... Ananse tends to attempt to achieve his goals by trickery rather than by hard work. They note that: Transported and indigenized according to the contingencies of a Caribbean culture historically rooted in slavery, such stories tended to de-emphasize moral lessons and to play up the inherent subversiveness of Ananse as trickster. Derek Walcott explores this figure of the trickster in theatrical contexts, especially in Ti-Jean and His Brothers (Post-Colonial Drama, 133). Notably, these authors point out that Walcott explains that this kind of folktale may be used as "a form of 'guerilla resistance' against cultural hegemony" as it is "firmly grounded in the mythos of the local community," and "deliberately eschews the values of the imperial centre" (133). According to Gilbert and Tompkins, Walcott states that what others may see as "provincial, primitive [and] childish" (134), is in reality a "radical innocence" (134). The 'charm' of Walcott's play is its simplicity, utilizing St. ...

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