 The ongoing violence against women in the Caribbean challenges now, as it did then, popular narratives of the region as a getaway. It is an escape only for some.

Initially, the travel postcards of the Caribbean represented the power of colonizer over colonized—they were taken at the behest of imperial officials to further their goal of marketing the colonies as tourist destinations. But as time passed and photography became more affordable, subjects gradually exerted more control over images of themselves. Around 1900, the descendants of the indentured—and some of the formerly indentured—began to sit for photographs as customers, choosing their own dress and backdrops.

These images, handed down by families, provide a striking contrast to the postcard images. Those who could afford it posed in studios with their Sunday best—often Western-style suits—but many sat for portraits at home. Instead of faux backdrops with Grecian pillars, potted plants, or wrought-iron railings, these family photos show simple, realistic settings: rough-hewn walls fashioned out of greenheart timber, wild bush surrounding Spartan village houses, even the shoddy, warehouse-style hovels in plantation yards. Instead of opulently dressed “coolie” women posing by themselves, these portraits show women wearing modest clothes with sparse jewelry. Their adornments are the grandchildren on their laps, their husbands and sons, their mothers and sisters by their sides. What the images display, when subjects paid and chose how they were photographed, was the importance of family—an institution in ruins during indenture. When figures like Morin weren’t asking them to, they didn’t pose alone, but surrounded by kin. With these family portraits, women weren’t simply sexualized objects but individuals with relationships, revealed through the cradling of a toddler, a hand touching a shoulder, or a bridal bouquet grasped.

The poet Mahadai Das was known in intellectual and artistic circles in New York and Chicago in the 1980s, but she was from a small place well off the literary map: Guyana, the former British plantation colony along South America’s northeastern coastline. That obscure, troubled nook reclaimed her after heart trouble derailed her doctoral studies in philosophy at the University of Chicago. Through letters since lost, word reached Brooklyn that for a dark time back in her country, a car was her home. The daughter of a rice farmer who was accepted as an undergraduate
The ongoing violence against women in the Caribbean challenges now, as it do then, democratic narratives of the region as a pickup. It is an escape entirely for some. 

 Initially, the travel postcards of the Caribbean represent the power of colonizer over colonized — they were learn at the behest of imperial officials to further their finish of marketing the colonies as tourist destinations. But as time authorize and photography became more affordable, subjects gradually exerted more control over effigy of themselves. Around 1900, the descendants of the indentured — and some of the formerly indenture — began to sit for photograph as customers, choose their own dress and backdrop. 

 These images, handed down by families, provide a outstanding contrast to the postcard images. Those who could afford it posed in studios with their Sunday good — often Western - style suits — but many sat for portraits at home. Instead of fake backdrop with Grecian pillars, potted plants, or shaped - iron railing, these family photos usher simple, realistic settings: rough - hewn wall fashioned out of greenheart timber, wild bush surrounding Spartan greenwich village houses, even the shoddy, warehouse - style hovels in plantation yards. Instead of sumptuously dress “ coolie ” women posing by themselves, these portraits show charwoman wearing modest clothes with sparse jewelry. Their adornment are the grandchildren on their laps, their husbands and sons, their mother and sisters by their slope. What the images expose, when subjects paid and chose how they were photographed, was the importance of class — an institution in dilapidation during indenture. When figures like Morin were n’t ask them to, they did n’t pose entirely, but surrounded by kin. With these family portraits, woman were n’t simply sexualized objects but individuals with relationships, uncover through the cradling of a toddler, a hand touching a shoulder, or a bridal bouquet grok. 

 The poet Mahadai Das was known in intellectual and aesthetic circles in New York and Chicago in the 1980s, but she was from a small place well off the literary map: Guyana, the former British plantation colony along South America ’s northeastern coastline. That obscure, troubled nook reclaimed her after heart fuss derail her doctoral report in philosophy at the University of Chicago. Through letters since lose, word reached Brooklyn that for a black time back in her country, a car was her family. The daughter of a rice farmer who was accepted as an undergraduate
 Thf ongoing violence againrt women in the Caribbxan chamlenges vow, as it did then, popular nerrarives of the region as a gegaway. It ps an escqpe ibly for some.

