REFERENCES
1. Wilson Harris, 'The Music of Living Landscapes', in Selected Essays of Wilson Harris. The Unfinished Genesis of the Imagination, edited by Andrew Bundy (London : Routledge, 1999), pp.40-46 ; 44.
2. Cf. Ilya Prigogine, Belgian recipient of the Nobel Prize for chemistry, who criticizes the perception of nature as passive and writes : "The conception of a passive nature, subject to determinist laws, is a specificity of the West." La fin des certitudes (First published 1996 ; Paris : Editions Odile Jacob : 1998), p.20. My translation.
3. Wilson Harris, 'The Fabric of the Imagination', in The Radical Imagination, edited by Alan Riach and Mark Williams (Liège : L3-Liège Language and Literature : 1992), p.78.
4. See also "sound becomes fathom, tone, contour, depth", 'Metaphor and Myth', in Robert Sellick, ed., Myth & Metaphor (Adelaide : CRNLE Essays & Monograph Series, N°1 : 1982), pp.1-14 ; 5.
5. Wilson Harris, 'The Age of the Imagination'. Thanks are due to Mr Harris for giving us primacy of publication of this essay as well as 'Aubrey Williams' also published for the first time in this issue.
6. Wilson Harris, 'A Talk on the Subjective Imagination', New Letters, 40, 1 (October 1973) : 37-48.
7. See, for example, Reshard Gool, 'To Harris with Love', a review of The Eye of the Scarecrow, New World Quarterly, 3-4 (Cropover Issue) : 73-75.
8. J.Michael Dash, 'Wilson Harris, the Uncompromising Imagination (ed.) Hena Maes-Jelinek (Mundelstrup : Dangaroo Press, 1991)', in Wasafiri 15 (Spring 1992) : 33.
Unfortunately, though others writing in the Caribbean were solicited, only two West Indians, writer and critic, have contributed to this issue, Fred D'Aguiar (Guyana) and Paget Henry (Antigua), both working in the United States. But one must draw attention to the ground-breaking criticism of Michael Gilkes, A.J.Seymour, C.L.R.James, Kenneth Ramchand, Marc McWatt and Al Creighton.
9. Stewart Brown, 'The Poet as Novelist. . .a Review ? Carnival', The Race Today Review, 17, 1 (February 1986) : 41. Italics mine.
10. Derek Walcott, 'The explorer is in danger of disappearing : New books in brief', Sunday Guardian, 27 February 1966 : 8, and 'Tracking Mr Wilson Harris', Sunday Guardian, 24 April 1966 : 5. Ironically, some of Walcott's criticism of Harris's use of myth could apply to his own Omeros. I am grateful to Gordon Collier for giving me access to Walcott's early journalism. He has used it in his own original way in 'His true alien spiritual love : Walcott wrestles with Harris (A Maes-querade)', in Marc Delrez and Bénédicte Ledent, The Contact and the Culmination. Essays in Honour of Hena Maes-Jelinek (Liège : L3-Liège Language and Literature : 1996), 229-240. See also Gordon Collier, ed. & Intro., The Journeyman Years : Derek Walcott's occasional Journalism for " Public Opinion" and the ' Trinidad Guardian' (Amsterdam/Atlanta : Rodopi). Forthcoming.
11. One fairly recent exception is the extract from The Angel at the Gate, in Caryl Phillips, ed., Extravagant Strangers (London : Faber and Faber, 1997), pp.126-134.
12. Cf. Ilya Prigogine: "I think that the creation of the universe is above all a creation of possibilities". Prigogine conceives of the universe as being "in construction". Interestingly, like Harris in several essays, he alludes to Giordano Bruno "who had understood the "potentialities" of matter". Ilya Prigogine, De l'être au devenir, published TV programme by the Centre de production de Liège de la RTBF (Brussels & RTBF Liège : Alice Editions, 1998), pp.26, 44 and 55. My translation.
13. See Joris Duytschaever's essay on the difficulty of buying Harris's novels in England.
14. The essay in this issue is totally different from one with the same title originally published in Third Text, 34 (Spring 1996) and reprinted in Harris's Selected Essays. The Unfinished Genesis of the Imagination, pp. 222-225. See in that essay : "[when] I came upon Aubrey Williams's paintings for the first time . . . I was possessed by a sensation of music secreted in colour", p.223.
15. On this subject see Harris's discussion of Titian's painting 'The Allegory of Prudence' in several essays, and his comment : "When the human animal understands his genius, he roots it in the creature, in the forest, in the trees, in other words in the language that we are. . . .", 'The Fabric of the Imagination', p.78.
16. Wilson Harris, Carnival (London : Faber and Faber : 1985), p. 163. Henceforth C in parenthesis in the text.
17. Cf. John Keats, "the poet has . . . no identity", Letters of John Keats, edited by Robert Gittings (Oxford University Press : 1970), p. 157. On the Romantic conception of genius, see Drummond Bone, 'The Emptiness of Genius : Aspects of Romanticism', in Penelope Murray, ed., Genius. The History of an Idea (Oxford : Basil Blackwell, 1989), pp. 113-127.
18. Wilson Harris, The Tree of the Sun (London : Faber and Faber, 1978), p.64. Henceforth TS in parenthesis in the text.
19. Resurrection at Sorrow Hill (London : Faber and Faber, 1993), p.147. Henceforth RSH in parenthesis in the text.
20. Wilson Harris, Da Silva da Silva's Cultivated Wilderness (London : Faber and Faber, 1977), p. 69. Henceforth Da S in parenthesis in the text.
21. See 'Adversarial Contexts and Creativity', New Left Review, 154 (November/December 1985) : 124-128.
22. Wilson Harris, Palace of the Peacock (London : Faber and Faber, 1960), p. 130. Henceforth PP in parenthesis in the text.
