Tag Archives: Catherine-Esther Cowie

Reading Room and Gallery 42

Things I read or view or listen to that you might like too. Things will be added – up to about 20 or so – before this installment in the Reading Room and Gallery series is archived. For previous and future installments in this series, use the search feature to the right. Possible warning for adult language and themes.

NON-FICTION

“Not enough genre peeps are being published writing in, for lack of a better word, non-Eurocentric dialects/vernacular.” – Dialog, Patois: If It’s Good Enough for Anthony Burgess, It’s Good Enough For You by Tonya Liburd

MISC.

The 2021 Virgin Islands Lit Fest was virtual. Here are all the panels, in case you missed it.

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“If you’re a regular here, you know I’m a Caribbean author, reader, and blogger, and I stay reading Caribbean, but I could stand to read a lot more and I’d bet you could too (so consider yourself recc’d).” – from my blog, Top Ten Tuesday #ReadCaribbean

REPORTING

“Although not the traditional form of storytelling, video games, like any other game reflect the culture in which it was forged. Video games, however, get a bad rap, because the associations we give to them such as encouraging antisocial and sedentary behaviours and lifestyles. However, video games provide a particularly unique opportunity to incorporate elements of Caribbean culture through their unique method of interactive narrative during gameplay.” – The Creolisation of Video Games. ‘If We are to preserve Culture, We must continue to create It.’ by Christal Clashing

POETRY

Ann-Margaret Lim

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‘and the takeoff/when the body comes fully in to play/is the throwing off of shackles” – ‘Dear Phibba’ by Ann Margaret Lim

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It’s work, it’s work, my cousins told me
when I complained about too many yachts in the sea,

how I didn’t feel safe swimming anymore.

It’s work, it’s work, I tell myself when I clock
in my time for the day.” – from ‘Solastalgia‘ by Catherine-Esther Cowie

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“The day her practised palm cracked my cheekbone,
I crawled into grief.” – from ‘Mother suffered from Memories‘ by Juleus Ghunta

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I say, Mr. Jno Baptiste
Maybe you’re just not crazy about this world anymore
Maybe you’re just mad, mad, mad about something
But what do I know

-from ‘What do I know’ in Guabancex by Celia Sorhaindo

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“Run.
You have 58 seconds from the end of this message.
Your house is next.” – Running Orders by Lena Khalaf Tuffaha

FILM + OTHER VISUAL ART

Isolation‘ by Carl Augustus of Antigua and Barbuda is a hybrid water colour and poem about mental health, published to the Intersect Antigua-Barbuda platform.

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CONVERSATIONS

“We don’t like the word misogyny. We don’t like the word sexism and we don’t like the word misogyny (in the Caribbean)…there’s all this talk about gender based violence…this is misogyny…this is directed at women.” – Jamaican writer Jacqueline Bishop on the Rippling Pages podcast.

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Two iconic producers discussing how they did it from teenhood to an epic music catalogue.

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“…we don’t mind but it’s the parents of the other girls who might mind.” – Margaret Busby, first Black UK publisher, editor of Daughters of Africa and New Daughters of Africa, whose parents are Caribbean and who spent her earliest years in Ghana, about the responses her partents received when registering she and her siblings in British boarding schools. In conversation re Desert Island Discs with the BBC, in which she gives iconic song picks mixed in with personal history.

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“I had started it as a young adult fantasy book, there was a whole fantasy element to this.” – Trinidad and Tobagonian author N. G. Peltier discussing her romance novel Sweethand on the Tim Tim Bwa Fik Caribbean romance podcast. Scroll and click the playlist for conversations with various Caribbean writers of romance.

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“I’ve loved poetry for many years, reading and listening to it. I’ve always found it a powerful and connecting literary form, but I was relatively new to writing it.” – Celia Sorhaindo interviewed by Kahini

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“One night, I felt this feeling I’d been having my whole life: wake up, can’t see, can’t breathe.” – Courttia Newland in conversation with Johnny Temple of Akashic about out of body experiences, his new book, and the award winning Small Axe anthology series on which he was co-writer.

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“My mother being from the Caribbean and my father being from the South, and me having a huge need to fit in and low self-esteem, I lost my identity very quickly, trying to fit in, to go under the radar…the disconnect from getting to know who Michael was…and the ability to chameleon myself…that also started very early…I got addicted to fantasy very quick.” – Michael K. Williams (RIP) in one of his last interviews discussing his craft, his addiction, his background (which is part Caribbean on his mother’s side – she was an immigrant from the Bahamas), his love of cooking and trying new things, and more. Michael K. came to fame first as a back-up dancer and choreographer and later playing iconic roles like Omar in The Wire, and as a strong character actor in films like Bessie and When They See Us.

