Tag Archives: Althea Romeo-Mark

A & B Writings in Journals and Contests (N – Z)

This page has grown fairly quickly, so I’m breaking it up in to two pages. For A – M, go here. For books, go here. This is exclusively for creative pieces by Antiguans and Barbudans accepted to established literary journals, festivals (and other notable literary platforms), and contests (not pieces posted only to personal blogs) as I discover (and in some cases, re-discover) them. Primarily, the focus is on pieces accessible online (i.e. linkable) because those are easiest to find; but it is not limited to these. It is intended as a record of our publications and presentation of creative works beyond sole authored books. Naturally, I’ll miss some things. You can recommend (in fact, I welcome your recommendations), but, as with all areas of the site, additions/subtractions are at the discretion of the admin.

PHILLIPS, ROWAN RICARDO – reading at Poets Out Loud – 2011

PHILLIPS, ROWAN RICARDOReverse Eurydice and Apollo: Season Three – Granta – 2010.

PHILLIPS, ROWAN RICARDO – Closing Night’s Nocturne – The New Republic – 2005

RICHARDS, ROSALIESmitten – Tongues of the Ocean – 2014

ROMEO-MARK, ALTHEA – Runners in the Marathon of Time – Womanspeak: A Journal of Art and Writing by Caribbean Women Volume 8 – 2016

ROMEO-MARK, ALTHEA – Camp – Moko: Caribbean Arts & Letters – 2016

Excerpt: “We read menacing messages in the scowls
 of passers-by. Some circle around,
 mark the territory with treads of footprints,
 count down days to our departure.”

ROMEO-MARK, ALTHEASmall Island Deprivations Unwanted Visitors –Tongues of the Ocean – 2014

ROMEO-MARK, ALTHEA – Neighbour’s in the Wood Shack, Desiree’s Revenge, Flawless, Play-Mamas, and A Kind of Refuge/Living in Limbo – Womanspeak: A Journal of Writing and Art by Caribbean Women, Volume 7 – 2013

ROMEO-MARK, ALTHEAThe Haunt of Alma Negron in St. Somewhere – 2013

ROMEO-MARK, ALTHEA – Burdened (which is quoted below along with six others) – Published in KRITYA Poetry Journal, Fall 2012 (www.kritya.in).

Excerpt: “Everything is on her head.

She trudges forward.

A straw mat tops the aluminum basin

filled with rescued essentials.

Her face, veiled in dust,

masks the fear beating her breast.

Her feet, swollen from endless trooping,

take her where others go.

Carrying memories of death,

she follows a long trek to nowhere,

and pauses only to suckle the child

strapped to her back.”

ROMEO-MARK, ALTHEA – Love at first Sound – Published in Off the Coast, Maine’s International Literary Journal, Winter (http://www.off-the-coast.com) – 2011.

Excerpt: “She loved the rhythm
of their singing
and the music of letters
spun off tongues,
that whirled in her ears.”

ROMEO-MARK, ALTHEALiberian Curfew at Tongues of the Ocean – 2010.

ROMEO-MARK, ALTHEAThe Nation Builders – at Medellin Poetry Festival – 2010.

Excerpt:

“…condemned as job snatchers

Pounced on by immigration

They are herded into vans

Shackled like cattle…”

ROMEO-MARK, ALTHEAWaking the Obeah Within Us  a series including the poems Jumbi Eyes, Clippings, Turn the Broomstick Up, FRAID, Web Weaving at Women Writers- 2008

ROMEO-MARK, ALTHEARevolution and Reggae published in Calabash – 2007.

ROMEO-MARK, ALTHEAEaster Sunday – published in The Caribbean Writer – Volume 10 1996

Excerpt: “They say if you come back they goin’ block the entrance to the church.”

“For what? What I do to them?”

“They say you make the man leave his wife of twenty years to marry you.”

“But, that’s their business?”

“They don’t see how Joseph could leave his wife to marry you. You know what they call you?”

“What?”

“Black, ugly, long mouth. . .”

ROMEO-MARK, ALTHEANager Man, Poverty, No Teeth Nana, Cha-Cha Town’s Blackbird – published in Palaver – Downtown Poet’s Co-op, New York, 1978.

Excerpt:

“Bokrah man
lashing whip ‘pon back.
Nager man
lashing whip ‘pon back
when slavery

done gone long time.”

 

SIMON, MONIQUE S. Color of Love – published in Calabash Volume 3 Number 2 Fall/Winter 2005

SIMON, MONIQUE S.NIGHT LIGHT (Ode to Bolans Village, Antigua –‘Home’) – published in Calabash Volume 3 Number 2 Fall/Winter 2005

Excerpt: “It was night, so it was light
Island light
Home for the night light
Man whispering to woman light
Child teasing child ‘bout daytime, schoolyard game light
Extension chord attached to hanging bulb over old wood tables with dominoes, cards,
and checkerboards light
Bob Marley, Short Shirt, King Obstinate, Charlie Pride, old-time calypso light
Home from ‘de week doing live-in maid job light

It was night, so it was light carried like electric current throughout the night in the small
village…

Tonight, Saturday night
Bolans was dark but it was light, real light”

SIMON, MONIQUE S. – Raven in my Arms – published in Calabash Volume 3 Number 2 Fall/Winter 2005

SPENCER, CHARLENE – Stranger – published (p. 31) in The Caribbean Writer Volume 28 Volume_28__2014__5433ea290b7cf_150x225–  2014

THOMAS, DEVRAHer Missing Fingers – Tongues of the Ocean – 2014

 WILLIAMS (NOW WHYTE), FLOREEYohan! – published in Anansesem

WILLIAMS, ZION EBONYThe Night I went to Cricket – in Tongues of the Ocean – 2014

As with all content on wadadlipen.wordpress.com, except otherwise noted, this is written by Joanne C. Hillhouse (author of The Boy from Willow Bend, Dancing Nude in the Moonlight, Musical Youth, Fish Outta Water, Oh Gad!, and With Grace). All Rights Reserved. If you enjoyed it, check out my page on Amazon, WordPress, and/or Facebook, and help spread the word about Wadadli Pen, my books, and my freelance writing-editing-coaching-workshop services. You can also subscribe to the site to keep up with future updates. Thanks.

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Reading Room and Gallery 23

The Reading Room and Gallery is a space where I share things I come across that I think you might like too  – some are things of beauty, some just bowl me over with their brilliance, some are things I think we could all learn from, some are artistes I want to support by spreading the word, and some just because. Let’s continue to support the arts and the artistes by rippling the water together. For earlier installments of the Reading Room and Gallery, use the search feature to the right. This is the 23rd one which means there are 22 earlier ones (can’t link them all). Remember to keep checking back, this list will grow as I make new finds until it outgrows this page and I move on to the next one.

NON FICTION

“It wasn’t as bad as I make it sound now; it was worse.” – Jamaica Kincaid’s essay On Seeing England for the First Time

MISC.

‘We must never for a moment doubt that it is absolutely vital that a nation should foster and honour its writers. The good writer devotes his energy to searching for truth. And in the love of truth, straight and unvarnished, lies not only the hope but the safety of a nation. “The people need poetry,” the great Russian Poet, Osip Mandelstam, wrote, “to keep them awake forever.” The good writer, the true writer, as Cyril Connolly said in Enemies of Promise, “helps to unmask those pretenders which distract all human plans for improvement: the love of power and money, the short-sighted acquisitive passions, the legacies of injustice and ignorance, a tiger instinct for fighting, the ape-like desire to go with the crowd. A writer must be a lie-detector who exposes fallacies in words and ideals before half the world is killed for them.”’ – Ian McDonald

FROM THE BLOGS

“People think writing children’s stories is some simple, easy thing. You’ve heard that, right? It is not; children deserve that as much attention be taken with their stories as would be taken with an adult novel. The child doesn’t need to recognize the many layers in a story. The layers of meaning will come later, or not, but the layers create the finished picture. The child just needs needs to enjoy the story, just needs that satisfying feeling of reading a story where the ending spreads like joy from the tips of the toes to the tips of the fingers and creates a bubbling-up-joy in the heart and mind.” – Caribbean Children’s Literature Diane Browne

***

“he dipped his toe in the puddle
of her first words” – SimplyNatural1

STORIES

“Being a migrant is like living in a limboland where you never fully belong anywhere, the positive perspective being it also gives you a wider and deeper empathy and universality.” – Maggie Harris interview

***

Commonwealth Writers site

***

“In the lateness of the night, she rises from the table. After these many years, she has become attuned to the restaurant, and to her beloved. They work in tandem. She can hear the eaves sigh in the wind, feel the dining room chairs sag with relief as the frenetic energy of the day finally draws to a close.” – The Woman Who Lived in the Restaurant by Leone Ross

***

“Across a field of short, sparse grass, she spied another group of aliens, facing each other in silence as usual, with their silver-stones piled in the center. Some were young—short with thick fur. Others were old—their scaly skin showing where hair had fallen out in patches about their body. She wondered if they considered this planet theirs. The family parrot, Rupert, considered the bell on his cage to be his property and pecked anyone who tried to move it. And the aliens of this world were certainly smarter than Rupert. Clara remembered her father’s stories about Columbus invading the Caribbean a thousand years before and declaring himself its discoverer. Maybe Clara and her family were the invaders now.” – from Clara in the New World, 2492 A.D. by Imam Baksh – See more here.

***

“Placing one slender, manicured tip on the backspace key, she erased every word, every trace of what she’d been feeling. It was four in the afternoon, and Laurie was beginning to feel suffocated. She needed this meeting to end. The only consolation was that she’d chosen a seat with her back against the wall, so her screen was not easily seen. Today was not her day to present, nor did she have the energy to rebut the statements being made, so she blindly allowed her mind to wander – a dangerous pastime.” – The Looking Glass by Zahra Airall (also posted to A & B Writings in Journals and Contests)

INTERVIEWS

“I would say to young writers be true to yourself and go for what is deeply meaningful for you, ask yourself over and over: What do I want to say?   Be as authentic to yourself and your subject as you can be.  Write every day.” – Lawrence Scott

***

“It’s scary out there, man. It’s so scary.” – Kendrick Lamar with Rick Rubin

***

“My mantra is definitely slow and steady wins the race. I apply this mantra to a lot of things, but I think in terms of my business I really avoid the sensation of being overwhelmed.” – Holly Wren Spaulding

***

Several Caribbean writers sharing their work and insights, including Jamaica’s Tanya Shirley – “Matter of fact which women really needs a head unless she’s proficient in giving head and keeping her mouth shut when she’s not”; St. Lucia’s Vladimir Lucien – “…no land, not enough last name to get the loan…”; and Barbados’ Karen Lord – “It appears that war, when deprived of one reason, simply seeks out another; we are still a people divided.” – listen to the full thing at the BBC.

