By Steffi Susan Benjamin

“Got to make it! Coming back to you, Marseille. Got to go back right there” – (McKay 85)

This map, created with Google MyMaps, shows two different layers. The first layer is of real places that are mentioned in relation to the social and economic struggles in the novel. The second layer shows areas in Marseille, Quayside, La Creole, and Genoa that were seen as positive or negative in the presence of Lafala, Babel, St.Dominique and Aslima when it comes to their economic and social struggles. These are shown by green (Postive aspects) and blue markers (Negative aspects). The maps also explores the meaning of specific places being seen as a way of escape (Purple marker) or gathering (Yellow marker) in relation to economic and social struggles the characters have. 

The theme of social struggles and economic desperation takes centre stage in “Romance in Marseille,” weaving a compelling narrative through the lives of characters such as Babel, Aslima, and Lafala. This analysis explores the intricate layers of their journeys and the impact of economic and social struggles in specific locations on their nature. The map that was created works as a visual guide for the readers to see the representation of the characters movements through the different locales which in turn would be used to show the struggles between characters. Divided into three sections, the essay will look into the characters’ thoughts and actions, showcasing their quest for liberty.

Navigating the Transient Ports 

Within the backdrop of a world dominated by neoliberalism, “Romance in Marseille” explores the socio-economic struggles of its characters. Collins’ conceptualisation of this neoliberal moment finds resonance in the novel’s portrayal of a world where global capital permeates all facets of social interaction (Collins 15). 

The lens through which economic desperation is depicted becomes particularly pronounced in the character of Babel.

“I wouldn’t know foh sure. And when I goes out yonder in that country they want do anything with me. I won’t go with no coolie crew. I want white man wages.” (McKay 85). 

In chapter 15, his apprehension about receiving lower wages when contemplating joining East Indian crews in Genoa serves as a poignant illustration. This apprehension not only reflects economic uncertainty but also encapsulates Babel’s profound determination to secure fair compensation and this is noticed in the created green marker on the map that shows Genoa as a place of escape for Babel. From the map it can also be seen that Genoa is seen as a place of escape six times by Babel in chapter 15. Thus bringing to the reader’s eye how Genoa was represented in the eyes of Babel.

“Got to make it! Coming back to you, Marseille. Got to go back right there” (McKay 85), just from these quotes that Babel brings out the desire to return to Marseille emerges as a compelling motive, and thus making Marseille a beacon of economic opportunity. Through the map it is evident by Babel’s journey that is traced on the green marker on the map and also through the map indicators in the area where Babel becomes determined to leave Genoa.

The Seamen’s Club: A Sanctuary Amidst Desperation

Lafala’s evolution from a dock labourer to a figure of newfound wealth underscores the harsh realities of Western capitalism on the marginalised (Tuszynska 12). Despite Lafala’s improved circumstances, economic struggles persist for other characters, finding solace and respite within the confines of the Seamen’s Club which is located on the map with an orange marker. Since the area was not specified where the location of Seamen’s club was, there was an indication where the club might be located, it can be assumed that the club is located away from Quayside (the old port) in an unspecified factory district. These areas has also been marked with purple to indicate the place of escape and yellow for a place of gathering.      

This establishment emerges as a crucial space, intricately woven into the narrative as characters, such as Big Blonde, navigate their challenges.

“In the morning Big Blonde took a holiday from the docks and went to the police station of Quayside, presenting himself as Babel’s friend and asking the nature of the charge against him. He thought the best thing he could do was to see St. Dominique and so he waited until noon when the Seamen’s Club was open.” (McKay 97). 

The Seamen’s Club functions not only as a physical space but as an informal network where characters exchange crucial information about employment opportunities. The map visually captures the characters’ frequent presence at the club, highlighting its pivotal role as both an escape and a nexus for economic endeavours.

Quayside: A Tapestry of Social Struggles

Quayside, presented as a microcosm of social struggles, serves as a central hub for characters like Babel, St. Dominique, and Big Blonde.  In the seventeenth chapter, Quayside evolves into a dynamic backdrop, embodying the transient nature of the characters’ lives. Babel’s declaration, “Got to make it! Coming back to you, Marseille. Got to go back right there,” (McKay 85) emphasises the symbolic significance of Quayside in their journeys. 

Yet, within this seemingly transient space, social dynamics and prejudices come to the forefront. As demonstrated in Aslima’s narrative, the chapter captures biases against Arabs and the uphill battle she faces in navigating societal hierarchies (Winkiel 4). The map intricately illustrates the multifaceted nature of Quayside, portraying both its positive and negative dimensions, shaping the characters’ social and economic trajectories. 

Aslima, in her pursuit of social advancement, strategically navigates relationships, oscillating between seeking Lafala’s companionship and returning to her pimp, Titin. A poignant moment illustrating this dynamic occurs in Chapter Seventeen when Aslima engages in a conversation with Titin, expressing her desire for marriage,

“Yes, a bar, a bar, a bar,” mocked Aslima. “But how do I know I would be treated right? I want to be sure about myself. If I promise to get that money will you promise to marry me before I hand it over? That’s the only way I’ll feel sure about my share. If we are married!” (McKay 95).

This exchange sheds light on Aslima’s sense of being marginalised and overlooked, underscoring Titin’s reluctance to marry her due to concerns about his social standing.  This conversation serves as a powerful commentary on the prevailing social struggles within Quayside, emphasising the overarching theme of societal challenges in this particular locale. This can once again be seen in the map through markers of blue and yellow, that bring in the aspect of societal struggles for both St. Dominique and Aslima in Quayside. 

In essence, Romance in Marseille masterfully weaves together the threads of social struggles and economic desperation, employing diverse locations to underscore the profound impact of place on characters’ nature and aspirations. The map serves as an visual companion, providing nuanced insights into characters’ movements and highlighting the intricate significance of each location in their individual journeys.

Work Cited

Collins, Michael J. “Afropessimism, Liminal Hotspots, and Claude McKay’s Aesthetic of Sovereign Rejection in Romance in Marseille.” English Language Notes, vol. 59, no. 1, Apr. 2021, pp. 201–17. MLA International Bibliography. 

McKay, Claude. Romance in Marseille. Penguin Classics, 2020.

Tuszynska, Agnieszka. “‘A Syrup of Passion and Desire’: Transgressive Politics of Pleasure in Claude McKay’s Romance in Marseille.” English Language Notes, vol. 59, no. 1, Apr. 2021, pp. 38–57. MLA International Bibliography.

Winkiel, Laura. “Shoreline Thinking: Alluvial Entanglements in Romance in Marseille.” English Language Notes, vol. 59, no. 1, Apr. 2021, pp. 146–65. MLA International Bibliography.

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