colonized subject can be simultaneously familiar under the penetrable gaze of the all seeing, all powerful colonial gaze and be incomprehensible like the ‘inscrutable Oriental’. The coloni zed can be â€Å"both savage†¦and yet the most obedient and dignified of servants†¦; he is the embodiment of rampant sexuality and yet innocent as a child; he is mystical, primitive, simpleminded and yet the most worldly and accomplished liar , and the manipulator of social forces.†16 In short, for Bhabha, the relationship between the colonizer and the colonized is riddled with contradictions and inconsistencies which, when imposed upon the colonized ‘Other’, cause a crisis of identity. So it is with Anna. Jeffries upon first meeting with the very young Anna can see that she is as ‘innocent as a child’ and is ‘most obedient’ sexually, but by her association with the Caribbean and the Hottentot as I have previously explored, she is subsequently attributed with being ‘the embodiment of rampant sexuality’ resulting in his taking of her virginity, abandoning her to prostitution but also leading to as Veronica Clegg observes ‘a loss of temporal referents’17 Anna’s stepmother, Hester, also attempts to impose an identity upon Anna which not only conflicts with Anna’s own sense of identity but is also based around stereotypical perceptions. . Hester, whose ‘voice represents a repressive English colonial law’18 believes that Anna’s father’s troubles resulted from his having lost ‘touch with everybody in England’19 and that these severing of ties with the Imperial motherland is a signal to her that ‘he was failing’,20 losing his identity, reduced to the level of the black inhabitants of the island. This idea of contamination and racial reduction is explored by Paul B. Rich who explains that there was a belief in the early twentieth century that white people in the tropics risked ‘in the absence of continual cultural contacts with their temperate northern culture, being reduced to the level of those black races with whom they had made their â€Å"unnatural home†Ã¢ €˜.21 In Hester’s eyes this apparent loss of identity is also experienced by Anna. She continually criticizes her speech, her relationship with Francine the black servant, and also insinuates degenerative behaviour on the part of her family, particularly Uncle Bo. Hester’s views reflect the growing disapproval in England at that time, of relationships between white people and the black population in the West Indies. Inter-racial relationships were discouraged for fear of contamination of the white ‘Self’. In voicing her disapproval of Anna’s friendship with Francine along with her continual use of the racist and derogatory term â€Å"nigger†, Hester is alluding to the fact that, in her opinion, Anna, especially through her speech, has indeed been contaminated and reduced racially and that Anna’s association with Francine thwarts her attempts to reconnect her with the colonizer’s ‘cultural contacts’. Hester rails that she finds it ‘impossible to get you [Anna] away from the servants. That awful sing-song voice you had! Exactly like a nigger you talked†¦and still do. Exactly like that dreadful girl Francine. When you were jabbering away together in the pantry I never could tell which of you was speaking.’22 Hester’s constant criticism only serves to undermine Anna’s real identity and dislocate her further from the Caribbean world she once inhabited and the alienating London world she is now experiencing. Her accent sets her apart, drifting between two worlds. Anna’s difficulties in negotiating these two worlds is a result of the ‘return of the diasporic’ to the metropolitan centre where ‘the perplexity of the living is most acutely experienced.’23 This can certainly be seen in her response to the weather which, according to Bhabha, invokes ‘the most changeable and imminent signs of national difference’24 The novel opens with; â€Å"It was as if a curtain had fallen, hiding everything I had ever known. It was almost like being born again. The colours were different, the smells different, the feeling things gave you right down inside yourself was different. Not just the difference between heat and cold; light, darkness; purple, grey. But a difference in the way I was frightened and the way I was happy. I didn’t like London at first. I couldn’t get used to the cold.