Samuel Selvon’s Those Who Eat the Cascadura (1972) is a psalm of praise for a strongly bonded family. Situated in the post-colonial agricultural setting of a cocoa field owner’s estate, the novel demarcates an area where a future in which the white-black East Indian community with its discriminatory relationships will transform itself into a family of close-knit relationship among equal human beings. The novel narrates the story of a short-lived yet passionate love relationship between an East Indian girl, Saragini, and a white journalist visitor, friend of the estate owner, Garry Johnson. The communal family of the village helps the poor girl to sustain the beautiful relationship although it is destined to be unsuccessful. Selvon dreams of Caribbean islands without any boundaries of culture, caste or colour: a rainbow of cultural mixture. He realizes it through art by bringing together Garry the white, Saragini the East Indian, Dummy, Manko, and Eloisa the African. Interestingly, he injects the transracial experience of love with the race-specific cultural practice of obeah in all its stages of evolution, so that the cultural becomes trans-cultural in the process.