***

“…if you have just finished writing your first story, you may want to take some time honing it and your craft and ensuring that it is truly ready for publication before approaching publishers. Completing a draft for most writers is the first step in a long journey of becoming a published author.” – advice from agent Anna Ghosh

***

“Every day I learn to write a better sentence.” – Ingrid Persaud and other Caribbean Commonwealth short story finalists interviewed by Shivanee Ramlochan

POEMS

“Bob Marley doesn’t know
His song has been hijacked
And drummed into heads
Knees weak from fear
Do not allow us to stand up.” – Althea Romeo-Mark’s Revolution and Reggae (Liberian Coup 1985) in Calabash

***

“light      smoke      how to dance

disco ball blocked by bodies

the sun eclipsed by moons

men growing like trees

in this club we leap

we do not look” – After Oliver Senior, ‘Flying’ by Andre Bagoo in Cordite Poetry Review 

***

“I think of you like a storm remembered—a marker in my life

Stalking my dreams and my memories like a phantom” – Stormy Night by Damian Femi Rene in Cordite Poetry Review

***

“when I was eight, a priest came and flicked holy water

into the four corners of this wooden house

that kept my parents, two sons, a daughter,

and a darkening forest in its mouth.” – Exorcism/Freeport by Richard Georges in Cordite Poetry Review

***

“Their point guard calling an illegal pick

as we double teamed, breathing like dogs

on a leash. I was staying in the spare room

of your house. Living below the line

like denominators until I learnt Algebra;

from the word Al-jabr – the reunion

of broken parts. Your nephew the third man,

floated by (a silver shadow) and drained

a three crunch through the chains.” – Pythagoras Theorem by Nick Makoha in Adda

***

***

“Nennen’s toothless smile

Granny lifts her skirt high

before plunging them back between her thighs

and a laugh from deep within bellows joy

Another aunt tears streaming from her face

thumps a table and gasps for air

and a laugh escapes

peeling sorrow away from the wooden walls

of the house

in Salem” – Chadd Cumberbatch, Norene’ s Laugh

***

“Beautiful man, you are

the ocean churning inside a skull. Every cuss

a broken piece of bottle. You never left

the island but long to. Fingertips smelling

of tobacco or herb, always ready

to fight someone or something.

Thrusting a gun finger

into the air, rigid—

a brown beacon; I will you

to life: fuse sinew, blood

tendons, bones, memories.” – Poem for a Gunman by Soyini Ayanna Forde

***

“I am the last in the line of the man Massa bury.

My great- grandmother run to the hills

same day, with Papa in her belly. Papa

was a wild one, kill plenty backra. Each time

he kill one  him say, ‘Massa me no dead yet.’” – Penny Kill Shilling by Monica Minnot 

***

“Because to him
Giving in
Is the only real sin” – Joanne C. Hillhouse’s Differences (also posted to A & B Writings in Journals and Contests)

***

“Give back your heart to itself, to the stranger who has loved you all your life, whom you ignored for another, who knows you by heart.” – Love after Love by Derek Walcott (read by Tom Hiddleston)

***

“I felt sleepy, bored by the mundane,
the usual conversation and the continual beauty
of sun and sea” – from The Day The Sea Turned Brown by Tania Haberland in Adda

CREATIVES ON CREATING

“I had this image of a woman grieving the illness of her lover, but yes, the lover is not-quite-human. He’s a construction or a creation or a person who has been made in our own image. I was thinking of love as a double helix between attraction to the other, the opposite; and attraction to some unarticulated part of ourselves that we recognize in another. And then, out of the blue, I could see Jin and Naomi dancing together, and the perspective was that of child, a neighbor, watching this love affair unfold, and interpreting that otherness, that not-quite-humanness, in a very different way. So that was the beginning.” – Five Questions for Madeleine Thien

***

“You learn about the objective art of rhetoric, more specifically about the structural choices that bad and good men have made in speeches to lead us down certain garden paths – not by magic, but by repetition and specific diction and verb choice.” – Leone Ross on The Answer to that Question: Where do I get Ideas from

***

“The reason an inciting moment matters is that it determines what the story is about. It’s like a snowball that is pushed down a hill. It will gather it’s own momentum, and direct the story to its conclusion unless you put obstacles in the way (like a rock) to throw it off track and into another direction. If you don’t want your story about Cinderella to hinge on the prince’s ball, you might not want to include the invitation in the plot in the first place.” – Andrea Lundgren

***

Solange Knowles jam sessions and creative process for Seat at the Table.

***

“When I sat down to write Ashael Rising, I knew very little about KalaDene. In fact, it didn’t even have a name until the third draft or so. My world-building was all done as I went along. I once heard an excellent description of the process; it explains just what it feels like to me so I’m going to share it here. World-building is like walking through a tunnel (the world) with a torch (the story) so I can see as much of the world as the story shines a light on and a little bit around the edges but everything else is just fuzzy shapes in the darkness, with maybe a puff of cool air indicating that there might be a door to somewhere else off to the left.” – Shona Kinsella talks world building

***

“Here’s the catch: More than one type of character arc exists. Our characters can change for better or worse. Or, perhaps they might not change much, except in strength of resolve. So, how do writers determine what kind of arc a character is following, or which arc fits our story best?” – Fantasy writer Sara Letourneau blogging on character arcs

***

“People think writing children’s stories is some simple, easy thing. You’ve heard that, right? It is not; children deserve that as much attention be taken with their stories as would be taken with an adult novel. The child doesn’t need to recognize the many layers in a story. The layers of meaning will come later, or not, but the layers create the finished picture. The child just needs needs to enjoy the story, just needs that satisfying feeling of reading a story where the ending spreads like joy from the tips of the toes to the tips of the fingers and creates a bubbling-up-joy in the heart and mind.” – Jamaican author Diane Browne blogging Children as Heroes/Heroines of Their Own Stories

As with all content on wadadlipen.wordpress.com, except otherwise noted, this is written by Joanne C. Hillhouse (author of The Boy from Willow Bend, Dancing Nude in the Moonlight, Oh Gad!, Fish Outta Water, Musical Youth, Dancing Nude in the Moonlight 10th Anniversary Edition and Other Writings, With Grace). All Rights Reserved. If you enjoyed it, check out my page on Amazon and/or Facebook, and help spread the word about Wadadli Pen and my books. You can also subscribe to the site to keep up with future updates. Thanks.

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Filed under A & B Lit News Plus, A & B WRITINGS, Caribbean Plus Lit News, Links We Love, Literary Gallery, The Business

Reading Room and Gallery 22

The Reading Room and Gallery is a space where I share things I come across that I think you might like too  – some are things of beauty, some just bowl me over with their brilliance, some are things I think we could all learn from, some are artistes I want to support by spreading the word, and some just because. Let’s continue to support the arts and the artistes by rippling the water together. For earlier iterations of the Reading Room and Gallery, use the search feature to the right. This is the 22nd one which means there are 21 earlier ones (can’t link them all). Remember to keep checking back, this list will grow as I make new finds until it outgrows this page and I move on to the next one.

AUTHOR PROFILES

‘Goodison, who is married to the author and academic J. Edward Chamberlin, divides her time between Toronto, British Columbia, and Ann Arbor, where she teaches Caribbean literature at the University of Michigan. Though she no longer lives in Jamaica, the country, she insists, will always be the focus of her writing. “Part of it has to do with the sort of ways in which I feel a lot of people don’t know Jamaica,” she says. “They only have one image of Jamaica, from the news, or from meeting some Jamaican person who’s a creep or something, and they think all Jamaicans are like that.” She describes the Jamaica of her childhood as “a very complicated, complex, rich place” but concedes things have gotten worse. Does she feel a responsibility to correct the misconceptions? “I don’t know that I can do that, but I can just tell you — I can be a witness. I can say, ‘In my life I saw this, and I knew this about Jamaica. If it doesn’t exist now, believe me, it used to exist, and hopefully it can exist again.’ ”’ – from She comes through: Lorna Goodison is one of the best writers you’ve never read by Mark Medley

NON FICTION

“I had no way of knowing then the extreme ways we’d learn to hurt one another.” – Give Hostages to Fortune by Mehdi Tavana Okasi

***

“I had this image of throwing yourself out into the water, only to have it spit you back out, over and over again. I didn’t need to ask why he’d kept trying, what he was looking for, because the answer was apparent. If there is nothing where you are coming from, then you are looking for something, for anything. No matter what you find, it will be better than what you had before, it will fill your empty hands. It was like casting a net out, if you were the net, your life unfurling out into an unknown adventure, falling over danger, looking for something to pull back in. I couldn’t imagine the kind of leaving that entailed—where your family faded into a previous life—what home could mean then, if every ship-taking was a search for somewhere else to belong.” – The Texture of Joy: A Stowaway Story by Akwaeke Emezi

CREATIVES ON THE BUSINESS

“While my own experience as an editor informs my approach to my writing, as a writer I’m still learning about working with other editors. Having your personal essay red-inked by someone at The New York Times is a different experience than having your roundup of local Irish pubs tidied up by your regional paper. And working with a professional on a novel you’ve labored over for years is another thing entirely.” – Jessica Strawser on 4 Truths that will Change Your Perspective on the Writer/Editor Relationship

***

“Mastering other things taught me that one becomes something not by wishing to be, but by learning to be. Mastery is the result of hard work. And ardor.  And the slow accretion of knowledge that comes from study and from practice.”- Mary Jo Bang

VISUAL

“After each morning run, we would come home and raid the mango tree.” – go here to view Danielle Boodoo Fortune’s Mango Morning

