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Light Falling on Bamboo
Trinidad, 1848. Michel Jean Cazabon returns home from France to his beloved mother's deathbed.Despite the Emancipation Act, his childhood home is in the grip of colonial power, its people riven by the legacy of slavery. Michel Jean finds himself caught between the powerful and the dispossessed. As an artist, he enjoys the governor's patronage, painting for him the island's vistas and its women; as a Trinidadian he shares easy wisdom and nips of rum with the local boat-builders. But domestic tensions and haunting reminders of the past abound. His fiery half-sister Josie - the daughter of a slave - still provokes in him a youthful passion; his flirtatious muse Augusta tempts him as he paints her 'for posterity'. Meanwhile, letters from his white, French wife and children remind him of their imminent arrival on the island.
488 pages, Paperback
First published September 1, 2012
5 people are currently reading
99 people want to read
About the author
Lawrence Scott
54 books10 followersLawrence Scott is a prize-winning Caribbean novelist and short-story writer from Trinidad & Tobago.
He has been awarded and short-listed for a Commonwealth Writers’ Prize Best Book and Best First Book in Canada & the Caribbean, twice Long-Listed for The International Impac Dublin Literary Award, The Whitbread Prize and The Booker Prize. He was awarded the Tom-Gallon Short-Story Award.
His work has stimulated critical work into the post-colonial novel’s use of magic-realism, carnival, calypso, her/history, storytelling, dialect/standard narratives, identity, landscape, the body, race, religion and homo/sexuality.
His work has been performed on the BBC. His poetry has been anthologised in Europe and the Caribbean. He travels frequently in North and South America and the Caribbean and has read, lectured and talked about his work internationally.
Books
Biography
Critical Essays
Bibliography
TV & Radio
He was Writer-in-Residence at the University of the West Indies and was a judge for the 2006 Commonwealth Short-Story Competition.
He is A Senior Research Fellow of The Academy at Unversity of Trinidad and Tobago (UTT) for Arts, Letters, Culture and Public Affairs 2006-2009.
He lives and works in both Trinidad and England, writing and teaching literature as well as creative writing at The City Literary Institute in London, The Arvon Foundation and City & Islington Sixth Form College where he taught for many years.
He has been awarded and short-listed for a Commonwealth Writers’ Prize Best Book and Best First Book in Canada & the Caribbean, twice Long-Listed for The International Impac Dublin Literary Award, The Whitbread Prize and The Booker Prize. He was awarded the Tom-Gallon Short-Story Award.
His work has stimulated critical work into the post-colonial novel’s use of magic-realism, carnival, calypso, her/history, storytelling, dialect/standard narratives, identity, landscape, the body, race, religion and homo/sexuality.
His work has been performed on the BBC. His poetry has been anthologised in Europe and the Caribbean. He travels frequently in North and South America and the Caribbean and has read, lectured and talked about his work internationally.
Books
Biography
Critical Essays
Bibliography
TV & Radio
He was Writer-in-Residence at the University of the West Indies and was a judge for the 2006 Commonwealth Short-Story Competition.
He is A Senior Research Fellow of The Academy at Unversity of Trinidad and Tobago (UTT) for Arts, Letters, Culture and Public Affairs 2006-2009.
He lives and works in both Trinidad and England, writing and teaching literature as well as creative writing at The City Literary Institute in London, The Arvon Foundation and City & Islington Sixth Form College where he taught for many years.
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Displaying 1 - 9 of 9 reviews
August 11, 2018
I did not know until the end of the novel that Michel Jean Cabazon was a real person, an artist in Trinidad in the mid-19th century. Little is known about his life other than through his art, but Scott takes what is known and creates a convincing, very moving portrayal of a man caught between worlds. As a black man, Cabazon faces prejudice even as white people employ him to depict their homes and land. Some of them see him as a sort of pet that they have "civilised", while others do not believe that he really is an artist. Cabazon's own family don't trust this closeness with Governors and high-ranking colonial officials. They worry that he's trying to abandon his roots - especially given that he has married a white woman.
Cabazon himself simply wants to forget the politics and paint - not realising that art itself can *be* political. What he leaves out of a picture can say just as much as what he includes.
