Of all the fiction considered so far, Merle Collins’s 1987 novel Angel most explicitly engages with the broad social forces identified in Chapter One, even while it departs most dramatically from the critical generalizations about Caribbean women writers’ divergence from their literary predecessors. Merle Collins’s experiences resemble those of the politically engaged writers of the earlier period more than most of her generation: she was a teacher who became an active participant in the political environment surrounding the New Jewel Movement, was a member of Grenada’s National Women’s Organization until 1983, and remained part of African Dawn, a group that fused performance poetry, African music, and radical politics, after she settled in England. The political movement in Grenada in the 1970s differed from the earlier period of national liberation in that it opposed not British colonialism but a corrupt postindependence regime, and because of this, class demands were fore fronted even while the language of national autonomy and economic development was prevalent. At the same time it resembled the era of national liberation elsewhere in the West Indies in that it forged middle class and working class alliances within a mass political movement, bringing writers and other artists in to the political realm. Women’s rights were formally extended under Bishop’s government and ‘the self-conscious activism of women themselves . . . began to transform gender relations’ (Marable 238-9).