†25 And later upon arriving in England with Hester she describes it as being ‘divided into squares like pocket-handkerchiefs; a small tidy look it had, everywhere fenced off from everywhere else’ 26and then in London where the ‘dark houses all alike frowning down one after another’27 Throughout the novel Anna continually experiences feelings of being enclosed. Many of the bedsits are restricting and box-like. On one occasion she remarks that ‘this damned room’s getting smaller and smaller†¦And about the rows of houses outside gimcrack, rotten-looking and all exactly alike’.28 The many small rooms between which Anna moves emphasize her disempowerment through enclosed spaces. These spaces, in turn, serve as metaphors for the consequences in voyaging into the metropolitan centre. She is at once shut inside these small monotonous rooms and shut out from that world which has sought to colonize her. It is perhaps ironic that the further she mo ves into the centre of the city, ending up as she does on Bird Street, just off Oxford Street , the more she is shut out and marginalized by that imperialist society. Her memories of the West Indies are in sharp contrast to her impressions of England. The images of home are always warm, vivid and exotic, ‘Thinking of the walls of the Old Estate House, still standing, with moss on them. That was the garden. One ruined room for roses, one for orchids, one for ferns. And the honeysuckle all along the steep flight of steps’.29 When comparing the two worlds she remarks to herself that ‘the colours are red, purple, blue , gold, all shades of green. The colours here are black, grey, dim-green, pale blue, the white of people’s faces – like woodlice’. 30 Her memory of home is experienced sensuously as she recalls the sights and smells: â€Å"Market Street smelt of the wind but the narrow street smelt of niggers and wood smoke and salt fishcakes fried in lard’ and the sound of the black women as they call out, â€Å"salt fishcakes, all sweet an’ charmin’, all sweet an’ charmin’.'†31 Anna attempts to convey this richness to Jeffries. His failure to appreciate the beauty she describes merely underlines the differences between the two. He expresses a preference for cold places remarking that ‘The tropics would be altogether too lush’.32 Jeffries’s reaction to the West Indies in fact reflects the colonizer’s view that the ‘ruined room for roses’ and ‘orchids’ portray a disorder, a garden of Eden complete with its implications of moral decay and as Bhabha states, a ‘tropical chaos that was deemed despotic and ungovernable and therefore worthy of the civilizing mission.’33 Anna’s association with this world sets her up, in Walter’s eyes, as a figure representing a secret depravity promising forbidden desires. Anna, like the West Indies is something to be overpowered, enslaved and colonized, where the colonizer seeks to strip their identity and impose their own beliefs and desires. It is significant, therefore, that following this scene Anna loses her virginity to Jeffries and recalls the memory of the mulatto slave girl, Maillotte Boyd, aged 18, whose record Anna once found on ‘an old slave list at Constance’.34 Like Maillotte Boyd, Anna is now merely a commodity and Jeffries has no intention of ever seeing her as an equal. Her purity, in his eyes isn’t worth preserving as he already considers her the contaminated ‘Other’. By his actions he succeeds in maintaining that patriarchal imperialism which relies on institutional forms of racial and national separateness. Anna, as a twentieth century white Creole, is no freer than the nineteenth century mulatto slave. Just as Maillotte Boyd is, as racially mixed, suspended between two races, so Anna as a white Creole is suspended between two cultures, leaving her dislocated. Anna’s voyage into the imperialist metropolis leads to boundaries and codes of behaviour, language and dress being constantly imposed upon her. She is aware for example of the importance of clothes as a means of controlling her social standing and also her standing as a woman. Through her dress Anna almost becomes that elegant white lady, mimicking London’s female high society. For Jeffries, Anna represents the ‘menace of mimicry’, which , according to Bhabha is ‘a difference which is almost nothing but not quite’ and which turns ‘to menace- a difference that is total but not quite.’35 This mimicry serves to empower Anna as it ultimately destabilises the essentialism of colonialist ideology, resulting in Jeffries imposing upon Anna the identity of the West Indian ‘Other’ This in turn leads to feelings of loss, alienation and dislocation, a rejection of being white and a desire to be black. ‘I always wanted to be black. I was happy because Francine was there†¦.Being black is warm and gay, being white is cold and sad.’36 Anna’s association with Hester meant that she ‘hated being white. Being white and getting like Hester, †¦old and sad and everything.’37 Yet the warmth she expresses in her memories of Francine are always tempered by her realisation that Francine disliked her ‘because I [Anna] was white.’38 Her feelings of being between cultures and feeling dislocated are never fully resolved. Anna’s voyage in the dark, reflects Rhys’s own sense of exile and marginality as a white West Indian woman. Teresa O’Connor remarks that ‘Rhys, herself caught between places, cultures, classes and races, never able to identify clearly with one or the other, gives the same marginality to her heroines, so that they reflect the unique experience of dislocation of the white Creole woman.’39 The language used to express feelings of exile and loneliness, destitution and dislocation is both sparse and economic. It is neither decorative nor contrived, devoid of sentiment or without seeking sympathy. In commenting upon an essay written by Rhys discussing gender politics, Gregg writes that ‘It is important to note her [Rhys’s] belief that writing has a subversive potential. Resistance†¦can be carried out through writing that exposes and opposes the political and social arrangements.’40 Helen Carr, in her exploration of Rhys’s language believes that: â€Å"Rhys in her fictions unpicks and mocks the language by which the powerful keep control, while at the same time shifting, bending, re-inventing ways of using language to open up fresh possibilities of being.†41 Una Marson, another Caribbean to voyage into the metropolis, also experienced loneliness, isolation and a struggle with the complexity of identity. Like Rhys, Marson fought with these feelings throughout her life, resulting in long periods of depression. Her belief in women’s need for pride in their cultural heritage established Marson as ‘the earliest female poet of significance to emerge in West Indian literature’.42 She not only ‘challenged received notions of women’s place in society’ but also raised questions about ‘the relationship of the colonized subject to â€Å"the mother country†Ã¢â‚¬â„¢43 There was a considerable amount of poetry emerging out of the West Indies around this time but most of it was dismissed as being ‘not truly West Indian’,44 the reason for this being partly because many of the writers were English but also because many of the styles used by these writers mimicked colonial forms. Many of Marson’s early poetry reflects this mimicry showing a reliance upon the Romantics of the English poetic tradition, particularly Shelley, Wordsworth and Byron. The poem Spring in England reveals this indebtedness to the Romantics, including as it does a stanza where, having observed the arrival of Spring in London, the poet asks: ‘And what are daffodils, daffodils Daffodils that Wordsworth praised?’ I asked. ‘Wait for Spring, Wait for the Spring,’ the birds replied. I waited for Spring, and lo they came, ‘A host of shining daffodils Beside the lake beneath the trees’ (The Moth p6)45 Clearly there are echoes of Wordsworth’s Daffodils throughout the stanza, reflecting the drive by colonialism through education to eradicate the West Indian selfhood. Yet for Marson this harnessing of English culture not only posed few problems but indeed was, I would argue, a necessary step in her voyage of self discovery. As seen with Rhys, mimicry was a subversive threat to colonial ideology, especially through language. Homi Bhabha’s notion of mimicry seeks to explore those ambivalences of such destabilizing colonial and post-colonial exchanges. â€Å"The menace of mimicry is its double vision which in disclosing the ambivalence of colonial discourse also disrupts its authority. †¦The ambivalence of colonial authority repeatedly turns from mimicry – a difference which is almost nothing but not quite – to menace – a difference that is almost total but not quite. And in that other scene of colonial power, where history turns to farce and presence to a ‘part’ can be seen the twin figures of narcissism and paranoia that repeat furiously, uncontrollably.