***

tpa-islandEric Fischl’s A Visit To/A Visit From/The Island uses two adjoining large canvases to contrast vastly disparate groups of people seemingly in the same setting. On the left he depicts what appears to be a white upper-middle-class American family of four vacationing at a sunny, holiday resort. The second panel portrays a frantic scene in which a group of black men and women, who appear to be refugees, try to pull themselves from a bluish black churning sea. Rendered in much darker, ominous hues than those of its counterpart, the frenzied image was based on a photograph of Haitian refugees arriving on the Florida coast. While the two canvases depict jarringly different scenes, the similarities between the images also emphasize their polarity. For instance, both depict foreshortened naked bodies lying diagonally in the foreground, highlighting the stark shifts in color and context between the panels. The relaxed laziness of the tourists pitted against the desperation of the Haitians emphasizes the inequalities between the two groups and the irony in the choices that racial difference and privilege allow—the whites are paying to visit an island that the residents risk their lives to leave.
Artist: Eric Fischl
Image: “A Visit To / A Visit From / The Island,” (1983)
Source: The Whitney Museum of American Art, New York website

CREATIVES ON CREATING

“I haven’t managed to draw my main character yet because even her image is giving me trouble…With Kieran, I learned that he was more than just a warrior and a prince but he has plans of his own.” – Want to know your characters? Try a character sketch by Dana Nuenighoff

***

“Good story ideas seem to come quite literally from nowhere, sailing at you right out of the empty sky: two previously unrelated ideas come together and make something new under the sun. Your job isn’t to find these ideas but to recognise them when they show up.” – Stephen King and his big desk

***

“Normally I enjoy the writing process, but in this case it was making me miserable. I would spend most of the day procrastinating before sitting down and forcing myself to hit my word count (1000), and even then I would find myself adding adjectives to beef it up. More than once my mother commented on how I’d clearly lost my love for writing, which she found alarming. But I didn’t listen to her because I thought I could get through it and turn my uninteresting story into something worthy of publishing. I was wrong.” – Maria Murnane on When to pull the plug on your book

***

‘We need to be humble and dedicate ourselves to a lifelong study of the craft of writing. What I think he meant by “contempt” is trying to take shortcuts. Becoming a writer must involve reading widely, learning techniques from others and committing to a daily practice of developing the craft. If you don’t do this, if you just write something and publish it, then write more and publish that, then you’re showing contempt for writing.’ – Andrew Blackman reporting on a workshop he attended at the BIM lit fest

***

“Currently completing the fourth draft, stalling somewhat as I approach the last eight passages that I believe need to be added in; experience has taught me that determining the end of a draft is rather like running towards the end of the rainbow.” – Louise Mabey blogging What an Unfinished Novel Looks Like

***

“You have to learn how to interpret and not just imitate” – Jake Gyllenhall, breaking down his process

***

“Don’t tell anyone the story until you’ve written it.  At least this is advice I wish I’d heard and listened to, early on.  I’ve found that if I tell my friends about any story or book I’m working on, I begin to lose enthusiasm for it – not because of their reaction or anything they’ve said but because, having said it, it’s like I feel less need to actually write it.  That’s difficult to explain but perhaps other writers will understand.” – Eugenia O’Neal blogs ‘My Top Writing Tips’

***

“A slight girl with fawn’s eyes offers a plastic cup of water-angels to my mother. A fallen bamboo ceiling swallows the moon whole. There is so much wonder, awe and terror in every gesture, every movement. The moon washes the dust from her face, becomes her true self in the forest. Then it solidifies, comes together…” – Danielle Boodoo Fortune blogging on her Moon Water series of paintings

***

“Here I was trying to get my daughter to stick to a specific formula for writing, and she was forging her own path. What worked best for her was writing by the seat of her pants, starting on the computer and editing as she wrote. The funny thing is, it is the same method I use.” – from One Size Fits All by Jewel Amethyst

***

“On my way home from work tomorrow, I will bring myself to stop at Kinko’s and print out all one-hundred and seventy pages of my crappy first draft. I will hole-bunch the pages, stick it into a three-hole binder and get up Saturday morning, procrastinate a lot, curse out my editor, and then bring myself one step closer to the sweet pain of publication.” – Kara Stevens on what you need to know if you’re serious about becoming an author

POETRY

“Brown men crowd an island hilltop,
voice French-Creole and Spanish,
not the English patois of generations
assembled there before them.” – The Nation Builders by Althea-Romeo Mark, read it on her blog at Aroma Productions or view her reading of it (above) at the Medellin Poetry Festival in Colombia. Romeo-Mark was born in Antigua, grew up in the USVI, and has lived in the US, Africa, the UK, and now Europe.

***

“Unexpectedly,
The street light began
To malfunction,
Coming on and off,
Plunging me into bouts of
Darkness and light.

Buzz, crackle, darkness,
Buzz, crackle, light.” – From Kimolisa Mings’ Dark Warrior

***

***

“What if I told you
I’d never made love before” – from What the Spirit Knows by Soyini Ayanna Forde at SX Salon

***

“I was left there, tutu shredded,

I couldn’t dance

anymore.” – This did not happen by Thylias Moss

INTERVIEW

“Many of my poems start with an image, but these started with language and weaved through images bringing me places I hadn’t been in a while.” – Angela Voras-Hills at the KR Conversations

***

“One thing that I went in to Yale with was to make to sure I left exactly how I came in, because that’s who they accepted. Take what you need, get what you need for your tool belt, but don’t lose the essence of who you are. I think I did it.” – Atlanta’s Bryan Tyree Henry (aka Paper Boi)

***

“The revolution for all Black lives starts in the mind and manifests in the physical, so I hope this book that contains so much true history mixed in with fiction can help people understand that nobody gets free unless we’re all free.” – Brooke Obie

FICTION

“This supposed to be our country. You shouldn’t have to sell your soul to feed yourself.” – Nassau Burning by Keisha Lynne Ellis

***

‘For long minutes he forgot his knobby knees, scars and grizzled body hair. He forgot his big flat feet and narrow buttocks. Her gaze gave him beauty and grace. Her soft eyes pulled him out of his role as Cowboy and into the role of sweet pure lover. “Come, let me bathe you.”’ – The Cowboy’s Mermaid, or, A Story of Wet Love in the Dry World by Shannon Barber

***

“She had looked him down, vaguely surprised and annoyed, with the air of those who are never asked where they are going.” – from Le Silence de Chagos by Shenaz Patel

***

“Sometimes I’d stare in the mid-darkness at how white he was. If I pressed his skin, he’d bruise deep fuchsia and you’d be able to see it even in the dark. I was very dark compared to him. He was so white it was freaky, sometimes. Othertimes it was kind of cool and beautiful, how his skin would glow against mine, how our bodies together looked like art.” – from Gideon by ZZ Packer

***

“You’re in this together now, and some part of you hopes you die together for the sake of simplicity.” – Last Chapter on Hotel Stationary: a Short Story by Ursula Villarreal-Moura

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Reading Room and Gallery 21

The Reading Room and Gallery is a space where I share things I come across that I think you might like too  – some are things of beauty, some just bowl me over with their brilliance, some are things I think we could all learn from, some are artistes I want to support by spreading the word, and some just because. Let’s continue to support the arts and the artists by rippling the water together. For earlier iterations of the Reading Room and Gallery, use the search feature to the right. This is the 21st one which means there are 20 earlier ones (can’t link them all). Remember to keep checking back, this list will grow as I make new finds until it outgrows this page and I move on to the next one.

INTERVIEWS

Judd Batchelor: What advice would you give to young writers
Dorbrene O’Marde: Two things. Firstly, I want them to write, keep writing it will get better as you write more – read the full interview

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“I just looking to give back, I looking to show that you can be some body, especially in the arts.” – Sheena Rose

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“I didn’t set out to write a faerie story, just write myself out of the headspace I’d landed in because of this unexpected negative encounter. As I wrote, I was drawn in by the challenge of doing something I hadn’t done, I enjoy experimentation, and something about taking this negative and working through it in a genre where typically good and bad are clear, and they all lived happily ever after, appealed. Also appealing was this idea of how passion for something can help it flourish, and how good can attract good, do good and good will follow you; and then the faerie was there awakened by, responding to the goodness that this girl was sending her way. It was an interesting development, and I enjoyed exploring it – and that this became a faerie story is the thing I’m most excited about. I like when something I’m writing surprises me.” – Joanne C. Hillhouse

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“The heart wants what it wants. But I chose to, and aspire to, becoming as good a writer as possible in the circumstances, given the relatively short space of time I’ve got left.” – Andre Bagoo

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“What I am coming to realize is that long before my preoccupations and obsessions become fully known to me, they are at play in my work.”  – Jacqueline Bishop in conversation with Loretta Collins Klobah

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“I am a writer first and foremost, but I did a lot of side jobs and odd jobs while I was writing my novel,” Islam says. “I freelanced. I wrote copy for Uniqlo. I modeled for an Al Jazeera campaign. But as I was finishing my book, it struck me. I was like, ‘What am I going to do next? I can’t sit in an office all day. I just can’t.'” She found her answer in her final revisions of Bright Lines. For starters, the patriarch of the story is an apothecary. And as she delved deeper into his persona during the decade she spent at work on the novel, Islam fell hard for fragrance. Besides, she adds, “Brooklyn is such a place to launch a brand. I was really inspired by other beauty brands that had started here. I wanted to have a part in that movement.” And, finally, Islam points to a scene at the end of the novel in which a trio of girls throws wildflower seed bombs into different areas of Brooklyn. The women want the crops to “grow up and into something.” – from Elle.com interview with Tanwi Nandini Islam

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“Lightfoot:  Chapter Five was difficult to write, but it was also incredibly revealing. It shows that even within such a homogeneous population of working peoples there was an added set of constraints on black women. Specifically, constraints around what women’s roles were supposed to be and the dangers of masculinized black women. And, of course, there was never the sense that black women in post-emancipation Antigua should have the right to stay home and be dainty ladies. Whatever stock ideas about femininity that might have been applied in the middle of the nineteenth century to white women certainly didn’t apply to black women, ever.” – Dr. Natasha Lightfoot, a historian of Antiguan and Barbudan descent, interviewed by the African American Intellectual History Society on her book Troubling Freedom: Antigua and the Aftermath of British Emancipation

