Response to Annie John has been unanimous in its praise. Reviewers focus on Kincaid's successful writing of a girl's coming of age as well as the wonder and excitement of a historic epicenter— the Caribbean. More serious views of the work simply explore this theme further by investigating the family as represented in the story and as existing in the West Indies. Critics have also noticed aspects of the novel which break new ground. For example, the harmony with which Kincaid treats the blending of obeah and modern medicine.
First reviews of the work in 1985 were excited, glowing, and attentive to Kincaid's prose ability. Paula Bonnell wrote in The Boston Herald, that the publication of Kincaid's first two books were "eagerly awaited events." Both, she continues, "are recreations of the self in that emotional country where dreams and what might have happened are part of the truest story of one's life." Jacqueline Austin agreed. She wrote a review in VLS months later saying, "Kincaid does write what she knows, what she knows is rare: pure passion, a past filled with curious events, a voice, and above all a craft." Austin also comments in passing about heritage. She names other writers from the West Indies to say that Kincaid is in a group trying to "encompass two traditions." She doesn't go much further, nor does she say which two traditions. John Bemrose is more particular in his review for Maclean's Magazine. He says, "The instrument of Kincaid's success is a prose style whose subtly varied cadences suggest the slow, dignified pace of life in colonial Antigua. She also knows her way around the human heart." In the Times Literary Supplement in the fall of 1985, Ike Onwordi adds nothing new. He glosses over the fact that Kincaid's work is an "episodic" autobiography using "language that is poetic without affectation."
Heavier analysis of Annie John followed slowly. In 1990, H. Adlai Murdoch wrote an article for Callaloo, entitled, "Severing the (M)other Connection: The Representation of Cultural Identity in Jamaica Kincaid's Annie John," where he attempted to reconfigure the Oedipal tools of Freud for an utterly matriarchal order. Murdoch argues that as Caribbean writers began to create their own literature free of the burden of empire, they must confront the Oedipal tensions of identity formation. Such a reading assumes that the only route to the child's, or the newly independent nation's, subjectivity is by confrontation and overthrow of the father, or ruling power. Only then can the child own his culture, or mother. "The issue of subjectivity, beset with problems such as recognition of self and other and oedipal conflict under the most conventional circumstances, is complicated further here given the additional factors of colonialism and pluralism which continue to mark Caribbean society and culture." Fortunately, Murdoch does not belabor Freud's script, but adds Lacan's notion of mirror as well as the more deconstructionist notion of phallic signifier. Together they enable a reading in which Annie's mother is the main power broker against whom Annie struggles, as would the son against the father in traditional Freudian readings, to attain her independent subjectivity. This analysis stays within the realm of psychological interpretation despite its promise to link postcolonial facets as well.
More recent criticism reflects postcolonial theory and views Kincaid as a postcolonial writer. Bill Ahscroft, Gareth Griffiths, and Helen Tiffin wrote the book on postcolonialism in 1989—The Empire Writes Back: Theory and Practice in Post-Colonial Literatures . The theory arises out of the historical fact that English literature as a discipline arose concurrently with the pressures of Empire. Consequently, previously colonized people found themselves independent but speaking English. They were not returned to pre-colonialism. They had to create a new...
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