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The long, nonsensical, and rambling
sentences in Howl resists traditional
styles of writing and emulates the broken-down minds that is the focus of the
poem. Similarly, the language used in The
Lonely Londoners is written in the speech of the alienated. Selvon is writing
in a Creole voice that is not afraid to distance itself from Englishness,
certifying a different world where they are subjects and not perceived as
lesser as from a colonial view. He presents a language that carries the weight
of the Caribbean language despite being a fabricated literary artifice, as it
is in a simplified language that is easier for English readers to understand. This
enacts the process of Creolisation and the mixing of cultures, and this
conscious rejecting of standard English “represents an empowering expression of
collective identity that rejects the positioning of authority” (Bentley 277). Furthermore,
the idea of challenging the rule of thoughts is shown through the rejecting of
the traditional structure of an English novel. Instead, The Lonely Londoners echo the verse structure and episodic form of
calypso songs, an Afro-Caribbean form of music. Both jump from scandal to
scandal, and similarly carries a political statement (Ramm, “The Subversive
Power of Calypso Music”). The reader is experiencing the lives of the characters
from the perspective of a community that is denied a voice due to normative thinking.

This is particularly shown when Galahad says “What wrong with it?… Is English
we speaking” (Selvon 82), as it emphasizes his cultural identity through Selvon’s
handling of English grammar. The novel’s style recognizes the right that the
Caribbean people have to claim back control over the language that has been
imposed upon them after years of colonization.

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