†46 Bhabha’s essay in recognising the power, the play and the dynamics between the colonizer and the colonized offers an alternative to the pessimistic view held by V.S. Naipaul who believed that West Indian culture was doomed to mimicry, unable to create anything ‘original’. Marson’s mimicry of the Romantics could be seen as a preparation to enter the colonizer’s metropolis, and to attempt to assimilate into the colonizer’s world. In making that voyage to the metropolis, Una Marson succeeds in taking that step from ‘the copy’ to the ‘original’. By remaining in Jamaica Marson risked remaining in an environment too rigidly ingrained by colonial prescriptions. Una Marson’s voyage into ‘the heart of the Empire’, however, resulted in intense disappointment. For the first time, Marson experienced open racism and according to Jarrett-McCauley ‘The truth was that Una dreaded going out because people stared at her, men were curious but their gaze insulted her, even small children with short dimpled legs called her â€Å"Nigger†Ã¢â‚¬ ¦She was a black foreigner seen only as strange and unwanted. This was the ‘Fact of Blackness’ which Fanon was to analyse in Black Skins, White Masks(1952), that inescapable, heightening level of consciousness which comes from â€Å"being dissected by white eyes†.’ 47 Unlike Rhys, Marson was finding it impossible to blend visually within London. Consciousness of her colour made Marson conscious of her marginality. This consciousness led her seriously to question the values of the ‘mother country’. Marson’s work moved from mimicry to anti-patriarchal discourse, seen in her poem Politeness where she responds to the William Blake poem Little Black Boy with: They tell us That our skin is black But our hearts are white We tell them That their skin is white But their hearts are black (Tropic Reveries p 44) The poem demonstrates Marson’s growing resentment at being alienated by the colonial power. There is an uncertainty in her desire to both belong and to challenge, echoing Rhys in her sense of cultural unbelonging. Those anti-patriarchal feelings are present once more in her poem Nigger where she communicates the anger she feels at being abused and marginalized as the racial ‘Other’. They call me ‘Nigger’ Those little white urchins, They laughed and shouted As I passed along the street, They flung it at me: ‘Nigger! Nigger! Nigger!’ She retorts to this abuse furiously with: You who feel that you are ‘sprung Of earth’s first blood’, your eyes Are blinded now with arrogance. With ruthlessness you seared My people’s flesh and now you still Would crush their very soul Add fierce insult to vilest injury.48 In its repetition of the shocking term ‘Nigger’, Marson is confronting the white colonialist’s use of the word to exert power over and oppress the colonized. The violence of its use reflects the violence of their shared history where ‘Of those who drove the Negroes / To their death in days of slavery,’ regard ‘Coloured folk as†¦low and base.’49 In highlighting this history of violence, oppression and slavery, Marson is attempting to invert this oppression and dislodge the notion of white supremacy, whilst attempting to negotiate a position from West Indian to African and in doing so, fashion an identity. By writing the poem in the first person singular and moving from ‘They’ to ‘You’ when addressing the white colonizers, Marson succeeds in centralizing herself and reversing the binary system of ‘Self’ and ‘Other’. Nigger marks Marson’s sharpened perspective on issues such as racism and identity. Her voyage into the metropolitan centre triggers those ’emergent identifications and new social movements†¦[being]†¦played out’.50 It was a time in Marson’s life where she was made to feel inadequate, lonely and humiliated but it also roused her to ‘resist the corrosive force of her oppressive world.’51 Nigger reveals this sense of belonging and not belonging felt by Marson, of being part of the empire but never part of the Motherland, yet it simultaneously challenges the very essentialism in which the colonial Self is rooted. Moreover, the hostility she experiences in many ways acknowledges the success of Marson’s performance as a hybrid. Marson’s frustration and anger was compounded by the fact that in being middle class and educated she possibly saw herself as ‘a notch above the poor, black working class women from the old communities in Cardiff, Liverpool and London’52 Marson explores this question of how middle class West Indians negotiate being educated and yet marginalized and even considered inferior in her play London Calling. The play, based on the experiences of colonial students in London charts the story of a group of expatriates who, upon being invited to the house of an aristocratic English family, dress up in outlandish native costume and speak in ‘broken’ English. The play, a comedy, takes a light hearted look at the stereotypical images held by the British, at the same time countering the myth of black inferiority. There is, in the play, a curious twist as the students from Novoko are presented as black versions of the British in their dress and behaviour, ‘mimic