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“The assumption was very real. And then it was actually named, ‘does Solange know who is buying her records?’ So it became a totally different conversation than what I was first approached to be a part of and then it became a conversation yet again about ownership. And here I was feeling so free, feeling so independent, feeling like I had ownership finally over my art, my voice, but I was being challenged on that yet again by being told that this audience had ownership over me. And that was kind of the turning point and the transition for me writing the album that is now A Seat at the Table.” – Solange Knowles talking to Helga on Q2 Music

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INTERVIEWER
Do you have a reader in your mind when you write?
BALDWIN
No, you can’t have that.
-from James Baldwin, the Art of Fiction No. 78 in the Paris Review

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“Writing a novel is like pulling a saw out of your vagina. Writing a memoir is like pulling a saw out of your vagina while others are looking on.” – 5 Questions for… Emily Raboteau

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“It is a myth of my own invention. I am taken with the idea of creating new myths that speak to our current world in the same way that old mythology spoke to the world in its creators’ time.” – Lesley Nneka Arimah on Imagining a Universe of Handcrafted Babies  in her story Who Will Greet You at Home published in the New Yorker

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“My mother also tells me that for Celeste different children and their various broods would be assigned various colours in her quilt-making schemata which is all quite interesting to me, one set of children being red, one being yellow etc. What I think is lost to us is the stories that my great grandmother was telling in her funky multi-coloured quilts about her family, because no one knows who was assigned which colour. I also mourn the fact that when my great grandmother died my cousin Mary told me that she was wrapped in two of her biggest and best quilts and taken to the morgue in Port Antonio Bay and no doubt those quilts were simply discarded. This is why I so appreciate your interest in this subject and you doing this interview Veerle because we might all be discarding and getting rid of quite valuable things.” – Jacqueline Bishop

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“Is it lazy to look at the Caribbean as a unified whole rather than individual states?

I think it’s lazy to look at a country as a unified whole. But there are resonances and reasons why I think of myself as writing Caribbean literature more profoundly than Jamaican literature. The Caribbean isn’t a whole but there are aspects of unity and Jamaica isn’t a whole either, which is what this book is trying to say.” – Kei Miller

FICTION

‘But Theo never remembered that the pedal of the trashcan was broken. He would step on it without looking and drop the banana peel or the wet tuna-juicy baggie directly on top of the still-closed lid, and then walk away, leaving the garbage there for Heather to clean up, a habit that had finally caused her, just last night, to spit at him, in a voice that came straight from her spleen, “Pay attention, for Christ’s sake! Why don’t you ever, ever pay attention!”’ – Amy Hassinger’s Sympathetic Creatures

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“I don’t know what gods watch me, or how it came to be that my fate brought me to an island in the Caribbean sea. It was miraculous, not least because, in the novel I am currently writing, there is a shipwreck in that same sea. I would not know how to write it if I had not found myself in a Jamaican fishing boat one wet and windy day in June, contemplating the whims of the sea and the alligators up the river. But it is equally miraculous to find myself in a humble neighbourhood in my own country, face to face with women who quietly go about their lives, walking between worlds, singing up salvation by connecting us with our own roots.” – ‘On All Our Different Islands’ by Tina’s Makereti, Pacific regional winner for the 2016 Commonwealth Short Story Prize

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“It’s sick and it’s soulless but it’s one of the things I love about my job; here you can force the world to be something it’s not.” – audio reading of The November Story by Rebecca Makkai

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“The blue plumes of the peacock’s tail were shot through with filaments of silver and, twenty years on, the ink hadn’t faded. It sat on her long slim body like a birthmark.” – from Peacock by Sharon Millar

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“Now, listen to this next bit carefully: in the morning THE WHOLE KIPPS FAMILY have breakfast together and a conversation TOGETHER and then get into a car TOGETHER (are you taking notes?) — I know, I know — not easy to get your head around. I never met a family who wanted to spend so much time with each other.” – from Zadie Smith, On Beauty

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“No, Pa, it really could happen that way!” – A Conversation with My Father by Grace Paley as read by Ali Smith

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“I do not lie,” Crispín replied. “Adannaya is not only the most beautiful mulata of this hacienda and the best bomba dancer; she can also change brown sugar into white. Yes she can! And if I only had some brown sugar, I would prove it to you.” – from Adannaya’s Sugar, a fairytale by Carmen Milagros Torres

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“We were surprised to find ourselves thinking again, it had been so long.” – from We by Mary Grimm

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“Tantie Lucy had drunk from the cup of happy living and the shop was her world.” – Lance Dowrich’s In and Out the Dusty Window

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“It was a joyous occasion in a young woman’s life when her mother blessed life into her child. The two girls flushed and smiled with pleasure when another woman commended their handiwork (such tight, lovely stitches) and wished them well. Ogechi wished them death by drowning, though not out loud. The congratulating woman turned to her, eager to spread her admiration, but once she had looked Ogechi over, seen the threadbare dress, the empty lap, and the entirety of her unremarkable package, she just gave an embarrassed smile and studied her fingers. Ogechi stared at her for the rest of the ride, hoping to make her uncomfortable.” – Who will greet you at home by Lesley Nneka Arima

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“Some days I am alone, and I wonder whether I exist.” – Circus by Anushka Jasraj

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“The three of us, smelly and itchy, clinging to each other, waiting for the gasoline and vinegar in our hair to start the killing. We had lice. Our heads were wrapped in bright turbans made from my mother’s old hippie skirts. She was reading my left palm to see if I was going to pass my math test. With one hand, my sister was holding my nose, and with the other she was drawing skulls and bones on my brother’s arm with a red pen. With his left hand he was holding her foot, and with his right, the table. We were always prepared in case somebody tried to separate us by force.” – from A Bunch of Savages by Sofi Stambo

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“But what angered Zeke even more than the ancestors’ silence was the knowledge that he was helping Sonia to seduce a man who, sometime in the foreseeable future, would beat her for burning his dinner or create any other excuse he could think of to abandon her, as he done to all his other baby mothers after he had gotten what he wanted.” – Myal Man by Geoffrey Philp

CREATIVES ON CREATING

“I think, there’s a couple of songs.  I’m, I’m really proud of  “How far I’ll go.” I literally locked myself up in my childhood bedroom at my parents’ house, to write those lyrics. I wanted to get to my angstiest possible place. So I went Method on that. And really, because it’s a challenging song. It’s not ‘I hate it here, I want to be out there.’  It’s not, ‘there must be more than this provincial life.’  She loves her island, she loves her parents, she loves her people.  And there’s still this voice inside.  And I think finding that notion of listening to that little voice inside you, and, and that being who you are. Once I wrote that lyric… It then had huge story repercussions. The screenwriters took that ball and ran with it.” – Lin Manuel Miranda on writing songs for the animated film Moana

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“…it comes down to cause and effect, but and therefore.” – Janice Hardy on plotting

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‘So much as it is possible in a manuscript, every scene should be followed by another scene that dramatizes either a “Therefore” or a “But,” not an “And Then.” So if, in one scene, a girl has intimate eye contact with a beautiful male vampire, the next scene should either dramatize the consequences of that eye contact, which will likely raise the stakes or escalate the emotion—THEREFORE she kisses him; or introduce a complication/obstacle—BUT she remembers she hates vampires, so she drives a stake through his heart. If they continue to stare into each other’s eyes, or maybe they just get some tea, that’s an AND THEN—nothing new is happening, because it’s at the same level of emotion as the previous action, and so while movement is occurring in the plot, it isn’t necessarily dramatic action. And action is ultimately what keeps readers reading:  change, challenge, consequence, growth, for a character in whom they’re invested.’ – Trey Parker and Matt Stone

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“Now this: mistakes are everything. Write, abandon, start again. But understand you will do this on your own, over and over.” –  Ellene Glenn Moore

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“At one point, I got the idea to ‘set a clock’ in the Antarctica thread. Instead of making her time there quasi-borderless, I would limit her stay at the station to four or five days. This simple question about literal time led me to a host of new questions and discoveries: Instead of a scientist, she was now a civilian, which would account for why she, as a kind of interloper, would have limited access. From there, I wondered: what would a civilian want with an Antarctic research station? What is she in Antarctica to do? What will happen if she fails? Eventually I located the timeline that unfolds in the past, and explores the nature of the estrangement and how a secret shared between the narrator and her sister-in-law brought about an irrevocable fracturing. In this version, the past informed the way the narrator experienced the present; it helped the present to matter.” – from Inventing Time by Laura van den Berg

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“3.Every character should want something, even if it is only a glass of water.” –Kurt Vonnegut’s rules of writing

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“different works have different ambitions and, therefore, require different approaches” – Zehra Nabi

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“I abandoned short stories and wrote a novel.  Maybe short stories weren’t my thing.  In a book, I had more elbow room.” – The Big Rush, or What I Learned from Sending a Story Out Too Soon by Julie Wu

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“You have to do the work; you have to do your research. There are no short cuts.” – Justina Ireland in discussion on Writing the Other

POETRY

“Here’s to the fools who dream
Crazy as they may seem
Here’s to the hearts that break
Here’s to the mess we make” (from La-La Land. Lyrics by Benj Pasek and Justin Paul)

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“That is how life is.

When you are placed in hot oil

be patient

keep going

you will be ready soon.” – Browning Meat by M. A. Brown in Moko: Caribbean Arts and Letters

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“My father
would not have imagined

seeing me here,
hearing of me fleeing a war.” – Althea Romeo-Mark’s A Kind of Refugee

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“Maybe it is best
not to know.
Maybe it is
Inevitable.” – I am Unsure by Ashley Harris

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“That’s one thing nobody tells you. Sometimes it’s okay to give up.” – Boys Don’t Cry

“give yourself a chance Andre
be open
love someone
do not fret, fete” – A Prayer to Andre

“When the nurse takes
blood you won’t have to be afraid
of her knowing you are afraid.
And then maybe you could tackle your
your fear of white cars next.” – Incurable Fears
from Poems by Andre Bagoo in Moko: Caribbean Arts and Letters

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“as I walk

people

stare and pass by

on the far side” – Madness Disguises Sanity by Opal Palmer Adisa

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“The mirrors of their eyes only blind me.” – from Ivy Alvarez’s What Ingrid Bergman Wanted

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“He is a writer a sensitive man
a thundering terrible intelligence” – from Pamela Mordecai’s Great Writers and Toads

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“The new therapist specializes in trauma counseling. You have only ever spoken on the phone. Her house has a side gate that leads to a back entrance she uses for patients. You walk down a path bordered on both sides with deer grass and rosemary to the gate, which turns out to be locked.

