Why (and how to) Read CLR James on Cricket
Over the past month or so, I’ve been reviewing my plans for Global Sports Culture, a course I’ll be teaching for just the second time this fall. I knew there were some things I wanted to improve upon based on my first go round and so some changes I needed to make to the content and structure. I’ve done a lot of that work, including create an interactive concept map which I’m going to share here once I’ve finalized it.
But for all the changes I’ve made (and there are many), one thing I knew early on that I wouldn’t change was the reading assignment for the first week’s lecture, in which I introduce students to the challenges, opportunities, and methods for studying global sports cultures. That’s a week where I want to entice a couple of hundred adolescent sports fans at a Big Ten university that reflecting upon their passion and the cultural objects that incite it can be a valuable thing: not only edifying, but pleasurable in its own right, and even, enhancing of the enjoyment they currently take in sports. To aid me in this task I have recruited two different, short readings, both of which elegantly—though with different kinds of elegance—make the case for keeping our thinking brains working even as we let our feeling brains run riot in our encounters with sporting cultures.
Sports as Escape, Struggle, and Art
In their superb introduction to Blackwell’s A Companion to Sport, a comprehensive volume the two also edited, Ben Carrington and David Andrews—two of the most prolific and well-regarded sports studies scholars writing today—explain how the study of sports can move us past unhelpful dichotomous approaches to sport that either unsubtly trash it as a kind of opiate excess or naively adore it as a repository of proper values. Instead, Carrington and Andrews encourage students of sports culture to think about sport
as an escape from everyday life whilst understanding that no cultural activity is completely autonomous from societal constraints, to examine sport as a form of cultural struggle, resistance, and politics whilst recognizing that it is also compromised by forms of commodification, commercialization, and bureaucratic control, and to consider sport as an embodied art form that is formed in relation to both intrinsic and extrinsic goals and rewards that sometimes over-determine the stated aims of the participants.
This is sport, in their words, as escape, struggle, and art. We are to see not one or the other, but all three functions at once served in some way or another, though probably in different proportions, in every sporting event. And, moreover, we are to see that sport’s ability to fulfill these three functions is constrained by the very condition that allows it to serve these functions: namely, that sport is a swatch in the social fabric.
In this, Carrington and Andrews draw their inspiration from C. L. R. James who thought about sport, they write
as an activity that is simultaneously a space to which we escape for fun, relaxation, and enjoyment, a space charged with social significance and political possibilities for expressing who we are as individuals and the larger communities to which we belong, and as an embodied art form, a physically creative and aesthetic mode of being human, a world replete with all the ugliness and beauty, tragedy and joy, that resides within human society.
James, therefore, provides the second reading with which I begin my course.
For those unfamiliar with him, Cyril Lionel Robert James was, to put it simply, one of the most awe-inspiring cultural and political figures of the twentieth century. Novelist, playwright, philosopher, literary critic, historian, teacher, activist, journalist, cricketer and sports fan, James, who was born in 1901 in a small village in then-colonial Trinidad, lived, traveled and worked in Latin America, the United States, Africa, and England (where he died, in London, in 1989). James is probably best known for The Black Jacobins, a definitive history of the Haitian revolution. My personal favorite, for the record, is Mariners, Renegades and Castaways: The Story of Herman Melville and the World We Live In. James presents Moby Dick as a prescient portrayal of the industrial and imperial might American would come to acquire in the century after the novel’s publication. James wrote the book in the United States, while interned on Ellis Island as McCarthy’s HUAC investigated the activist work he’d done in Detroit. James believed the book would reassure his persecutors of his love for what he called “American Civilization.” It didn’t work.
Yet Mariners, Renegades, and Castaways, like all his writing, is imbued with extraordinary erudition, a breathtaking capacity to grasp as ambiguity not as an impediment to commitment, but as its precondition, and by an elegant style balanced by a teacher and activist’s commitment to clarity. All this is in full force in Beyond a Boundary (1963), the work that inspired Carrington and Andrews (and before them several pioneering generations of students of sport and society). Beyond a Boundary deftly mixes autobiographical recollection, historical analysis of West Indian decolonization, and reflection on the moral, aesthetic, cultural and political dimensions of West Indian cricket (here, by the way, is a documentary that was made of Beyond a Boundary in the late 70s).
Even this brief description probably explains how Beyond a Boundary complements Carrington and Andrews in helping get students to think about sports. Because of time constraints, however, I can’t assign the entire work. Instead, I ask them to read Chapter 1, called “The Window,” and the Preface. Here I just want to share with you my way of reading the Preface, which is extremely brief and yet somehow, remarkably, already expresses in a kind of holographic magic, the whole of Beyond a Boundary and, for that matter, the whole of my course. In fact, it’s so brief that I can show it to you right here.
Now let me show you what we might make of it in class. The first thing I notice is that James begins by telling us what this book is not: neither “cricket reminiscences nor autobiography.” This might seem curious since the book clearly includes both, and in great detail. So we have a puzzle right from the start: how do we make sense of this? James helps somewhat in the very next sentence, when he tells us what the book is, or rather—significantly—when he tells us what it is by telling us what it does: the book, he says, “poses the question [emphasized by italics] what do they know of cricket who only cricket know?” The question, through its repetition of the terms, requires us to think about the relationship between cricket and knowing (which is to say, for my students, between sports and study).
