A Small Place by Jamaica Kincaid Page B

Bishop-like end—death, only this time at the hands of the Americans.
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    ANTIGUA is beautiful. Antigua is too beautiful. Sometimes the beauty of it seems unreal. Sometimes the beauty of it seems as if it were stage sets for a play, for no real sunset could look like that; no real seawater could strike that many shades of blue at once; no real sky could be that shade of blue—another shade of blue, completely different from the shades of blue seen in the sea—and no real cloud could be that white and float just that way in that blue sky; no real day could be that sort of sunny and bright, making everything seem transparent and shallow; and no real night could be that sort of black, making everything seem thick and deep and bottomless. No real day and no real night could be that evenly divided—twelve hours of one and twelve hours of the other; no real day would begin that dramatically or end that dramatically (there is no dawn in Antigua: one minute, you are in the complete darkness of night; the next minute, the sun is overhead and it stays there until it sets with an explosion of reds on the horizon, and then the darkness of night comes again, and it is as if the open lid of a box you are inside suddenly snaps into place). No real sand on any real shore is that fine or that white (in some places) or that pink (in other places); no real flowers could be these shades of red, purple, yellow, orange, blue, white; no real lily would bloom only at night and perfume the air with a sweetness so thick it makes you slightly sick; no real earth is that colour brown; no real grass is that particular shade of dilapidated, rundown green (not enough rain); no real cows look that poorly as they feed on the unreal-looking grass in the unreal-looking pasture, and no real cows look quite that miserable as some unreal-looking white egrets sit on their backs eating insects; no real rain would fall with that much force, so that it tears up the parched earth. No real village in any real countryside would be named Table Hill Gordon, and no real village with such a name would be so beautiful in its pauperedness, its simpleness, its one-room houses painted in unreal shades of pink and yellow and green, a dog asleep in the shade, some flies asleep in the corner of the dog’s mouth. Or the market on a Saturday morning, where the colours of the fruits and vegetables and the colours of the clothes people are wearing and the colour of the day itself, and the colour of the nearby sea, and the colour of the sky, which is just overhead and seems so close you might reach up and touch it, and the way the people there speak English (they break it up) and the way they might be angry with each other and the sound they make when they laugh, all of this is so beautiful, all of this is not real like any other real thing that there is. It is as if, then, the beauty—the beauty of the sea, the land, the air, the trees, the market, the people, the sounds they make—were a prison, and as if everything and everybody inside it were locked in and everything and everybody that is not inside it were locked out. And what might it do to ordinary people to live in this way every day? What might it do to them to live in such heightened, intense surroundings day after day? They have nothing to compare this incredible constant with, no big historical moment to compare the way they are now to the way they used to be. No Industrial Revolution, no revolution of any kind, no Age of Anything, no world wars, no decades of turbulence balanced by decades of calm. Nothing, then, natural or unnatural, to leave a mark on their character. It is just a little island. The unreal way in which it is beautiful now is the unreal way in which it was always beautiful. The unreal way in which it is beautiful now that they are a free people is the unreal way in which it was beautiful when they were slaves.
    Again, Antigua is a small place, a small island. It is nine