At the front door the bell is a small round disc that you press firmly. When the door finally opens, the woman standing there yells, at the top of her lungs, Get away from my house. What are you doing in my yard?” – Claudia Rankine reading excerpts from her book Citizen 

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“Another glittering day without you; take my hand
and bring me to wherever we were: the empty house
in Petit Valley or the city of Lapeyrouse
where headstones multiply like sails on a Sunday,
where a widower tacks under a pink parasol,
where people think that pain or pan is good for the soul.” – excerpt from Derek Walcott’s Lapeyrouse Umbrella published in Morning, Paramin

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“I asked her if I could wear nail polish
or not wear nail polish
and she said honey
she calls me that sometimes
she said you can do just exactly
what you want to” – from God says Yes to Me by Kaylin Haught

VISUAL ART

Cloudrise from Denver Jackson on Vimeo which I discovered through the Wardens Walk blog  which I discovered through the Pages Unbound blog

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team-painting-by-rachel-bento-commissioned-by-gov-gen

Painting by Antiguan artist Rachel Bento, on commission from the Governor General of Antigua and Barbuda, of Team Wadadli, which took the Talisker Whisky Challenge (2015-2016) rowing approximately 3000 nautical miles across the Atlantic – from the Canary Islands to Antigua – in 52 days. They set two world records – oldest team and oldest rower – in the process. Bento’s commission commemorates their historic achievement. See more of Bento’s work here.

MISC.

Speculative fans, I thought you might find this bibliography interesting. It’s a Bibliography of Caribbean Science Fiction and Fantasy.

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‘I have not yet had a student turn me down.  Some of the ARCs came back after a few days with a negative review, but most of the time the readers would seek me out before school in the morning to tell me they had finished the book and thought it was, “GREAT!”  The readers who brought back the “GREAT” ARCs often brought a friend with them who wanted to be the second person in the building to read the book.  And before my eyes, dormant readers woke up!’ – teacher, librarian Mary Jo Staal on the Power of the Arc in stoking her students’ interest in reading

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Reading Room and Gallery XVlll

This page is for sharing links to things of interest around the internet. It’ll be sporadically updated; so, come back from time to time. For the previous reading rooms (1, 11, 111, 1v, v, v1 , v11, v111, 1x, x, x1, x11, x111, x1v, xv, xvi, xvii), click the links or use the search feature to the right, to the right.

ON PUBLISHING

“#3 Not following guidelines.
Double check all guidelines before submitting to a magazine. Is there a word count requirement? Should your name be removed from the piece? Should your document be in Word, pdf, or rich text format? If it’s an email submission, do they want the document attached, or pasted into the body of the email? Do they accept simultaneous submissions? Don’t risk getting your piece being tossed out because you didn’t follow the rules.” – (here at Wadadli Pen I know this one well) – read the rest of the list of mistakes writers make when submitting.

CREATIVES ON CREATING

“My advice for young writers is to keep reading widely and for pleasure. And don’t get discouraged! So much of it is just mule-like persistence. That’s what I feel I learned this time around. There were many times when Swamplandia! failed and I had to pick it up and try and write it again. There were stories in my collection that were just duds, they’ve been voted off the island, and it was only because I had this material commitment to getting them out the door that I was willing to keep working at them. I really do think that’s the best advice—to keep at it.” – Karen Russell

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“An interesting insight into the process came when the pair considered how they had arrived at rather different descriptions for the location of the windmill-giants – Jull Costa has them ‘on that same plain’, whereas Bush situates them ‘in the nearby field’. It transpired that, rather than seeking a literal translation of the Spanish ‘en aquel campo’, each had pictured what they read the original to mean and then found a way to render the image in English.” – Ann Morgan on dueling translations of Don Quixote

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“Not only do I not see movies as I write, I can’t visualise, well, anything. At all. I don’t even dream in pictures. I have absolutely no concept of what it would be like to see things that no one else can see.” – Jo Eberhardt

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“It happens too often that beginning fiction writers fail to give their characters jobs or occupations. Weak stories by beginning writers often feature adults who are wealthy without any discernible means of income or who perform the indiscernibly ambiguous task of “work.” Characters are described as working each day, but the reader is never told what they do or how their daily jobs affect them or their interactions with others. Characters do not earn money; they simply have it. There are no bills, no expenses, and, of course, no financial struggles.” – Amina Gautier

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“So here you have a man at the beach, but he can’t enjoy it; he has to sit, because of his paranoia, with his back to the water, sitting in a chair; he wears a Hawaiian shirt but there’s a bullet proof vest under it; he likes a red wine spritzer but it tastes like Skittles which is very loaded…Trayvon Martin had a pack of Skittles.” – Rowan Ricardo Phillips, born in New York to Antiguan parents, reflecting on his poem News from the Muse of Not Guilty after a reading of the poem, from his collection Heaven, on CBC Radio.

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“You start from building this world with their rules, and then you just follow logic in order to come up with the rest of the details. So once you have this simple fact that you’re treating couples in a certain way and single people in another way—and there’s a bit of a concept that this is almost like a prison drama or something, at least in the first half of the film—then you pick up on those things and you borrow things from other kinds of situations … We tried to get into the heads of people that would be in charge and what they would come up with.” – Greek director Yorgos Lanthimos on the making of his film The Lobster

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Writing other…Mary Robinette Kowal provides some insight to culturally sensitive approaches to doing so.

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“The second thing is reminding myself: You don’t have to write anything that you’re not deeply interested in. Every time I remember this, it’s a relief and a surprise.” – Rita Mae Reese on curing the affliction of not-writing.

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“I use traditional women’s techniques, such as sewing, beading and applique. I incorporate found objects in my work; they are clues towards understanding my story and that of women in general.” – Heather Doram

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“So much of what the filmmakers did in creating and then editing their work is what we writers strive for when polishing a manuscript: pinpoint the heart of the story and stay true to it, cut what can be lost, and always direct conflict and pacing.” – Therese Walsh and Kathleen Bolton w/ Elena Greene discuss The Lord of the Rings’ adaptation from book to film and what writers can learn from the choices the filmmakers made. It’s a five part series that begins, here.

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A long form interview on the arts is a rare thing, especially in a Caribbean print publication, so kudos to Jamaica’s Observer for this series of poetry month features, this one spotlighting American Tim Tomlinson, co-founder of the New York Writers’ Workshop, in conversation with Jamaican-American poet and artist Jacqueline Bishop. Tomlinson’s book Yolanda, an Oral History in Verse, is focused on the Phillipines but his connection to the Caribbean – his time spent visiting and diving in various islands and countries but most especially the Bahamas is explored as well. Essentially, this interview is about both his journeying as a person and how that has informed his writing, how he creates, generally, and specifically in the case of Yolanda. W/thanks to Jacqueline Bishop for sharing, here have a slow as you sipping your iced tea kind of read:

Tim Tomlinson 1Tim Tomlinson 2Tim Tomlinson 3

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“That was one of those magic moments. That came out pretty much whole cloth. Every now and then you ride the tiger. Most days the tiger rides me, but every now and then I ride the tiger. That’s my favorite chapter in the book. The opening chapter of The Given Day is another example. It’s my favorite chapter in The Given Day. It was written in two nights. It was rewritten extensively for prose, but it just came out.” – Dennis Lehane

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“When I closed my eyes, I could smell flue-cured tobacco. I could feel the hot sun beating down on me. I could hear the southern accent of a teacher whose voice reminded me of poetry.” – Shannon Hitchcock on the inspiration for her book Ruby Lee & Me

VISUAL ART

Online gallery of Netherlands artist Marijke Buurlage.

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Technically this is musical and literary art (lyrics) shared via a visual medium but that’s not the point. RIP, Prince.

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“Nature is completely indifferent to the human endeavours whether they are good, evil, otherwise, whatever.” – Lori Landey and Beth Harris discussing Joseph Mallard William Turner’s Slave Ship

NON FICTION

“How many times over the years
I have explained
This.
Celie and her “prettier” sister Nettie
are practically identical.
They might be twins.
But Life has forced on Celie
all the hardships
Nettie mostly avoids…” – Is Celie actually Ugly? By Alice Walker

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“Why, I asked my brother, did you like the film so much? So many messages. Look at the title. Everyone has problems underneath. Just because you are smart doesn’t mean u can work everything out yourself.” – Sejal Shah writing on Ordinary People

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“You must read to develop a deeper understanding of literary elements, such as character arc, subtext, voice, and narrative distance.” – Chuck Sambuchino in his article The Pros and Cons of getting a Creative Writing MFA at Writer’s Digest

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Kei Miller’s essay in this BBC piece resonates with me – it’s truthful and thoughtful and bold as so much of his writing is even when speaking of his tentativeness writing the issue of race -how our whiteness and blackness mediate our interactions. That said, I feel that same prickle of disagreement I feel stir in me whenever a black person, black writer (especially if they’re from colonized or formerly colonized places like I am) say, I didn’t know I was black until… because it’s not my truth (my blackness didn’t limit my sense of possibility but the reality is that, like class and other things, our blackness or shades of blackness was and remains a way of separating ourselves from ourselves) even in the predominantly black places I have lived (including Kei’s Jamaica). The Caribbean is not insulated from these issues, though they are not as starkly or sharply or consistently experienced in whiter places like the US and UK. Beyond my own experiences (some touched on in my February 2016 Essence article Mirror Mirror and issues of colourism/shade-ism explored in my book Musical Youth), this fairly recent memory comes to mind: being in a roomful of children of different shades of black, in a public child-friendly space, right here on our predominantly black island, only to have another adult, call out to one of the children, “black boy, black boy” with a tone and cadence that suggested “bad boy, bad boy” and to have him look up, in full acceptance of this (internalizing it). My aside aside, give the audio clip a listen; it’s a really engaging and touching reflection from one of the Caribbean’s best.

