" Walcott utilises religious Christian imagery to delineate that the Anglo-Christian Genesis cannot be of enslaved and it will not found written but in biological matter itself. Much like Davis’ ‘southscapes’ ocean acts as an in-between space which “memory reconstructs historiographical omissions retrieves their stories from abyssal depths oblivion.” Therefore enslaved’s “Babylonian bondage” (line 19) does end with a parting seas “lantern caravel” only leads many deaths making sea mass grave 7). Thus there are no markers “... men eyes heavy anchors who sank without tombs.” Instead constantly destructive generative force “then came scum on river's drying lip / brown reeds villages mantling congealing into towns.” “The sea perpetually heaving moving disturbing is always force poem. What generates–scum barnacles cowries–are material pieces evidence merely geographic literary cultural sociological one well.” Seanna Sumalee Oakley explores allegory well middle passage Alcott’s work stating his “typology neither counters nor rejects tradition flaunts its inventive revision while implying foreshortened reach traditions indissolubly linked.” Drawing De Man designates language relation distance between “nostalgia desire coincide” origin. ‘self’ realised this temporal difference attempts hide “negative self knowledge”. Nevertheless African Atlantic cultures both distinctly related history erased it therefore “African portrayals are ‘divided vein.’”"