The book spans several decades, showing both the development of Cabazon as a person and the wider developments in Trinidad. We see the hypocrisy of the colonial authorities, who have abolished slavery only to continue it under other names and with different groups of people. One character praises Cabazon even as they spout typically racist colonial views. The artist's behaviour must be impeccable in public and even then he is not trusted.
The author brings the characters vividly to life - partly through the use of language, capturing the variation between French, English and Creole patois. As you read, you can hear the characters' voices in your head. It is notable that the governor is always referred to as "Excellency" when the text is from Cabazon's point of view - only white characters get to use his name. Little details like that say a lot.
As you might expect with a novel about an artist, the landscape of Trinidad is described very poetically. I have never been there, but the author does a good job of allowing the reader to create pictures in their mind.
It's an interesting novel, very engrossing and vivid. And it makes you want to learn more about its subjects, both in terms of Mr Cabazon's art and the history of Trinidad.
Cabazon himself simply wants to forget the politics and paint - not realising that art itself can *be* political. What he leaves out of a picture can say just as much as what he includes.
The book spans several decades, showing both the development of Cabazon as a person and the wider developments in Trinidad. We see the hypocrisy of the colonial authorities, who have abolished slavery only to continue it under other names and with different groups of people. One character praises Cabazon even as they spout typically racist colonial views. The artist's behaviour must be impeccable in public and even then he is not trusted.
The author brings the characters vividly to life - partly through the use of language, capturing the variation between French, English and Creole patois. As you read, you can hear the characters' voices in your head. It is notable that the governor is always referred to as "Excellency" when the text is from Cabazon's point of view - only white characters get to use his name. Little details like that say a lot.
As you might expect with a novel about an artist, the landscape of Trinidad is described very poetically. I have never been there, but the author does a good job of allowing the reader to create pictures in their mind.
It's an interesting novel, very engrossing and vivid. And it makes you want to learn more about its subjects, both in terms of Mr Cabazon's art and the history of Trinidad.
February 7, 2013
Excerpted from the full review:
"Scott’s latest novel is nothing less than remarkable, blending in ambitious detail the real life of one of Trinidad’s founding artistic figures, with a fictional account of what his most personal moments might have resembled. An intimate biography of the actual Michel Jean Cazabon is not a matter of public record, as the author himself remarks in his historical notes. Light Falling on Bamboo would probably read as seedy conjecture in the hands of a writer less sensitive to character development. The reverse is true here: one is gifted a portrait of Cazabon as he might plausibly have been. The reader leans towards believing, rather than discrediting, the artistic licenses that Scott himself has taken – what emerges is the study of a complex, haunted figure.
Divisions run through the novel, which begins in 1840s Trinidad and spans more than five decades. These ruptures are not simply evident in Cazabon’s conflicts, but echo throughout the structure of Trinidadian society. While crossing the greens on his way to the Governor’s residence, Cazabon muses that “he could have been somewhere in Hertfordshire”, so strong are the parallels of the local atmosphere with that of a British pastoral scene. Money is described as the province of power; those who possess it are the white landowners and dignitaries for whom Cazabon is commissioned to paint epic vistas. These members of the elite ruling class continue to consider themselves superior to the former slaves who built the plantation empires. As Cazabon himself admits with deep guilt, the slave trade is at the heart of his family’s financial success too – a success he tries to distance himself from with dedication to his art."
You can continue reading my full review of Light Falling on Bamboo at Novel Niche.
"Scott’s latest novel is nothing less than remarkable, blending in ambitious detail the real life of one of Trinidad’s founding artistic figures, with a fictional account of what his most personal moments might have resembled. An intimate biography of the actual Michel Jean Cazabon is not a matter of public record, as the author himself remarks in his historical notes. Light Falling on Bamboo would probably read as seedy conjecture in the hands of a writer less sensitive to character development. The reverse is true here: one is gifted a portrait of Cazabon as he might plausibly have been. The reader leans towards believing, rather than discrediting, the artistic licenses that Scott himself has taken – what emerges is the study of a complex, haunted figure.
Divisions run through the novel, which begins in 1840s Trinidad and spans more than five decades. These ruptures are not simply evident in Cazabon’s conflicts, but echo throughout the structure of Trinidadian society. While crossing the greens on his way to the Governor’s residence, Cazabon muses that “he could have been somewhere in Hertfordshire”, so strong are the parallels of the local atmosphere with that of a British pastoral scene. Money is described as the province of power; those who possess it are the white landowners and dignitaries for whom Cazabon is commissioned to paint epic vistas. These members of the elite ruling class continue to consider themselves superior to the former slaves who built the plantation empires. As Cazabon himself admits with deep guilt, the slave trade is at the heart of his family’s financial success too – a success he tries to distance himself from with dedication to his art."