INTERVIEWS

“A writer always benefits from being a kind of outsider. That is why I try not to belong to anything too much. [Alienation] makes you an insider-outsider . . . sharpens [your] sense of observation. You look at things with detached eyes. Even some words. Pondering these English words with your Creole eyes. . . . There always is a sort of dialogue going on [within] most artists anyway. They just soak things in that they ultimately try to reproduce some other way. I think having this dual lens has been very helpful.” – Edwidge Dandicat

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“Grounded in the realities of our history and geography, but unbounded in their imaginative possibilities” – Philip Sander describing the work of Nalo Hopkinson jumped out at me as the very thing I’ve been trying to define when I speak of a Caribbean aesthetic as a criterion for (but not a limitation of) Wadadli Pen submissions.

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“Shorter doesn’t mean faster or easier! Short story writing is a very different art from that of the novel, from pacing to character development. So for a novelist, it can actually take longer and be more of a stretch to try her hand at writing a short story. A rewarding challenge, certainly, but definitely a challenge.” – Lauren Willig

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“I remember myself as a young child, my mother had books inside here, and one of them dealt with the Haitian Revolution. I was ever so proud of Toussaint L’Ouverture. I was just proud. I mean, there he was, sitting in the same book with Napoleon and all of these other great men. So, for me, the Haitian Revolution was very significant. I don’t know how it is in popular memory, because right now everybody’s sorry for the Haitians—and “sorry for” in the sense of, “We’re better off” or “They can wear our old clothes.” So I don’t know about it in the popular memory. But certainly historically, Haiti served to frighten late-eighteenth- and nineteenth-century governments. Frightening them, and as a matter of fact, had them even more repressive towards their black enslaved workers because their fear of Haiti was so strong. So, I don’t know that it has popular resonances, but certainly for nineteenth-century politics, it did.” – Erna Brodber interview at SX Salon, a Small Axe Literary Platform

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“What’s interesting to me is that of the women who have read this, every single one thinks that it is absolutely sexy and totally horny. Then I was like, ‘oh, so this is erotica’. And I was reminded again that erotica does not need to be explicit. And, of course, what is erotic and what we find sexy and will respond to viscerally in that way is entirely subjective.” – Leone Ross

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“The fiction writer in me likes gaps in stories because I can jump into that gap and try to suggest something.” – Marlon James’ Vogue interview

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“There’s a place for everything…” – says Barbados’ Shakirah Bourne in this NIFCA interview:

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“To move past the ugly parts of history, you have to acknowledge them, on all sides, and this is what I think historical fiction can do so well: show how we got from there to here, but told through characters who see themselves not as history but as completely modern.” – Andrea Mullaney, author of The Ghost Marriage, 2012 Commonwealth Short Story winner for Canada and Europe

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“The area where I spent my childhood years was surrounded my trees, and always seemed just on the edge of wilderness. That area has changed so much, but there is still that space in my imagination that’s the same…” – Danielle Boodoo Fortune, Woman of Colour interview

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“What I’m trying to bring out is the power of words themselves, the power and musicality of words.” – Clifton Joseph

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“Reading was such a sanctuary when I was a teenager, I wanted to see if I could tell a Jamaican story, a Caribbean story, that would interest even an urban teenager.” – Diana McCaulay re her new book Gone to Drift

FICTION

“In April of 1945, after facing only minimal resistance, Rhett was part of the Allied force that liberated a concentration camp named for the beech forests that surrounded it. The day was damp and overcast, with a heavy ground mist that sometimes hid the heaped bodies and sometimes revealed them. Living skeletons stood at the fences and outside the crematoriums, staring at the Americans. Some were horribly burned by white phosphorous.” – Cookie Jar by Stephen King

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“In death, we live far more richly than we do in life. Our lives are pale shadows in which we are preoccupied with the business of living. It is in death that we take on nuance and colour. We seep through the floorboards of houses, spread out and nestle there. We whistle through windows, ruffle curtains and inhabit the minds and memories of others. We take on a resonance that only memory provides. We become deities. We become ancestors.” – from Ayanna Gillian Lloyd’s Walking in Lapeyrouse

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“There was no rebuttal. She ended the call. From the decanter on side board, she poured herself a drink. The rum quelled the chill in her stomach — a chill reminiscent of rain-fly wings brushing against her skin. Where did they find him? They were hunting him for so long. Did he put up a fight? Errol had a point: There was really no need for her to kill him herself. But she wanted to.” – H. K. Williams’ Celeste in Moko

***

“They’ve taken you, in the rolling melody of their steps and song, to the river Aripo inside the forest, and when they sit and beckon you to come join them, their feet, you notice, are not as they’re supposed to be. It’s a peculiar thing to miss, really, backwards feet. You sense that your own feet have been treading air when they come into contact once again with the marshy forest floor. You look back into the bush where you think you came from, and you want to go home.”- Wenmimareba Klobah Collins

***

Edwidge Dandicat reads and discusses Jamaica Kincaid’s Girl and her own Wingless. And here’s Girl, so you can read along.

***

“My wife is happiest on Sunday afternoon, when I leave the house. We have been married five years – too soon for us to take pleasure in each other’s absence.” – from Radio Story by Anushka Jasraj – Commonwealth Short Story winner for Asia

***

“After years of working like a dog, clawing his way to fame and fortune—forfeiting family in the process—Desiree and the people of the island had broken down his mighty reserve and rewarded him with passion, friendship and the happiest times he’d ever experienced. He loved living in a place where everyone was aware of who he was, but not impressed or intimidated by what he had done. He admired the lack of social divides, that the Chief Minister played dominoes with ‘The People’, and that his best friend and “liming partner” was her cousin, and his Captain.” – Trudy Nixon’s Anguilla Boat Race, part of Akashic’s Mondays are Murder series

***

Mary Akers said about ‘Viewing Medusa’ after it had been posted at The Good Men Project: “For all you writers out there, this story’s publication is a testament to persistence. It won the Mary Mackey Short Story Prize, it was the story I submitted for my successful Bread Loaf waiter application, but for ten years, I tried unsuccessfully to get it published. I submitted it to 101 journals, 100 of whom rejected it before Matthew Salesses believed in it and brought it out into the world.” Here’s an excerpt from the story:  “I found myself unable to look away as she slurped her soup, dipping the pieces of dasheen in the broth and sucking them dry after each dip. When the soursop was served, she peeled away the bumpy green skin and slurped the fruit into her mouth, rolling it around until the smooth brown seeds were free, spitting them onto her plate. Soursop juice ran down her wrists and dripped off her elbows to the floor. I thought of Miss Connie, later, on her hands and knees, wiping up the stickiness while shaking her head at the lack of manners displayed by scientists.” – the voice/point of view and descriptions work well together to create a clear picture of the part of Dominica in which the story (which feels less fiction and more here’s how it happened) is set – the beauty and ruggedness in the landscape and the character of the people as compared with the visiting (presumably white) scientists, to create as well a certain mood of foreboding, and to suck the reader in…even if it spits that reader out the other end with questions, or rather one lingering question: so wait, she nar go do nutten? – Read the whole of Viewing Medusa here.

***

“The fuel tank was empty. He’d collapsed from sunstroke and dehydration. He’d been raving incoherently. When he finally recovered he’d lost all memory of where he’d left his men. A Lysander was sent out to look for them but nothing was ever found. The unforgiving maw of the Sahara had simply swallowed them up.” – Bully Beef and Biscuits by Guy Carter – this was the 2015 winner of the Mogford Prize for Food & Drink Writing

POETRY

“In Trinidad, everyone knows

the Pitch Lake but few have been

few have seen the dark and strange

surface, the vast dirt a mind of its own:

asphalt lake as constant as change.” – from La Brea. Read that and other poems by Andre Bagoo in Moko.

***

“No one sees my tears
wafting through the branch clusters
weeping airy patterns into the jungle silence.” – from Mangrove Armour by April Roach in Moko

***

“We read menacing messages in the scowls
of passers-by. Some circle around,
mark the territory with treads of footprints,
count down days to our departure.” – Camp by Althea Romeo-Mark in Moko

***

“…crushed lemongrass
overcooked tourist flesh sizzling in the noonday sun
barnacled, rusted boats off Devonshire Dock
my neighbour’s garbage ripped open by feral cats
overpriced perfume – from Trimingham’s, I think
‘mountain fresh’ detergent scent of laundry drying on the line
frying fish and sun-ripened fish guts
Baygon and stale beer
overripe cherries
Limacol and sweat..” – from Kim Dismont Robinson’s Scents of Bermuda: Or, All De Smells That Accosted My Nose One Day When Ahs Ridin My Bike From My Momma’s House on Norf Shore To My House in Smif’s Parish

***

‘In the roaring of the wolves the doctor said “Do you feel tenderness”
She was touching me’ – Niina Pollari, sharing and discussing her poem Do You Feel Tenderness

***

“There’ve always been Sunday mornings like this,
when God became young again
and looking back you see
that childhood was a Sunday morning.” – Kendel Hippolyte (Sunday) – be sure to also check out the Dunstan St. Omer Red Madonna that accompanies the poem.

BLOG

“I think I had a very different vision of myself when I was young, and definitely thought I’d have a family and be a loving parent by now. Instead I’ve birthed books” – Zetta Elliott

***

“Neglected authors fascinate me. While the particulars for their disregard may vary over time and from culture to culture, one thing remains constant: their perseverance despite official recognition. Such is the case of Eliot Bliss, a ‘white, Creole, and lesbian’ Jamaican novelist and poet whose collected poems have been resurrected by Michela A. Calderaro in Spring Evenings in Sterling Street.” Geoffrey Philp

***

“Getting to the place in yourself that is beyond influence is the radical edge.” – Brooke Warner

***

“…exploring a new space is a thing of wonder and an entirely individual experience…” – Sonia Farmer, blogging her Fresh Milk residency in Barbados

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Reading Room and Gallery XVll

This page is for sharing links to things of interest around the internet. It’ll be sporadically updated; so, come back from time to time. For the previous reading rooms (1, 11, 111, 1v, v, v1 , v11, v111, 1x, x, x1, x11, x111, x1v, xv, xvi), click the links or use the search feature to the right, to the right.