men’ and yet they themselves attempt to ‘mimic’ their own folk culture. They are eventually discovered by one of the family, Larkspur, who then proposes marriage to Rita, one of the Novokans. The play ends with Rita declining Larkspur’s proposal in favour of Alton, another Novokan. This rejection of Larkspur places Rita in a powerful position. Rita is no longer the undesirable ‘Other’, she has resisted the oppressive world of the colonialists and placed herself as the centralised ‘Self’. Rita is Marson’s fantasy where the black woman is recognised as beautiful and an equal. Marson’s activities in the League of Coloured Nations gave her purpose, direction and the opportunity to advance her political education whilst introducing her to the Pan – African movement ‘a sort of boomerang from the horrors of slavery and colonialism, to which Una, like many of her generation, was being steadily drawn.’53 Marson’s work around this time reflects a desire to reclaim and restore that ‘Other’ cultural tradition, a difficult task as the Caribbean was not an homogeneous agency and it was not easy to establish a pre-colonial culture. The ethnic mix was large and hybrid making the notion of ‘Caribbeanness’ less easy to define. The Pan-African movement provided links with an alternative body to European colonialism and offered Marson a platform to renegotiate and redefine her idea of ‘Caribbeaness’ and race, an option not offered to Rhys. Having established a sense of being a black person in a white imperialist centre, she now needed to make sense of being a black woman within this paternalistic centre. The poem Little Brown Girl attempts just this, constructing a dialogue of sorts between a white Londoner, whose gender is unclear, and a little brown girl. The poem begins with a series of questions put to the child: Little brown girl Why do you wander alone About the streets Of the great city Of London? Why do you start and wince When white folk stare at you Don’t you think they wonder Why a little brown girl Should roam about their city Their white, white city? (The Moth, p11) The questioning of the little brown girl’s presence in London suggests a linguistic imperialism. It may be construed as the speaker challenging her right to be in the city, establishing her as the nameless, black ‘Other’. Her feeling of difference is emphasized in the repetition of the word ‘white’ on the final line of the second stanza. The third stanza plays out an interesting reversal in notions of blackness. The speaker asks why she has left the ‘little sunlit land / where we sometimes go / to rest and get brown’54 alluding to the desire of white skinned people to tan which for the white colonialist signifies wealth, for the black ‘Other’ being inferior and uneducated. From here there is a subtle shift of speaker and London is seen through the eyes of the little brown girl. Her perception of the city is distinctly unattractive where ‘There are no laughing faces, / people frown if one really laughs’ and: There’s nothing picturesque To be seen in the streets, Nothing but people clad In Coats, Coats, Coats, (The Moth, p11) If the poem began with the strangeness of the brown girl to the white gaze, here it teases out those feelings of alienation felt by the little brown girl at being in such a cold, drab place, so different from her own home. Once more Marson creates a reversal in the stereotype as she seeks to objectify white people observing that ‘the folks are all white -/ White, white, white, / And they all seem the same.’55 In homogenizing the colonizers, the hybridity of the West Indians are then celebrated in the many varied skin tones of ‘black and bronze and brown’ which are themselves homogenized by the label ‘Black’. The vibrancy, colour and friendliness of ‘back home’ where the folks are ‘Parading the city’ wearing ‘Bright attractive bandanas’ contrasts with the previous stanza of the dour images of London. The dialogue is handed back to the white speaker who attempts to establish the origins of the little black girl but succeeds in once more re-establishing the homogeneic white gaze indicated in the speaker’s inability to distinguish between many distinct nations : And from whence are you Little brown girl? I guess Africa, or India, Ah no, from some island In the West Indies But isn’t that India All the same? (The Moth, p13) More than anything the poem conveys that sense of isolation felt by the little brown girl in the city. She never answers the white speaker directly and is positioned in the middle of the poem, again centralizing the colonized. In asking the question ‘Would you like to be white/Little brown girl?’ there is a sense of the colonizer attempting to manipulate and dominate the colonized, to Europeanise, ultimately leading to mimicry. Yet the questioner responds himself with ‘I don’t think you would / For you toss your head / As though you are proud / To be brown’. 