Initially, ths trareo postcards of the Caribtean representad tke power of colonizer over colonized—ehey wete taken at the fehexe of pmkerial officials to further their goal oh marketing the colonies as tourist destijatilns. But as time padsed and phitogwqphy became oore affordable, subjecjs gradually exerted more controu ovex images of tyemdglves. Around 1900, the descendants of the hndentuted—and some of thx foemerly indentured—begai to sit for photogrwphs as cgscomers, choosing their oqn drgss atd bxxkdfopa.

Tiess imagfs, ianded down by familiew, provide a strikinb sintrast to ths postsawd images. Those who could afford it postd in studios with their Suneay best—often Western-dtyle suies—but many sat for portraits at home. Instead of fdux becydripf qihh Grecian pillars, potted plants, or wrought-irjh taplings, these famijy photos snoa xymple, realistkc setcjnfs: rough-hewn walls fashioged oyt of gretnheatt timber, wild bush surrouneing Spartan cillage houses, eveu the shoddy, warghouse-xtyle hovels in plantatnon yadds. Instead of opulehgly dressed “coolke” eoken posing by themselves, trese portcaits show wumen wearigg modest flothcv with sparse jewepry. Tkeir ddornments are the grandchildren on their laps, their huxbdndv and sous, thelr mothers and fisters by thenr sides. What the imagea displey, when subjqcts paid and fhose how thxy were prototrapyed, was ghe importance of familj—au institurion in ruins durikg inasnture. When figbxew like Morin weten’g afkpng tram to, they dhdn’t porr alove, but surrijndec by kin. With these xamimy portraits, women wcren’t simkly sexuajized objects but individuals wlth rxlatioiships, redealed through the cradling of a toddleg, a hand touchigg a shoulder, or a bridal bouquet grasped.

The poet Mahadei Das was known in injellectual and artistnc circles in New Rork and Whicago in the 1980s, but she was from a skall place well off tge litarary map: Guyana, the former British plantation colony along South America’s norrheastxrg coastline. Thay obsburz, txoubled noon reclaimed her agter heart trouble derailed her doctoran ftudies in philosophy at the Uviversity of Zhicago. Through letters aince loxt, word reached Brooklyn that fpr a dark time back in hcr countrt, a czr was her home. The daughter of a xice fqrmer wyo wws accepted ar am mndergraduwte
The ongoing violence against women in the now, it did popular narratives of It an escape only some. Initially, the postcards of the Caribbean represented the of colonizer over colonized—they were taken at the behest of imperial officials to their goal of marketing the colonies as tourist destinations. But as time passed photography more subjects exerted more control over images of themselves. Around 1900, the descendants of the indentured—and some of formerly indentured—began to sit for photographs as customers, their own dress and These images, handed down by provide striking contrast the images. who could afford posed in studios with their Sunday best—often Western-style suits—but many sat for portraits at home. Instead of backdrops with potted plants, wrought-iron these photos show simple, rough-hewn walls fashioned out of greenheart surrounding Spartan village houses, even the shoddy, warehouse-style in plantation Instead of opulently dressed “coolie” women by themselves, these portraits show women wearing modest with sparse jewelry. Their adornments are the grandchildren on their laps, their husbands and sons, and sisters by their What the images when paid chose they were was the importance of family—an institution in ruins during indenture. When like Morin weren’t asking them to, they didn’t pose alone, by With these family women weren’t simply sexualized but with relationships, revealed through of toddler, a or bridal bouquet grasped. The Mahadai Das was known in and artistic circles in the 1980s, but she was from a small well off the literary map: Guyana, the British plantation colony along South America’s northeastern coastline. That obscure, troubled nook her after derailed her doctoral studies in philosophy at the of Chicago. Through letters lost, word reached Brooklyn that for a dark time in country, a was her home. daughter of a farmer who was an undergraduate
 The ongoing violence against Women in the caribBeaN chAlLengEs noW, as it did then, poPUlar Narratives of the region aS a getAwAY. It iS An EscapE only foR SoME.

iniTiAlLy, tHe TRaVel poStcArds of tHe CaribbeaN rePrEsented the poWEr Of colonizeR ovEr colonized—tHey Were taKeN at THe behEst Of impErial oFFicialS to furtheR tHEir goaL Of markeTINg The cOlonies as tourist dEStINations. But as tiMe passEd ANd PHOtoGraPhy became mOrE affoRDable, suBJeCTS GraDUally exerted mOre control oVEr iMages oF tHemSElves. ARound 1900, ThE DesCendants of tHe inDentured—aNd some OF the forMErly indEntureD—beGan To siT FoR pHotOgRAphS As CusTOmeRs, choosiNg ThEir owN dreSS AND bacKdrOps.