CREATIVES ON CREATING

“But the story could not be just about the pursuance of futility or the exploration of unfulfilled dreams. It also had to be about the possibility of recognizing those critical life-changing moments, and in recognizing those moments, having the courage to make the decisions that would perhaps minimize the deathbed regrets.” – Garfield Ellis

***

“The stories about Africans somehow miraculously have a Western protagonist and I was like wow do we not merit our ability to tell our own stories. So I started to write plays.” – Danai Gurira on her play Eclipsed (yep, Michonne is also a writer #blackgirlsrock #blackgirlmagic #TWD)

 

WRITERS ON PUBLISHING

“Two of the main things you have to figure out before launching a crowdfunding campaign are:
◾What will your contributors receive (perks)?
◾What is your funding goal?”- Liz Hennessy on crowdfunding her book

***

“Is it wise to publish the rough draft of a novel online, either serialized on my own blog or posted to a public critique forum or writing community? Will this deter agents and editors from accepting the manuscript, even if it’s appearing online only as a rough draft that will be rewritten? I have received answers on both ends of the spectrum—mostly from self-published writers—and would like an answer from an agent.” – Agent Barbara Poelle answers.

***

“In the meantime, you’re writing and preparing your own book for publication, but you’re also working towards building up a sizable group of reading friends who may very well wish to read what you have written. So, when your book is released, there are people curious enough to take a chance and read it. But, more importantly, you’ve developed a fan base that, if it isn’t disappointed in your book, will become your cheerleaders who then tell their friends, thereby increasing the size of your fan base.” – Susan M. Toy on Looking for Readers in the Right Places…

MISC.

“I am not familiar with Antigua’s capital, St. John’s. How will I find the hotel at night?  The taxi driver soon stops and says I have to get out here.  He parks and helps me with my bags. I breathe lightly as he walks beside me, pulls my bag along in alleys crammed with revelers dancing to blaring calypso.  We finally reach the hotel. I tip him well, grateful that he did not abandon me.  Checked into my room, the boom-boom-boom from bands, shake the room.  I wonder how I will sleep, but at 12:00 midnight the music stops abruptly as if someone had cast a magic wand.” – Althea Romeo Mark, an Antiguan born writer resident in Switzerland, reflecting on her visit home in prose and poetry.

***

“The internet isn’t just cat pictures, it’s the nervous system of the world” – caller on this fascinating site, Call Me Ishmael, which challenges readers to share how a book transformed their lives or why a book matters to them in the duration of a phone message

***

“I had a very difficult relationship with my mother, I think most daughter do” – House on Mango Street author Sandra Cisneros reading the visual, evocative, and poignant Have You Seen Marie and speaking at the National Book Festival

FICTION

“The angel was no less standoffish with him than with the other mortals, but he tolerated the most ingenious infamies with the patience of a dog who had no illusions.” – A Very Old Man with Enormous Wings by Gabriel Garcia Marquez

POETRY

“He lights his pipe as they gather round,
Children with hopeful, eager faces
Longing for the old man’s tales
Of myths and legends from forgotten places…” – Song for the Mermen by Geeta Boodansingh

***

“Mexican”

is not

a noun

or an

adjective

“Mexican”

is a life

long

low-paying

job  – from “Mexican” is not a Noun written to forty-six UC Santa Cruz students and seven faculty arrested in Watsonville for showing solidarity with two thousand striking cannery workers who were mostly Mexican women, October 27, 1985 – by Francisco X. Alarcón

***

“And though you’re poor it isn’t poverty that
concerns you
and though they fought a lot
it isn’t your father’s drinking that makes any difference
but only that everybody is together and you
and your sister have happy birthdays and very good
Christmases
and I really hope no white person ever has cause
to write about me
because they never understand
Black love is Black wealth and they’ll
probably talk about my hard childhood
and never understand that
all the while I was quite happy” – from Nikki-Rosa by Nikki Giovanni

NON FICTION

‘I know from experience that this “symbolic annihilation” can have devastating consequences. I attended majority-white schools in the GTA (Greater Toronto Area) and never once had a Black-authored book assigned for class, nor did I have a Black educator until my last semester of my last year of university. Like Orville Douglas, I had tastes in clothes, music, and literature that some deemed “white” or at least not “Black enough.” I also struggled to build my self-esteem and rarely saw positive images of Black women on Canadian television. I wanted to become a writer but saw no young Black women publishing novels in Canada; at 19 I discovered the work of Toni Morrison and Jamaica Kincaid but couldn’t find Canadian equivalents.’ – interesting; Zetta Elliott presents a rarely seen perspective. Read Part l here and Part ll here.

***

“Of course we had slaves! You can’t run a plantation without slaves. Everybody found that out at Emancipation. I was 43 when the apprenticeship time started and that was the beginning of the end for us. By then I had nine children, some lighter and some darker, and Mary Ann and me had married. I had a lot of mouths to feed in my family and the freed slaves would not work, no matter how much we paid them. I tell you the truth, I hated them. They belonged in the fields.” – David in 1848 – from Conversations with My Ancestors by Diana McCaulay, part of Annalise Davis’ White Creole Conversations

***

“There is also (and it remains the dominant impulse) a deeply embedded tradition of patient survival, of building from the ground up and a tradition of Creole inventiveness that transforms the world from whatever scraps are available.”  – Peepal Tree

BLOG

“I start the long process of giving up control to the road.
…The idea of train time as found time resonates with me all day. If I were at home, I’d be at work. And then I’d be home after work, doing more work on freelance projects. The dog would need walking, errands would need running, and I’d desperately want to get out and see my friends. My brain would not have any energy for words.” – Marianne Kirby on her residency by train

***

“Case in point. The performances of Maria Callas, the great soprano, sometimes ended with angry operagoers throwing rotten vegetables onto the stage. As legend tells it, the great Callas, with diva-like composure, simply picked them up and threw them back.” – Irene Allison blogging about pushing through self-doubt born of criticism of one’s artistic output

***

“So far there’ve been no murders on board, or mysterious disappearances, which is a tad disappointing. No missing Rembrandt Letters to recover, or Agents of Her Majesty’s Secret Service cleaning compartments of various super villains. I’m beginning to suspect our films haven’t accurately depicted the romance and adventure of train travel. I’m ready to solve though, so maybe soon.” – Bill Willingham blogs his residency by train

VISUAL

Danielle Boodoo Fortune’s Mango Morning

***

antiguan artist Frank Walter Ingleby Gallery“Startlingly clever, infinitely curious, and often somewhat eccentric, Walter is one of the most captivating, and yet largely unknown artists to come out of the Caribbean.” True confessions, I was not familiar with this artist and then I turned up not only that but this and this.

INTERVIEWS

“Fortunately, every time I am about to lose faith in men, God puts a good man in my path to show me that to every negative there is a positive.” – Tameka Jarvis-George talking about her life and art and where they intersect.

***

“…we were shelling down the place with Antiguan music and we were having so much fun. We realize that we have to make sure that we dominate as Antiguans and Barbudans. Because arwe small, arwe small but arwe tallawah, but we can only do it together.” – 9 time Antiguan and Barbudan soca diva Claudette Peters p.s. watching this interview, her discussion re the lack of money and management underscores that if you’re an artiste in Antigua, perhaps true across the Caribbean, you’re essentially an independent artiste – no big record deals, no big advances, no industry intelligence, financing your own recordings etc. etc. stumbling along – driven by passion and not much else.

***

But the only thing, in the end, that protects you is that you did the book the way you wanted to, because then if it succeeds or fails, at least you have that satisfaction. At least you didn’t compromise and then fail. If you compromise and then you succeed, that’s another kind of feeling. But if you compromise and fail, it’s two failures at least. – Alexander Chee on the 15 year gap between the release of his first and second book

***

‘But it’s still Me Before You that draws overwhelming volumes of reader mail. And Moyes—now 46 and living on a farm in Essex with her husband, a writer for The Guardian, and their three children, ages 10, 14 and 17—still personally answers every letter. “Sometimes people are sending you a page of very emotional stuff about their lives, and you can’t just say, ‘Oh, thanks for reading the book!’ You have to answer them properly,” she tells WD. “And I suppose because I was a fairly unsuccessful author for so long, I also feel an obligation because, you know, there’s always a part of me thinking, Thank you for buying my book!”’ – outtakes from Jojo Moyes’ Writer’s Digest interview

 

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Reading Room Xl

This page is for sharing links to things of interest around the internet. It’ll be sporadically updated; so, come back from time to time. For the previous reading rooms, use the search feature to the right, to the right.

AUTHORS ON PUBLISHING

Honest. Is the loss of control worth it when you publish with a big five by Tracy Slater.

***

“These near-acceptances taught me that my work couldn’t be terrible, and so I kept trying. But eventually, I got tired of all the striving and rejection. I’d been calling myself a writer for years, yet hardly anyone had ever read my work! It was time to change gears– not give up, but just try a different approach. This post is my attempt to retrace the path I’ve taken, and to share what I’ve learned along the way. If you, like me, are tired of rejection or don’t know where to begin submitting, here are a few ideas to consider…” Read Anne Liu Kellor’s ideas, and consider, here.

***

“Publishing is one of those industries where, for better or worse, if the job’s done well, most of it is invisible. Most people will only remember the job of the proofreader if they find a typo that slipped through, for example. When you consider how many people are involved at each stage of a book’s development (editing, copyediting, designing, typesetting, proofreading) and how many other books each of them are juggling, you start to see why each book takes the better part of a year to work its way through the system.” – Jonathan Eyers, author of The Thieves of Pudding Lane

***

“I teach what I call ‘active description’, which is what I write, and which is the only way I’ve found to get people to actually read description rather than skimming over it while searching for the next ‘good stuff’. Active description requires the writer to think hard about the objective of the scene he’s writing, create conflicts based on the setting or other descriptive elements, and then write the conflicts INTO the description.” – Holly Lisle talking matter of factly about her writing practices…but I’m posting it here because of her extensive commentary on her publishing experience. Read the full here.

