Simultaneously the rites celebrate the rich, syncretic diversity, the multiple connections of the African person in the New World and enact the tragic search for the wholeness of the lost African centre. And there is the god himself, standing at the crossroads, ‘beating iron into the shape of thunder’, both the prophetic voice warning of the fire to command the creator who hammers out sweet sound from the iron drum.
Geoffrey Philp finds in Xango a powerful metaphor that is both particular to the Caribbean and universal in its relevance. If his first collection, Florida Bound, was characterised by the exile’s bittersweet elegies of regret, and the second, hurricane center, stared edgily into the dark heart of a threatening world, xango music brings a new sinewy toughness of line to an ever deepening vision of the dynamic polarities of human existence.
David and Phyllis Gershator writes in The Caribbean Writer: 'Using rhythm and riffs, he can pull the stops on language and give it a high energy kick. In 'jam-rock' he winds up with 'the crack of bones, the sweat of the whip; girl, you gonna get a lot of it; get it galore; my heart still beats uncha, uncha uncha, cha'(31).
Philp successfully uses a variety of traditional forms, including the sestina - not an easy form to master but masterfully handled in 'sestina for bob.' Eclectic, the poet pays homage to Kamau Brathwaite, Bob Marley, and Derek Walcott.