Things I read that you might like too. Things will be added – up to about 20 or so – before this installment in the Reading Room and Gallery series is archived. For previous and future installments in this series, use the search feature to the right.
Read the winning entries Wadadli Pen Challenge entries, a mix of poetry and short fiction, with some visual art, through the years.
– Joanne C. Hillhouse Catapult Caribbean Creatives Online #catapultartsgrant #AskMeAnything Q & A with readers
Antiguan and Barbudan writers discuss To Shoot Hard Labour by Keithlyn and Fernando Smith as part of a month long reading series featuring the book. The series was produced by Beverly George for Observer Radio’s Voice of the People.
Excerpts, in no particular order, from Caribbean Time Bomb author Robert Coram’s A Reporter at Large: Ancient Rights in The New Yorker, 1989:
“Joseph, like most of the divers, is fond of having a drink now and then, and he is fond of rum, but he will not touch Cavalier rum, because it is made on Antigua.”
“And although the Barbudans had long ago learned to live together, so that there was little need for a judicial system, they were now technically bound by the laws of Antigua.”
“But the Antiguans, who saw Barbuda as a poor and backward island, did not want to finance medical facilities, schools, clergy, and courts on Barbuda.”
“The island is also ridiculed because the people are different; their quirky individuality standing out even in the Caribbean.”
“Barbudan slaves (enslaved Barbudans – my edit) even used Codrington boats to send their livestock and the fresh meat from their poaching to Antigua, and in 1829 the Codringtons’ island manager wrote of Barbudan slaves (enslaved Barbudans – my edit) wrote of Barbudan slaves, ‘They acknowledge no master, and believe the island belongs to themselves.’”
“Until 1961, when regular air traffic from Antigua began, it could take a week to reach Barbuda, even from Antigua.” – read the full article here: New Yorker 06 Feb 1989
‘It was in form four, he says, that his work began to acquire an especially grim, menacing glint, layered with violence, tones of the macabre, and an arsenal of baleful sexual suggestion. His father, who dutifully printed off copies of the stories at work, gave him a sage kernel of advice that Hosein has never forgotten: “Even if you writing smut, keep writing. Just be careful of who you showing it to.”’ – Shivanee Ramlochan on Kevin Jared Hosein in Caribbean Beat
– Yvonne Weekes reading from her volcano themed memoir
“Georgetown is where some 90% of the population live today. We shouldn’t really be here. But in the 1700s, Dutch colonisers, bringing technology from their own low-lying country, decided to drain the swampy coast and install a ‘polder’ system of canals, sluice gates (known locally as kokers) and dams to cultivate sugar and other crops on the fertile land. Historian Dr Walter Rodney estimated that, in doing so, enslaved Africans were required to move 100 million tonnes of soil by hand. Ever since then, the sea has been trying to reclaim the land that was taken from it.” – Life on Stilts: Staying Afloat in Guyana by Carinya Sharples
“We are unwitting victims of a larger global issue beyond our control.” – from After the Aftermath: Hurricane Dorian by Bahamian writer Alexia Tolas
‘In “Winged and Acid Dark,” Hass tells us directly what happens to the woman in Potsdamer Platz in May 1945, but he does this direct telling circuitously. The poet approaches the idea, then “suggests” the rape. Note the second stanza: “the major with the swollen knee, / wanted intelligent conversation afterward. / Having no choice, she provided that, too.” The poem suggests the before by describing the “afterward” and by describing what the woman has to do “too.” Later in the poem, Hass describes the prying open of her mouth and the spitting in it, and lets these moments stand for much more. The lightning strike of this poem, the one we would expect at least, would be a graphic description of the rape, and yet, Hass soothes us on that front while delivering alternatively terrifying truths. The thing we prepare ourselves for, because we’ve heard that old war story repeated so many times, is only alluded to. Instead, Hass focuses on something else we are surprised by and therefore have to hear.’ – Tell It Slant: How To Write a Wise Poem by Camille T. Dungy
CREATIVES ON CREATING
“I wanted not simply to record but to interrogate what was happening and my response to it, to use poetry the way it can function at its utilitarian best: offering ways of seeing, of examining, of challenging complacency, and of contextualising the current situation within broader life considerations. …I am surprised at what I am doing because I normally spend a huge amount of time thinking about, writing, and then editing everything that I write before sending it into the world, so this speed of composing, followed by a click of Send and then almost immediate response is something new for me. I am less concerned with literary values or aesthetics than I am with memorializing the historic moment that I am living through. I want to capture the zeitgeist, literally, ‘the spirit of the time’.” – Cross Words in Lockdown by Olive Senior
“I would sit and talk to them, get to the essence of who they were…because it would help me to figure out how to write for them.” -Babyface
“On his knees, hands behind his head, he asked for a cigarette. I gestured that he be given one. Our eyes met, we held each other’s gaze. What was he thinking? He must have been the same age as me. The same dark skin and stature. In another time, another place, we might have been neighbours, colleagues, friends. But here, now, he is one of them. ” – from The Debt by Nicholas Kyriacou
“In later years when he lying in bed all by he self…” – Levar Burton reads ‘A Good Friday’ by Barbara Jenkins. You can read this and other stories in Pepperpot: Best New Stories from the Caribbean
“Sunny stayed up the entire night, mopping the floors of her living room and bedroom as the heavy winds forced water through the shutters and windows. It was silly, in hindsight. The water was coming anyway, and fast. But she had to pass the time. Once every half hour or so, she would run to the hallway, frightened by the loud crashing noises from outside, anticipating that one of the shutters would give way and the kitchen window would burst wide open. They never did that night.” – Four Women at Night by Schuyler Esprit
“A mother has just lost her son
A mother has just lost her son
A mother has just lost her son.” – reading by Curmiah Lisette, from her poem ‘The Bandits’, part of the CaribCation Caribbean Author Series
“Speaking to you from St. Lucia…we have a strong literary tradition, anchored by our Nobel Laureate Derek Walcott.” – John R. Lee reading and discussing his lit and more in the CaribCation Caribbean Author Series
“Somewhere or other there must surely be
The face not seen, the voice not heard,
The heart that not yet—never yet—ah me!
Made answer to my word.” – from Somewhere or Other by Christina Rossetti
it wrings out your soul-case” – Grief by Yvonne Weekes in Barbados’ Arts Etc.
“My iPhone keeps me company.
Plays music for me, shows pictures
of friends, what they’re thinking.
Lights up the dark when I’m missing you,
brings other poets’ words with a touch.” – from ‘April 2020’ by Julie Mahfood (Jamaican in Canada) in the Jamaica Gleaner’s Meeting Ground: Poems in the Time of COVID-19
‘Like other poets of the Harlem Renaissance, McKay, though a powerful advocate of black liberation, took the dominant “voice” of traditional culture, mastered it and made it accommodate his different ways of seeing, his visions and his anger. The fusion of urban realism with more traditional Romantic tropes in Harlem Shadows still leaves room for clear blasts of rage against “the wretched way / Of poverty, dishonor and disgrace”.’ – re poem of the week Harlem Shadows by Claude McKay (poem and analysis)
“She forgave grandma, then a single mother of six,
who fed her children with one hand
while choking them with the other.” – from Mother Suffered from Memories by Juleus Ghunta in Anomaly 28
This blog is maintained by Wadadli Pen founder and coordinator, and author Joanne C. Hillhouse. Content is curated, researched, and written by Hillhouse, unless otherwise indicated. Do not share or re-post without credit, do not re-publish without permission and credit. Thank you.