56 Marson, here, signals a move away from being a ‘mimic man’ seeking to challenge that whole Eurocentric paternalistic world and centralise the black women, the most marginalized figure in society. The themes central to Little Brown Girl’s themes echo Rhys’s own negative reactions to London seen in the opening page of Voyage in the Dark. Like Rhys, Marson succeeds in capturing that colour and warmth of the West Indies contrasting greatly with the misery of London, experienced by both and which reinforce that racial and national separateness. Those differences prove for both to be irreconcilable, making it impossible for both Rhys and Marson to integrate, leaving both women dislocated from the metropolis. Little Black Girl serves as a useful reminder that many immigrants were women. This encounter between the city and a woman (in Marson’s case, a black woman) echoes Anna’s encounter in Voyage in the Dark albeit as a prostitute. Both walk the streets of the city and as women-as-walkers encounter the metropolis, negotiating its spaces. Denise deCaires Narian suggests that certainly Marson could be considered as a flaneuse.57 Neither Rhys nor Marson, however have the confident panache of the flaneuse and neither fulfil the requirements of flanerie originally set out by Baudelaire. The flaneur, he asserted, saw the ‘crowd as his domain, †¦ His passion and his profession is to merge with the crowd’.58 The flaneur and therefore the flaneuse is engaged in strolling and looking but most importantly merging ‘with the crowd’. For Marson this is impossible as she is a black woman in a white city. Moreover, Baudelaire expands upon the idea of the flaneur as having ‘the ability to be away from home and yet to feel at home anywhere, to be at the centre of the world, and yet to be unseen of the world’.59 Again this is problematic for both Marson and Rhys as their wanderings around the metropolis seek only to reinforce those feelings of ‘Otherness’, isolation and marginality. For Marson these feelings of alienation gained her the reputation of being a ‘true loner who didn’t exactly seek out company’60 leading to a ‘heightened level of bodily consciousness’ which comes from ‘being dissected by white eyes’.61 In her struggle with being marginalized as a black women always at the mercy of the white metropolitan gaze, Marson was always aware of that Europeanised sense of beauty being white. This idea of beauty was so entrenched, even within the black community that they themselves set beauty against the paleness of their own skin. The importance of popularly disseminated images is tackled in Cinema Eyes where a black mother in addressing her daughter attempts to challenge the idea that ‘Europeans still provide the aesthetic reference point’.62 The speaker urges her eighteen year old daughter to avoid the cinema fearing that it might reinforce the idea that white is beautiful causing the girl to lose sight of her own beauty: Come, I will let you go When black beauties Are chosen for the screen; That you may know Your own sweet beauty And not the white loveliness Of others for envy. (The Moth, p88) By growing up with a ‘cinema mind’ the mother has allowed herself to be at the mercy of those tools used by the colonizer to marginalize and indoctrinate, promoting their own superiority. Once again the ‘mimic man’ re-emerges when black women reject their own in seeking an ‘ideal man’. ‘No kinky haired man for me, / No black face, no black children for me.’63 This rather melodramatic narrative within the poem tells of the mother’s ‘fair’ husband shooting her first suitor whom she had initially rejected for being too dark, and then committing suicide. The shooting scene, a re enactment of a gun fight in a western, presents the cinema as a racist and degenerate institution. By the end of the poem, the speaker acknowledges her mistake in rejecting the first lover and finds a sense of self, previously denied by the saturation of cinematic images. In shaking off the colonizer’s indoctrination, which seeks to marginalize her, she addresses the question posed by Franz Fanon which is ‘to what extent authentic love will remain unattainable before one has purged oneself of that feeling of inferiority?’64 Black invisibility in the cinema results in white ideology being