***

“I submitted SIX well over a hundred times to various poetry book contests, and in its eight years of circulation, the book was a finalist 36 times. … You must be relentless.” – Julie Marie Wade. Read more about submitting smart, submitting relentlessly from her and others at A Room of Her Own.

STORIES

This particular story is as much folk legend as fiction making Glen Toussaint not so much its writer as its chronicler, in the spirit of the Brothers Grim and Chaucer. He acknowledges as much in his introduction: “story is Geography, History, Truth and Lies, Fact and Fiction, Myth and Legend all rolled into two words that light up the eyes of folks old or young enough to know.” It is the story of the Slapping Hands. Read on.

VISUAL ART

This film (Maybe Another Time) is one minute long…does that make it a flash film? Which reminds me, be sure to check out the winning pieces from the 2015 Wadadli Pen Flash Fiction Challenge after you watch the film…TRIGGER WARNING Don’t want to spoil it for you but the ending was, for me, like a punch to the gut.

***

This could be placed one of two places – in poetry for Esther Phillips’ Feathers…or here for Danielle Boodoo Fortune’s Wonder. It’s from the Missing Slate; check it out.

AUTHORS ON WRITING

Paule Marshall writes about what she learned from the Poets in the Kitchen. An interesting read. From The Poets in the Kitchen (merged)

***

“In my play, I speak about the tragedy of being voiceless, of the fear that stops you from letting your voice be heard, and also the power that words have to shape your path.” – Ana Gonzalez Bello on Finding My Voice

***

“As female artists, when we create in an environment like this, we are constantly aware of the politics of going against the grain. Women are permitted to dabble in the arts as a hobby but when you brand yourself as a serious artist, when you have the audacity to exhibit your work and to spend countless hours creating art, it means that you run the risk of being perceived as a ‘bad’ woman, one who is perhaps neglecting the more important work of contributing to society via traditionally prescribed roles.” – Tanya Shirley. Read more.

***

“The problem with passing information through a POV character comes when you use the wrong one. When you funnel information through someone who should already know it, the audience gets wise to what you’re doing. In the film Gravity, George Clooney’s character keeps telling Sandra Bullock how satellite debris behaves in space, I kept expecting her to say, ‘You do know I’m an astronaut too, right?'” – Drew Chial

***

“I have Derek Walcott at my bedside…He reminds me that poui yellow blossoms are as valid as daffodils dancing in the breeze,” – Barbara Jenkins in Susumba.

***

“If you have anxieties about your writing, and you’re waiting for them to go away before you properly begin, my advice is to stop waiting and begin now. You won’t feel ready. Writing is difficult, and your doubt won’t dissipate overnight. Be patient with yourself. What will happen is that you’ll become accustomed to the doubt and difficulty. You’ll accept it as an intrinsic part of the writing process, and this preparedness will help you eventually ignore it. So acknowledge to yourself that writing is rarely easy, and that time doesn’t make it easier. Brace yourself for the hard slog, be brave and do it anyway. After all, it is writing’s difficulty which makes it beautiful. Don’t expect it to be anything else. Just keep calm, carry on, keep going.” Read more of Hannah Kent’s rules. I think I’m going to check out her book Burial Rites.

***

“Fiction writing is totally dependent on your imagination, so all the daydreaming I used to do as a child was good practice.” – Vanessa Salazar

***

“A writer needs to go out into the world. There aren’t that many things that can be written about on your own, in isolation.” – Monique Roffey

***

“How much of the world’s fiction can readers explore in English? Shamefully little, according to Ann Morgan, whose latest project took her on a reading trip around the globe. According to Morgan, a substantial number of the world’s 196 independent nations can’t even claim a single novel available in English translation. She joins us to talk about the challenges and delights of literary travel.” – from the Guardian’s audio interview with British writer Ann Morgan and South Korean writer Han Kang.

***

“There are all these stories swirling around in the Universe, and you just take a deep breath, close your eyes and grab one.” – Leone Ross

***

“Sam Selvon kept his distinctive Trinidadian or West Indian voice intact in his literary self and manner as he depicted what was authentic. His stories are his ‘ballad’ (he calls it), reflecting what’s quintessentially oral and a literary ground-breaker, as he captures the foibles of West Indian immigrant life at home and abroad. In re-reading his stories it’s as if one has never left home – everything is captured in each brush-stroke of the pen” – Cyril Dabydeen on Sam Selvon on Writing

***

“Learn to look at your work as if it isn’t your work. Be as hard on yourself as you would anyone else.” – Brian McDonald on judging your own work.

***

“A friend of mine is a reader for the New England Review and he told me that typos are an indication to him that a story hasn’t been cared for enough. If the lines aren’t right, chances are the story isn’t either. And even though we know this isn’t necessarily true, it is true that our work has only one shot to make an impression on an editor.” – Emily Lackey on the process of submitting.

***

“I write every day and see it as a way of life rather than a job.” – Monique Roffey. Read More.

***

“Word by word.” – part of Paul Beatty’s answer when asked how his book (The Sellout) came to be. Read his full interview here.

***

Jane Austen road tested novels by reading them aloud. More on the BBC.

***

“The greater difficulty isn’t in avoiding autobiographical elements; the greater difficulty is to consciously craft the raw ore of your life into fiction, to transmute the glaringly real into a thing of (hopefully) accomplished artifice.” – Ruel Johnson in an interview with Shivanee Ramlochan.

***

I’m currently reading Sharon Millar’s The Whale House and Other Stories and discovering how textured the spaces she imagines and/or reflects are; it’s an immersive experience. This Arc interview provides interesting insights on how she approaches her craft.

***

“…for that is what writing is. It needs to become a habitual practice.” – Monique Roffey on developing a writing lifestyle and more.

***

“I know what I’m trying to do: I’m trying to write a book and trying to write an original book. Those are the things that concern me. I’m always trying to write an original sentence or trying to figure out why I can’t grow blue poppies in Vermont or how to keep a woodchuck out of my garden or something like that.” – Jamaica Kincaid in 12 Reasons Why Jamaica Kincaid is a Badass at the Huffington Post.

***

“There’s an assumption about writing sci fi and fantasy that you can just make up any old thing as you go along, but that’s no more true than it is of historical fiction. The world of your story must have its own internal logic, rules and constraints. What makes writing historical fiction perhaps even harder than writing sci fi and fantasy is that the constraints are historical facts – and you probably won’t know all of them…Whilst you have to know the period better than your readers do, you should reach around your writing, not write around your research. Let the characters and the plot lead the way.” – Jonathan Eyers, author of The Thieves of Pudding Lane, on The Importance of Research.

***

Ann Morgan: “When I graduated from my creative writing master’s course and had to face the reality of earning my keep, I made a deal with myself: wherever I was working and whatever I was doing, I would always get up early and spend an hour or so on my own writing before I left to go and work for someone else. For the next few years, through a series of varied and sometimes rather strange jobs (administrator, campaigns officer for a charity, invigilator for school exams, assessor of doctors’ surgeries, freelance choral singer, professional mourner – don’t ask), I stuck to my bargain. Give or take the odd duvet day, I got up at around 6am, sat at my desk and wrote. I produced a lot of nonsense. Still, when I became a professional writer, I carried on with my regime. Before commuting into London to edit articles on planning applications for Building Design or write about the latest opportunities for international students for the British Council, I would spend an hour or so on my own (usually not very promising) projects.” Read how it’s all beginning to pay off.

***

“I’ve been haunted by these memories for a long time. I guess I just decided it was time to let it out, all of it. There comes a time in your life when you say to yourself that if you continue to act normal and don’t go mad then your entire life has been a waste. I felt I had reached that moment, when I was tired of keeping it in, tired of the ordinariness, the routine, the boredom, and seeing the same ugly people every day. I went mad and wrote. A part of me wanted it to be a tribute to my family; the other part knew it was an expression of who I truly am.” – Ezekiel Alan, author of Disposable People.

***

“Characters. It’s all about the characters.” – you had me at characters, Millie Ho.

POETRY

So much drama and tension in these lines…
“We arrive, and my daughter jumps out to snap a photo of Laguerre’s grave.
A car is parked in the circle drive in front of the closed mansion.
The trunk lid is open, and a man is bent over the trunk.
A teen on a motorbike holds out an open messenger’s bag to him.
The man is filling the bag with plastic packets.
I get it. Coño. I understand the frog-boy.

I calculate the footsteps necessary for my daughter
to return to the car, and the distance of that isolated drive back to Moca.
I wave her over, and she runs, already equally weirded-out.
Las entregadas, deliveries to be made by delivery boys of the cañavernal.
A perfect desolate spot for transactions after dark, who comes out here?” – from Yerba Mala by Loretta Collins Klobah. Read the full poem.

Interesting relationship here between the subject of the painting and the artist…and inevitably between the writer of the poem and them both…and now, the reader and the whole…
“Our boy does not look to the ship at his back,
nor to the sky, nor even to the sailors, who now have locked onto his arms.
Rather, he turns to look backwards, over his shoulder at Campeche, his blue eyes
gazing directly into those of his creator, neither grateful nor pleading.
One boy at the mercy of the sea— Campeche could dip a paintbrush, like an oar,
into the water to pull the boy out, but he does not.” – from The Salvation of Don Ramón Power by Loretta Collins Klobah. Read the full poem.

***

On Describing Love by Danielle Boodoo Fortune

***

Lost Love by Alfred Lord Tennyson.

***

Congratulations to friend of Wadadli Pen Danielle Boodoo Fortune who served as a judge in 2014 and 2015 on her win of the 2015 Hollick Arvon prize at the Bocas literary festival in her homeland, Trinidad. Couldn’t have happened to a more deserving artist. Here’s a sample of her work…

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***

Cranberry Sauce Provides An Improper Dressing For the Modern Turkey by Natasha Kochicheril Moni at Verse Daily.

***

“At school they line children up. Aliens must stand aside to show themselves.” – Exposed by Althea Romeo Mark.

LISTS

Sharing this Culture Trip list of Jamaican writers mostly FYI; it’s always good to expand our knowledge of the Caribbean literary canon.

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