23. See, for example, "Who or what is the creator of man, the human being ?", Tradition, the Writer and Society (London : New Beacon Books, 1967), p.20. Questions about " who" or " what" lies at the heart of creation recur in Heartland (London : Faber and Faber, 1964), pp. 40, 74, 78.
24. The Radical Imagination, p. 57.
25. Wilson Harris, 'The Enigma of Values', New Letters, 40, 1 (October 1973) : 141-149.
26. Wilson Harris, The Angel at the Gate (London : Faber and Faber, 1982), pp. 51 & 72. Henceforth AG in parenthesis in the text. On this subject, see Paget Henry's essay.
27. Wilson Harris, 'Comedy and Allegory', in Hena Maes-Jelinek, Kirsten Holst Petersen and Anna Rutherford, eds., A Shaping of Connections (Mundelstrup, Dangaroo Press, 1989), p.128.
28. Wilson Harris, Jonestown (London : Faber and Faber, 1996), p.234. Henceforth J in parenthesis in the text.
29. See David Porush : "mathematics of chaos . . . the revolution of the science of so-called chaos is . . . to show that systems that behave in what seemed like random or disordered fashion actually could be described by mathematics », 'Fictions of Dissipative Structures : Prigogine's Theory and Postmodernism's Roadshow', in N. Katherine Hayles, ed., Chaos and Order. Complex Dynamics in Literature and Science (Chicago : Chicago University Press, 1991), p.58.
30. See, for example, "Clues in the narrative . . . may surface in a reader's imagination and throw a bridge from the collective unconscious into the domain of consciousness". 'Comedy and Allegory', p. 131.
31. Harris also explained that he was "visited" by one of his characters who tore up the script of a lecture he was to give and told him to speak spontaneously "out of his vulnerability". The Radical Imagination, p. 69. Vera Kutzinski discusses Jonathan Weyl's "visit" as described in The Radical Imagination, p.103, and Paula Burnett mentions a similar occurrence reported by Harris in another lecture.
32. The Radical Imagination, p. 76.
33. Wilson Harris, The Four Banks of the River of Space (London : Faber and Faber : 1990), p.x. Henceforth FB in parenthesis in the text.
34. On this subject in Companions of the Day and Night, see Pierre François' remarkable analysis in Inlets of the Soul. Contemporary Fiction in English and the Myth of the Fall (Amsterdam/Atlanta : 1999), pp.254-289 ; 279.
35. Vera Kutzinski, 'The Composition of Reality : A Talk with Wilson Harris', Callaloo, 18, 1 (Winter 1995) : 15-32 ; 19 and 31.
36. Emotions play a considerable part in the reconstruction of the past. It is not an exclusively psychological, still less an intellectual process.
37. The Radical Imagination, p. 22.
38. Fossil and Psyche (Austin, Texas : Occasional Publications. African and Afro-American Studies and Research Center, 1974), p. 10.
39. "Eternity is unbearable womb of endless progression", 'The Quest For Form',Kunapipi, V,1 (1983) : 21-27 ; 22.
40. Fossil and Psyche, p. 2.
41. See Selected Essays, pp. 222-223.
42. Fossil and Psyche, p.2.
43. On the link between time and dreaming and their joint effect on the liberation from conventional vision in The Four Banks of the River of Space, see Andrew Bundy, 'Time's Dreaming Aperture in Wilson Harris's "Architecture of the Tides"', forthcoming in Jean-Pierre Durix, ed., Theory and Literary Creation (Dijon : Editions Universitaires de Dijon, 1999).
44. See, for example, "we floated on the mane of time", Carnival, p.168 or the "inner body of time" through which da Silva achieves a "middle-ground perception" in Da Silva da Silva's Cultivated Wilderness, p.70. On a similar point in Companions of the Day and Night, see Pierre François, op.cit., p.261.
45. Ylia Prigogine, L'être et le devenir, pp.52 and 53. See also David Porush, "as we all know, time moves in one direction only", op.cit., p.59.
46. 'An Interview of Wilson Harris conducted by Hena Maes-Jelinek', Caribana, 3(1993) : 23-30 ; 27.
47. There is a short perceptive comment by Ian H.Munro on the manuscript of Ascent to Omai and a photo of some manuscript pages in New Letters, 40, 1 (October 1973) : 34-35. See also Jack Healy's essay cited by Vera Kutzinski : 'The Texas Manuscripts with Special Reference to the Mayakowsky Resonance in "Ascent to Omai"', Ariel, 15, 4 (October 1984) : 89-107. Though Healy comments on the general implications of Harris's writing method, his essay (as its title indicates) concentrates on a specific aspect of the novel.
48. 'Merlin & Parsifal, Adversarial Twins' (London : Temenos Academy N°9, 1997), p.5.
49. 'Metaphor and Myth', p.1. See also 'Adversarial Contexts and creativity', p.126.
50. 'Apprenticeship to the Furies', in Selected Essays, p.227.
51. 'Some Aspects of Myth and the Intuitive Imagination', in Explorations. A Selection of Talks and Articles, 1966-1981, edited with an Introduction by Hena Maes-Jelinek (Mundesltrup : Dangaroo Press, 1981), p.99.
52. To my knowledge, the only other essay on translation as creativeness, though less researched is Hena Maes-Jelinek's 'Altering Boundaries : The Art of Translation in The Angel at the Gate and The Twyborn Affair, WLWE, 23, 1 (1984) : 165-174.
53. Resurrection at Sorrow Hill, p.75.
54. Maurice Merleau-Ponty, Phénoménologie de la Perception (Paris : Gallimard, 1945), p.214. My translation.