forced upon a black body and essentially commodifying it and it is this which Marson seeks to deconstruct. Another poem which tackles the reconstruction of female identity is Black is Fancy, where the speaker compares her reflection in the mirror with a picture ‘Of a beautiful white lady’.65 The mirror serves to reclaim the idea of black as being beautiful and a rediscovery of self: Since Aunt Lisa gave me This nice looking glass I begin to feel proud Of my own self (The Moth, p75) The speaker eventually removes the picture of the white woman suggesting that black worth and beauty can only really exist in the absence of white colonialism. The poem ends in a victory of sorts as she declares that John, her lover has rejected the pale skin in favour of ‘His black ivory girl’.66 Kinky Haired Blues represents Marson’s quest for a more effective and authentic poetic voice in its use of African American speech.. The poem explores the rhythms and musical influences found in Harlem and gathering momentum about this time. Kinky Haired Blues like Cinema Eyes and Black is Fancy criticizes the oppressive beauty regime of white colonialism which seeks to disfigure and marginalize the black woman. The poem opens with the speaker attempting to find a beauty shop: Gwine find a beauty shop Cause I ain’t a belle Gwine find a beauty shop Cause I ain’t a lovely belle. The boys pass me by They say I’s not so swell (The Moth, p91) The speaker seeks to Europeanise her black features in an attempt to make herself more attractive. Male indifference experienced in the metropolis forces the speaker to see herself as an aberration, thrusting her onto the margins of a society which is continually projecting the idea that ‘white ‘is ‘right’. The beauty shop contains all the trappings of the colonizer’s idea of beauty, ‘ironed hair’ and ‘bleached skin’. Yet she is caught between being left to ‘die on de shelf’ 67 if she doesn’t change herself, or eradicating her ethnic features and therefore her inner self if she does. By using blues within the poetry she is able to communicate this misery felt within her, that male perceptions of beauty projected by the colonizers dictate that she must distort her own natural beauty in order to fit in and conform. The poem highlights the struggle Marson experiences in trying to preserve her selfhood against such oppressive cultural forces. Marson defiantly attempts to stand against this patriarchal order. She proudly announces that ‘I like me black face / And me kinky hair.’ Inspite of this brave stand Marson eventually succumbs and admits that she is ‘gwine press me hair / And bleach me skin.’ She, like Rhys can only resist internally to the colonialist’s ideals imposed on them. As writers voyaging into the metropolis both Rhys and Marson share in their writing a pervasive sense of isolation where, from the location of London, their particular voices and concerns are, at the time, not recognised. Both writers, from this isolated position on the periphery of the centre. explore issues of womanhood, race and identity,. Marson’s experiences bring about an acute awareness of her difference and ‘Otherness’ as a Black woman. Her work is a defiant voice against this marginalisation and isolation. She was, as Jarrett MaCauley claims ‘the first Black feminist to speak out against racism and sexism in Britain.’68 She was a pioneer in a growing literary culture which was to become the new postcolonial order. Rhys, by contrast, a white West Indian from Dominica was experiencing a declining white minority status against a growing black population, itself an isolating factor both at home and within the metropolis. Kenneth Ramchard suggests that the work of white West Indian writers is characterized by a sense of embattlement: â€Å"Adapted from Fanon we might use the phrase ‘terrified consciousness’ to suggest the White minority’s sensations of shock and disorientation as a smouldering Black population is released into an awareness of power.†69 It is this ‘terrified consciousness’ which contributes to the struggle experienced by Anna in Voyage in the Dark . Located simultaneously both inside and outside West Indian socio cultural history, her journey to the ‘mother country’ seeks only to exacerbate these feelings of ‘in-betweenness’ and to suffer feelings of dislocation and alienation. Both writers, therefore, in their voyage into the metropolis endure different kinds of anxieties in their sense of ‘unbelonging’ to either or both cultural worlds. Both use their writing to speak for the marginal, the hegemonic, the dispossessed, the colonized silenced female voice situated as they were within the cold, oppressive, hierarchical colonial metropolis attempting to impose an oppressive identity upon the exiled women.    