Imagine that you are sitting with an alien from outer space during a Michigan football game on a Saturday afternoon in the autumn. The alien has asked you to explain what you are witnessing together. How you choose to answer says a lot about what you know about football but also about what you think is important to know about football. Would you identify the teams and the players? Would you talk about where the players come from and how they came to be here? Would you mention that most of them are black? Would you talk about the individual fundamental skills and techniques they are exhibiting? The strategies and tactics employed by coaching staffs and players? The rules? The violence? The behavior of the fans? The history of the stadium? The relationship between what is happening on the field and the mission of the educational institution to which it is attached? The economic aspects?
If you imagine a sport (like cricket or football) as a country with a border clearly separating it from another country, then you might imagine that the best way to know that country would be to ignore everything on the other side of the border. But James implies with his rhetorical question that to know that country you have to know what is not that country, what is on other side of the border. But sports and countries aren’t the only things with borders. Books and genres have them too, or at least we are used to thinking of them that way: “cricket reminiscences” is a country, clearly separated from another country called “autobiography.” So now, perhaps, we can see that with his opening line, James is rejecting those confining categories of thought.
Borders and boundaries. Notice the title of James’s book: Beyond a Boundary. In cricket, the word “boundary” refers to two things: 1) the edge of the playing field (like the homerun wall in baseball if it encircled the entire diamond and not just the 90 degree slice extending out from home plate); 2) a run scoring play in which the batsman hits the ball over the boundary (like a home run). But, considering the emphasis James has already placed on crossing boundaries, the title itself echoes and expresses the central lesson: to know—not just cricket, not just sport, but anything—is to cross boundaries, which is to say, to travel (an image the importance of which James will emphasize momentarily).
It’s striking too that James presents this point as a question rather than simply stating: “those who only know cricket don’t really know cricket.” It’s striking, I mean that a proposition about knowledge and its limits should be posed in the form of a question. For questions, as forms of discourse, are invitations to come to know, to do the traveling required to get to know. In this sense, James seems to avoid the trap of illusory certainty.
However, the question is also a rhetorical question in two ways. First, in the usual sense in which the question isn’t really or only a question but also a way of offering the answer: in this case, “nothing.” But the question is rhetorical in another sense. On one side we have “know-cricket” and on the other side we have “cricket-know.” This structure actually has a name: chiasmus (pronounced “Kye-as-muss”). It is named after the Greek letter chi (which looks like our “x”) because of the criss-cross pattern of the word repetition.
The symmetry of chiasmus offers a feeling of closure and a sense of completeness that can lead the listener or reader to feel that all aspects of an issue have been accounted for. This is part of what makes chiasmus effective as a figure of speech. But if the chiasmus work partly because of the impression of completeness and the confidence it can impart to a listener or reader, what happens when a chiasmus takes the form of a question (as it does here)? And a question that challenges the assumptions we might have about the completeness of knowledge?
James’ ironical, rhetorical question doesn’t hold still while we pin one meaning, one answer to it. Just when we try to frame an answer, some solid ground we could stand on, protected by firm boundaries separating us from ignorance, it shifts. James seems simultaneously to be challenging the claims of knowledge that base themselves on the fixity of categorical boundaries and to be trying to inoculate that challenge against itself falling prey to the same trap.
James has very assertively set down a challenge regarding what it means to know a sport. That’s an excellent way for us to begin a semester in which we too are studying sports. So let me pause to go into greater detail here on this question of knowledge.
James brings up knowledge twice in the Preface. First, in the rhetorical question we just looked at, then again in the final sentence: “To establish his own identity, Caliban, after three centuries, must himself pioneer into regions Caesar never knew.” Though brief, this is a tricky, but very important, sentence. In part, it’s tricky (at least for most of my students) because of the references to Caliban and Caesar and then doubly so because the references are employed metaphorically. So let’s just see who they were to begin with, then we can look at how they work as metaphors, and then finally we can tackle what it means that Caliban must go into regions unknown to Caesar.
Caliban is a character in the play “The Tempest,” written by William Shakespeare. The play is set on a tropical island, where a European nobleman named Prospero has set himself as a ruler over the island’s native inhabitants, including Caliban, whom Shakespeare portrays as a kind of animal. For example, in one scene, Prospero berates Caliban for ingratitude, reminding him that he didn’t even know how to speak until Prospero arrived and taught him. Caliban’s sharp retort to this is that he wished he had never learned to speak, since the only good it has done him is that now he can curse Prospero for occupying his island and enslaving him. Though “The Tempest” is not set on any actually identifiable island, Shakespeare wrote the play at a time when Europeans like himself were becoming familiar with reports from the English, Spanish and Portuguese men who explored and colonized the Americas, including the tropical islands of the Caribbean that we know today as the West Indies. Some of these included descriptions of native inhabitants as barbaric and uncivilized cannibals. Some scholars believe that the character of Caliban (whose name is almost an anagram of the word cannibal) is loosely based on these descriptions and that the play represents the European colonization of the West Indies.