You can continue reading my full review of Light Falling on Bamboo at Novel Niche.
September 21, 2015
I really enjoyed this novel, but then I know that I would. The story is interesting and well written but the best part of the novel are the wonderful descriptions of Trinidad and especially Port Of Spain in the post-emancipation period.
My office window faces west and from three floor up I have a view of all of Woodbrook and Mucurapo to the stadium. The view now is all buildings and roads until you come to the sea but it is fascinating to imagine what theat view dould have looked like 175 years ago when it would have been cane and swamp.
I was not able to find out whether this was a true story or simply fiction so my best guess is that it is fiction based on true events. In the novel the angst of the main character is palpable as he, an educated artist who has lived in both France and England, have to navigate through a society where he is just a black man. The writer portrays his indecision and the difficulties involved in simple choices, freindships, relationships and complicated family issues and the uncertainty of life in a rapidly changing world.
The novel also gives some insight into the difficulties faced by women in that society. Mme Cazabon, Josie, Ernestine and Augusta all face distinctly different issues but they are all related to the common theme of trying to find a place.
This is a good one for lovers of Caribbean historical fiction.
My office window faces west and from three floor up I have a view of all of Woodbrook and Mucurapo to the stadium. The view now is all buildings and roads until you come to the sea but it is fascinating to imagine what theat view dould have looked like 175 years ago when it would have been cane and swamp.
I was not able to find out whether this was a true story or simply fiction so my best guess is that it is fiction based on true events. In the novel the angst of the main character is palpable as he, an educated artist who has lived in both France and England, have to navigate through a society where he is just a black man. The writer portrays his indecision and the difficulties involved in simple choices, freindships, relationships and complicated family issues and the uncertainty of life in a rapidly changing world.
The novel also gives some insight into the difficulties faced by women in that society. Mme Cazabon, Josie, Ernestine and Augusta all face distinctly different issues but they are all related to the common theme of trying to find a place.
This is a good one for lovers of Caribbean historical fiction.
November 16, 2012
For anyone who loves Cazabon's work, as works of art or indeed record of our country's physical history, this is a must-read. Scott has done a magnificent job of painting nineteenth-century Trinidad: its physical aspect and neighbourhoods, its inhabitants with their mores, prejudices and language. In my opinion, a bit too long, it was nevertheless thoroughly enjoyable and I feel grateful to Scott for giving our artist his literary due. Definitely recommended.
March 18, 2018
I really enjoyed this book although it was quite hard going in places! It is an interesting insight into life in 19th century Trinidad told through the eyes of the artist Michel Jean Cazabon. Many of his works were collected by aristocratic Harris family and are now on display in Kent, United Kingdom.
August 15, 2020
Beautifully written. Both Michel Jean Cazabon and nineteenth century Trinidad are powerfully characterised. The sense of 'time and place' are perhaps equal with Cazabon as main characters. Highly thematic: freedom and the racist hierarchy of English colonialism are the clearest themes but the power of art and the role of artists in politics and society also felt resonant for me.
Fascinatingly, and perhaps accidentally, the men of the novel symbolise power, both in its use and abuse while the women, through their varied struggles, are consistently the truth tellers. The impact of patriarchy on their lives is as pervasive as the impact of the English hierarchy is on the entire colony.
Fascinatingly, and perhaps accidentally, the men of the novel symbolise power, both in its use and abuse while the women, through their varied struggles, are consistently the truth tellers. The impact of patriarchy on their lives is as pervasive as the impact of the English hierarchy is on the entire colony.
July 5, 2017
It's more interesting towards the end. The story offers a good account of colonization in the 19th century.
September 10, 2012
Beautiful language and a sensual engagement with the physical life, but lacking in excitement. Full review here: http://littlewordsreview.wordpress.co...
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September 10, 2012KOBOBOOKS
Reviewed by The Independent (8 Sep 2012)
Reviewed by The Independent (8 Sep 2012)
Displaying 1 - 9 of 9 reviews