1 George Lamming The Pleasures of Exile (London: Alison, 1960) p15 2 Palmer Adisa De Language Reflect Dem Ethos† in ‘The Winds of Change: The Transforming Voices of Caribbean Women Writers and Scholars’ ed. By Adele S. Newson and Linda Strong Leek. (New York: Peter Lang 1998 p23) 3 ‘The Winds of Change: The Transforming Voices of Caribbean Women Writers and Scholars’ ed By Adele S. Newson and Linda Strong-Leek. (New York: Peter Lang 1998 p6) 4 V.S. Naipaul New York Review of Books 1992. Quoted in Helen Carr Jean Rhys (Plymouth: Northcote House Publishers Ltd., 1996) p15 5 Helen Carr Jean Rhys (Plymouth: Northcote House Publishers Ltd., 1996) p. xiv 6 Delia Jarrett-MaCauley The Life of Una Marson (Manchester: Manchester University Press, 1998) p51 7 Edward W. Said Representations of the Intellectual (London: Vintage 1994) p49 8 Molly Hite The Other Side of the Story: Structures and Strategies of Contemporary Feminist Narrative Quoted in Joy Castro ‘Jean Rhys’ in The Review of Contemporary Fiction Vol. 20, 2000. www.highbeam.com/library/doc.3.asp p6.Accessed 1 December 2005. 9 Elaine Savory Jean Rhys p92 10 Elaine Savory Jean Rhys p93 11 Gayatri Spivak ‘Three Women’s Text and a Critique of Imperialism’ in Henry Louis Jr. Gates Race, Writing and Difference (Chicago: University of Chicago Press, 1987) p269 12Jean Rhys Voyage in the Dark (London: Penguin Books 1969) 13 Elaine Savoury Jean Rhys (Cambridge: Cambridge University Press 1998) p 95 14 Homi Bhabha ‘Remembering Fanon’, forward to Franz Fanon ‘s Black Skin, White Masks (London: Pluto, 1986) p ix 15 Homi Bhabha ‘The Other Question’ Location of Culture (London: Routledge 1994)p69 16 Ibid p69 17 Veronica Marie Gregg Jean Rhys’s Historical Imagination: Reading and Writing the Creole (North Carolina: The University of North Carolina Press, 1995) p115 18 Sue Thomas The Worlding of Jean Rhys ( Westport: Greenwood Press 1999) p106 19 Jean Rhys Voyage in the Dark p53 20 Ibid 21 Paul B. Rich Race and Empire in British Politics (Cambridge: Cambridge University Press, 1986) p19 22 Voyage in the Dark p56 23 Ibid p320 24 Homi Bhabha â€Å"DissemInation: Time, Narrative and the margins of the Modern Nation† The Location of Culture p319 25 Voyage in the Dark p7 26 Ibid p15 27 Ibid p16 28 Ibid p26 29 Ibid p45 30 Ibid p47 31 Ibid p7 32 Ibid p46 33 Homi Bhabha The Location of Culture p319 34 Voyage in the Dark p45 35 Homi Bhabha Location of Culture p85 36 Ibid p27 37 Ibid p62 38 Ibid p62 39 Teresa O’Connor The Meaning of the West Indian Experience for Jean Rhys (PhD dissertation, New York University, 1985)cited in Caribbean Woman Writers; Essays from the first International Conference. p19 40 Taken from Rhys’s non fictional analysis of Gender Politics. Veronica Gregg, Jean Rhys’s Historical Imagination p47 41 Helen Carr Jean Rhys, (Plymouth: Northcote House Publishers Ltd, 1996) p 77 42 Lloyd W. Brown, West Indian Poetry (London: Heineman, 1978) p 38 43 Denise deCaires Contemporary Caribbean Women’s Poetry: Making style (London: Routledge, 2002) p 2 44 Ibid p4 45 Una Marson The Moth and the Star, (Kingston, Jamaica: Published by the Author, 1937) p24 46 Homi Bhabha The Location of Culture, (London: Routledge, 1994) pp85-92 47 Delia Jarrett-MaCauley The Life of Una Marson pp 49, 50 48 The Routledge Reader in Caribbean Literature ed. Alison Donnell and Sarah Lawson Welsh (London: Routledge, 1996) p140-141 49 Ibid 50 Homi Bhabha Location of Culture p 320 51 Jarrett-MaCauley The Life of Una Marson p51 52 Ibid p51 53 Ibid p54 54 Una Marson ‘Little Brown Girl’, The Moth and the Star. (Jamaica: The Gleaner. 1937) p11 55 Ibid 56 Ibid p13 57 deCaires Narain puts forward an interesting link between Marson and Sam Selvon’s The Lonely Londoners highlighting external identity in her book Contemporary Caribbean Women’s Poetry p 21 58 Baudelaire The Painter and the Modern Life cited in Keith Tester The Flaneur (New York: Routledge, 1994), p 2 59 Ibid p3 60 Jarrett-MaCauley, p53 61 Ibid p50 62 Laurence A. Brainer An Introduction to West Indian Poetry (Cambridge: CUP, 1998), p154 63 Una Marson ‘Cinema Eyes’ The Moth and the Star. (Jamaica: The Gleaner.1937) p87 64 Franz Fanon Black Skins, White Masks (London: Pluto, 1986), p4 65 Una Marson ‘Black is Fancy’ The Moth and the Star p75 66 Ibid p76 67 Una Marson ‘Kinky Hair Blues’ The Moth and the Star p91 68 Jarret MaCauley pvii 69 Kenneth Ramchard The West Indian Novel and its Background (London: Faber, 1870), p225