Around the time that James was writing “The Window” numerous artists, intellectuals, and political leaders in the Caribbean who were dissatisfied with the effects of colonial rule on their native lands had seized on this idea and began to use Caliban as a symbol for themselves and their people. Just as Caliban cursed Prospero in the language the latter had taught him, so these individuals claimed that the Caribbean people would have to dismantle the effects of colonialism by using the tools—meaning the language, ideas, and social institutions—imposed on them or their ancestors by their colonizers. This process of dismantling the political, economic, cultural and psychological structures of colonialism is called “decolonization.” And decolonization, in a word, is the metaphorical meaning of Caliban as James here employs the name in his Preface.
Caesar you may be somewhat more familiar with, perhaps by the name Julius Caesar. He was a Roman statesman and military leader who amassed popular power at home and expanded the territory under Roman control all the way to what is today England and Germany as a means of transforming the democratic Roman republic into the dictatorial Roman Empire. As he did with the fictional character of Caliban, James is using the historical figure of Caesar as a metaphor: in this case, a metaphor for imperial rulers. Through these metaphors, though Caliban is a fictional character created fifteen centuries after the death of Julius Caesar, James creates an image of a relationship between colonized (Caliban) and colonizer (Caesar).
Now, as I mentioned above, the “regions Caesar never knew” are metaphorical as well. James isn’t necessarily talking about literal exploration of unknown territories. We can tell from the context (the sentence immediately before this describes, autobiographically, the process by which certain ideas James first encountered as a boy in the West Indies could only be tracked down and tested when he’d gone to England) that these regions probably refer to regions of thought. So the metaphor “regions Caesar never knew” means something like “thoughts or ideas that colonizers and imperial powers never knew.” Caliban meanwhile, who is the colonized, will have to “pioneer” those regions, that is, to go beyond his colonizing rulers in order to discover these “regions” of thoughts and ideas, these bodies of knowledge, that they never knew. And he must do this in order, James tells us, “to establish his own identity.”
So knowledge of ideas and the world, according to James, is inseparable from the process by which we come to form ourselves as distinct individuals with unique identities. This is true for all of us, of course, but James is especially concerned with those, like himself, who grew up as colonized individuals within a colonial empire. James reminds us that the very structures and dynamics of colonial society establish the ideas, customs, morals, and values of the colonial rulers as natural and superior, while the ideas, customs, morals and values of the natives are seen as strange and inferior. It follows from this that within such a system the “best” that a native (or colonized) individual could become is something like an adequate copier of the colonizer’s superior way of life. But in doing so, this individual must distance himself from his own native way of life as well as from the history of his land and his ancestors. The result is a kind of unbearable duality of experience for such individuals one with serious and documented psychological effects: among the colonizers he can only ever be a second-rate copycat, while among the natives he is an alien, a poser who has forfeited his native identity for a kind of second-hand foreign one.
When James speaks of Caliban establishing “his own identity” he means an identity that escapes from this lose-lose dichotomy. Rather than either rejecting or trying to copy wholesale the ideas of the colonizer, Caliban can combine his unique experience and various acquired ideas in order to discover new thoughts and ideas and in this way “pioneer into regions Caesar never knew.” Of course, we should keep in mind that the fact that Caesar “never knew” these regions doesn’t mean that Caesar never traveled to them. I’m not saying he did. Just cautioning that given the rhetorical question with which James began, we should beware of conflating different sense of the word “know.”
Part of what makes this passage so powerful, in my opinion, is that in this sentence James (following from the preceding, autobiographical sentence) is using the metaphors to speak of himself and his own experience but in terms that render that experience more general: it becomes the possible experience of every colonized or formerly colonized person. In this way, it is a kind of battle cry or slogan, meant to inspire others like himself to establish their own identities.
But even so, the other part of what makes this passage powerful, again in my opinion, is that it is built around metaphors drawn from European culture (Caliban and Caesar) and, specifically, from the history of conquest and colonization (including “pioneering” and “regions”). These metaphors, in that sense, are European tools in two senses: first because they come from European texts, and second because they are about European conquest and colonization. You wouldn’t think such metaphors would be very promising raw materials for a sentence describing the process by which a colonized individual can free his or her mind, but James makes them just that.
To know is to travel and to travel, in this world, is always to go where someone else has already been. Whether they know where they have been is another, open question. And what we do in that encounter with the other person is yet another, also open question.
Oh yeah, and don’t forget, all of this begins with an ironic, rhetorically posed challenge to remember that if we only know cricket, then we don’t know cricket. Is all of this, on knowing, and Caliban and Caesar and traveling all part of the response to that question? Part of its elaboration? Perhaps part of what we need also need to know if we are truly to know cricket is the history of colonization and the process by which native subjects try to free themselves of its influence by using the tools of colonization. And this is because cricket—like language and Shakespeare and the history of the Roman empire—is one of those tools. And to see the ways that cricket is more than cricket, or rather that cricket is also a means for political domination and political liberation (which is the subject of James’ book on cricket), is precisely to pioneer into regions Caeser never knew.