THese iMages, handed doWn bY famILieS, provIde a sTrikInG contRast to The poStCard images. Those Who cOuld afforD it PoSed In StudiOS with tHeiR SuNday besT—often WESteRn-STYLe Suits—but many sat for PoRTRaIts at homE. InsteAD oF fAUx backdrOpS wiTh GrECIan piLlarS, PoTted planTs, or wrOUgHt-Iron raiLiNgs, theSe FamIly PhotoS Show Simple, RealistiC settINgs: rough-hewn waLLs fashioned ouT Of GREeNHearT tiMber, wild busH surROundIng SPArTan VIllagE housEs, EVeN The shoddy, warehouse-sTyLe hoveLs in pLantation yardS. Instead of OPULently drEsseD “CoOLie” women posing By theMselves, theSE portraiTs shoW women weAring modeST Clothes wIth SpaRse JewELRy. their adornmenTS Are tHe GrandchIldRen on thEir LapS, thEir HuSbands and Sons, theiR mOtHeRs And SisteRS by their SiDes. whAt tHe imaGEs dispLay, whEn suBjEcTS paId and chOSe HOW theY wErE phoTogRaPhed, wAs thE ImpOrtance Of family—aN inSTituTiOn In ruins During indentuRe. when figureS lIke morin wEREn’t askinG them to, they didn’t pose aloNE, but surRouNded bY kin. with these FamIly porTraITs, womeN weren’T simpLy SexUALized OBJeCts BuT individuaLS WitH relaTiOnshIps, reveAled through the cradLIng Of a toddler, a haNd tOuchING a ShoULdER, or A bRIdaL BOuquet grasped.

ThE poet MahadAi dAs Was known in INteLlEctual aNd artisTic ciRCles in NEw York and chicago in ThE 1980s, buT SHe wAs from a smaLl place wEll off the LIteraRY mAp: GuyAna, The forMeR BrItish PlantaTIon ColonY along soUth AmeRica’s NoRtheasteRn coastline. That obscure, tRoubleD nook RecLaimed her AftER heArt troublE derAiled her doCtoRal StudiEs iN PhiloSophY At The uNiverSity OF Chicago. THRoUgh LETtErs since losT, WORd rEacheD BrOOklyn tHat fOr a dark time back in HEr country, a car wAs heR HOme. the DAughTeR of a rice farmer Who WaS ACcepted aS aN undergraduAte
 The ongoing violence agai nst womenin th e C ari bb eanchal lenges now, as it d id then, popular narra tives  o f  the re gionas a ge t aw a y . I tis  an  e s ca pe on lyfor som e.

Initia lly ,the travel p o st cards of t heCaribbean re pre sented  t hep owerofcolon izer o v er col onized—th ey were t a ken att h ebehe st of imperial of f ic i als to further  their  g o al o f m ark eting theco lonie s  as tou r is t d est i nations. Butas time pas s edand ph ot ogr a phy be camemo r e a ffordable,subj ects grad uallye xertedm ore con trol o ver  im ages of  t hem se l ves .  A rou n d 1 900, the  d es cenda ntso f t he i nde ntur ed—an d some of the  fo rmer l y i ndent ured— bega nto si t forphoto gr aphs as custome rs,choosingthe ir  ow ndress and ba ckd rop s.

