The conflation of voices in Caribbean literature reflects its oraliture - a heterophonic layering of voices inducing specific rhythmic patterns, which entail many linguistic and cultural negotiations to be recovered in translation. This particular aspect is culturally representative of what Jamaican author Olive Senior tries to put forward in her works. To translate her diglossic stories, in which several lects collide in very few pages, implies knocking about normative precepts - social, linguistic, cultural and political. The major problem, then, is that of revealing linguistic dissonance and of managing to remain within most readers' reach. The complex original enunciative system at work invites an intercreative process, engendered by intercultural dialogue in translation. However, it also calls for 'creativity within bounds' - that is the bounds of both languages-cultures concerned in an attempt at creating a new 'mosaic-whole'. Namely, a new assemblage of 'hetero-elements' seeming to compose an incoherent structure, but which nevertheless fashions a new creative whole.
