"Legend has popularized the image of the Caribbean as a woman compelled to suckle a snake all night long. This image of a woman’s violated body is viewed as paradigmatic of a land and people exploited and ravaged by imperialist aggression. As a corporeal representation, the image recalls Hortense Spillers’s formulation of the New World as a “scene of “actual” mutilation, dismemberment and exile,” where the “seared divided, ripped-apartness” of the flesh serves as “primary narrative.” As legend has encoded it, however, this primary narrative is inscribed in the flesh of the woman’s body and takes the particular form of violated maternity This powerful image of the violated maternal figure has, not surprisingly, found a significant place in contemporary Caribbean and African American literature. The literary representation of the figure of the violated mother is enmeshed with two dominant and long-standing issues of this literature. Although they have long been of concern in Caribbean and African American literature, the slave mother and black motherhood have only recently appeared, in all their complexity, as focal points for the exploration of past history and self-expression. Not only does the issue of violated maternity force the painfully unspeakable and unspoken experience into avenues of objectification, insisting that the sexual abuse of black women, both slave and free, be included in discussion of slavery, but, as image, it can also become emblematic or representative of an entire people, as in the work of Edouard Glissant. As well, it can become the cornerstone for a critique of repressed desire, as in Maryse Conde’s “Moi, Tituba, sorciere . . . Noire de Sale” (1986; Eng. “I, Tituba, Black Witch of Salem”). This critique resolves itself, turning absence into presence, through an alternative production/reproduction: that of writing or telling the female self into existence."