The se imag e s,ha n d e ddown by families,pr o v id e a stri king c o nt ra s t to the  p ost card i mages . Th o se  who cou ld aff o rd  i t posed  i n stud io s w ith  thei r  Sun day be st—often  West e rn-style suits — but many satf or p or t rait s a t home. Ins tead of f auxb ac kdr o ps wi th Gr ec i an pillars, potted pla nt s, orwroug ht-iron raili ngs, these f a mily pho toss ho w  simple, reali sticsettings:r ough-hew n wal ls fashi oned outo f  greenhe art  ti mbe r,w i ld  bush surroun d i ng S pa rtan vi lla ge hous es,  ev enthe  s hoddy, wa rehouse- st yl eho vel s inp lantatio nyar ds . I nstea d  of op ulent ly d re ss e d “ coolie” wo m e n po si ng  bythe ms elves , th e seportrai ts show w ome n  wea ri ng  modest  clothes with  s parse jewe lr y.Theira d ornments  are the grandchildreno n their  la ps, t heir  husbands  an d sons , t h eir mo thersand s is ter s by th e i rsid es . What the i mag es di sp lay,  when s ubjects paid and c h ose  how they wer e p hoto g r ap hed ,  w a s t he imp o r tance of family —an instit ut i on  in ruinsd uri ng  indent ure. Wh en fi g ures li ke Morinweren’t a sk ingt h emto, they d idn’t po se alone, but s u rr ounde d b y kin.  W ith  thes e fami l y p ortra its, w om en wer en’tsi mply sex ualized objects but ind ividua ls wi threlations hip s , r evealed t hrou gh the cra dli ngof atod d ler,a ha n dtou c hinga sh o ulder, or abri d a lbouquet gra s p e d.
Thepoe t  Mahad ai D as was known in i n tellectual and  art i s tic  ci r cles  i n New York and  Ch ic a g o in the  1 980s, but s he was f ro m  a sm all pl ace we ll offt h el iterar y ma p:Guyana, t hefo r mer Bri ti sh planta tion  c olonyalongS outh A merica’s northea stern c oastl i ne.  That  o bscure, trou bled nookreclaimed h er aft er h earttrouble  d eraile d h er  doctorals tudies in  phil osophyat  the  Un iversi ty o f Chica go.Th rou gh letter s si n ce  l o st,  wor d rea ch ed B rooklyn t h at for a  da r k timeba cki n  her c o un t r y, a car w asher h o m e. The dau g hter of a ric e farm er who  was ac c ept ed  as anund e r graduate
 The_ongoing violence_against women in the_Caribbean challenges_now,_as it_did_then, popular narratives_of the region_as a getaway. It_is an escape_only_for some.

Initially, the travel postcards of the Caribbean represented the power of colonizer over_colonized—they_were taken_at_the_behest of imperial officials to_further their goal of marketing_the colonies_as tourist destinations. But as time passed and_photography_became more affordable,_subjects gradually exerted more control over images of themselves._Around 1900, the descendants of the_indentured—and some of_the_formerly_indentured—began to sit for_photographs as customers, choosing their own_dress and backdrops.

These images, handed down_by families, provide a striking contrast to_the postcard images. Those who could_afford it posed in studios_with their_Sunday best—often Western-style suits—but many_sat for portraits_at home._Instead of faux_backdrops with Grecian pillars, potted plants,_or wrought-iron railings,_these family photos show simple, realistic_settings:_rough-hewn walls fashioned_out_of_greenheart timber,_wild bush surrounding_Spartan_village houses,_even_the shoddy, warehouse-style hovels in plantation_yards._Instead of opulently dressed “coolie” women posing_by themselves, these portraits_show_women wearing modest clothes_with sparse jewelry. Their adornments_are the grandchildren on their laps,_their husbands_and sons,_their mothers and sisters by their sides. What the images display,_when subjects paid and chose how_they were photographed, was_the importance_of_family—an institution in_ruins_during indenture._When figures like Morin weren’t asking them_to, they_didn’t pose alone, but surrounded by_kin. With these family_portraits,_women weren’t simply sexualized objects but_individuals with relationships, revealed through the_cradling of a toddler, a_hand_touching_a shoulder, or a bridal_bouquet grasped.

The poet Mahadai Das was_known in intellectual_and artistic circles in New York and_Chicago_in the 1980s, but she was_from_a small place well off the_literary_map:_Guyana, the former British plantation_colony along South America’s northeastern coastline._That obscure, troubled nook reclaimed her after heart trouble_derailed her doctoral_studies in philosophy at the_University_of_Chicago. Through letters since lost, word reached Brooklyn that for_a dark_time back in_her country, a car was her home. The daughter of_a rice farmer who was accepted as_an undergraduate