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“The Federal Art Project was part of something called Federal One, which had projects not just for the fine arts but also for theater, for writing, for music. There was a design index. It was one aspect of a really diverse and wide-ranging kind of project…the government saw it as an obligation, part of its duty, to provide artists in need with economic support. So they commissioned them to produce public art…The arts, for Roosevelt and the New Dealers, were seen as a fundamental component of a truly democratic society. A democracy could not call itself as such without art, music, theater, poetry, writing, design, photography, film.” – Alison Wilkinson in conversation with Jody Patterson for Vox

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“In the same ways that women were expected and didn’t slip in high school in reading Shakespeare and be expected to get all sorts of things from Shakespeare and from Walcott and from Brathwaite – men can get enormous things from this book and from reading these women as well and that’s what I’ll say to that. There is a stance that, “oh we have to think about the men’s feelings here, and whatnot,” but we don’t think about that when it comes to women reading male writers, right? Male writers, they have achieved, it seems, a kind of universality that “women have not”… Bullshit. I cry bullshit to that. Women, too, are universal. Right? So if you want good writing, if you want good interviews, if you want all of that, women can provide it as well. So male writers will get the exact same things and male readers will get the exact same things here that they would get from any good book.” – Jacqueline Bishop in conversation with Jamaica Creates

FICTION

‘I just thought we’d be in a better position,’ she said. ‘You know. By this stage in our lives. I thought we’d have made more of ourselves.’ – from ‘Attention‘ by Catherine Chidgey; it was shortlisted for the 2020 Commonwealth Short Story prize.

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“I arrived with kosher tacos, made from scratch with chicken liver and mole, and by the end of the night, all sixteen of them sat untouched in the pan, the sauce congealing beneath the foil.” – from ‘The Orphan Disease‘ by Jake Wolff in Kenyon Review

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“The sun hot like it beating your skin with a rubber strap.” – from ‘Cash and Carry‘ by Sharma Taylor, shortlisted for the 2020 Commonwealth short story prize

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“This is how you discover that you fall into that select category of People For Whom Ganja Is Useless.” – from ‘Hunger‘ by Andre Bagoo. This story was shortlisted for the 2021 Commonwealth Short Story Prize. It is posted on the Commonwealth Writers Adda platform.

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Jamaica Kincaid reading her short story ‘Girl’

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“‘I sit down waiting on the bed, and I hear he start to cry. And I know I in for lash. But he come quiet quiet in the room, lie down and say, “Aditi, I sorry.” I wanted to walk out that house then and there, but I ask him for what. He say everything. He say he sorry for everything. The word so stink and nasty after all he do, but he bawling sorrysorrysorry like he feel it go fix something. Like he feel I go start feeling sorry myself.’” – English at the End of Time by Rashad Hosein, shortlisted for the 2021 Commonwealth Short Story Prize

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“Don’t get me wrong: Long Island boys look good. When the Anglican Diocese host Jamboree here, all the girls from Exuma and Eleuthera drool over our boys like they ain’t got none back where they come from. But I ain’t never seen nothing like Demetri before. Brown sugar kiss his gilded skin. The sun blink at the golden glint of his hair. I almost drown in the cerulean waters that rise up to meet me when he look over. He got them eyes that shift with the light. Sometimes they so clear you could see right down to the bottom. Other times they froth with the Lusca’s rage.” – Granma’s Porch by Alexia Tolas

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“We meet our friends for happy hour, hand a twenty-dollar bill to the bartender, double-take when he quips, Still whiskey and Coke after all these years? We peer at him, recognize the brown boy we wrapped our arms around in a basement in Richmond Hill. While Aaliyah crooned on the radio.” – Brown Girls by Daphne Palasi Andreades, 2019 Kenyon Review Short Fiction Contest Winner

CREATIVES ON CREATING

The Daily Show has been doing a series ‘Beyond the Scenes’ – a how the sausage gets made series on the topical comedy segments on the show.

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“It looks as if I’ve been very prolific but actually there have been breaks” – Monique Roffey in conversation with Malika Booker for New Caribbean Voices – Books and Writers podcast

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“I spent a couple of summers as a kid in Barbados, but probably eight or nine summers in Antigua; so I actually spent a lot more time in Antigua with my dad’s family. So it’s a bit ironic that I spent so much time writing about Barbados ’cause I actually know a lot less about it and I’m less connected to my family there. But I think that actually opened up a space for me imaginatively to write about Barbados that wasn’t there for Antigua.” – Naomi Jackson on Writing Home: American Voices from the Caribbean

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“With all its horrors, the pandemic has led to a host of online workshops, open mics, events like poetry readings and literary festivals, virtual spaces to share, discuss and connect with other writers and writing communities, and a host of other opportunities. All of these have helped to improve my craft and my confidence. I have also been reading poetry voraciously from a diverse range of poets, and other articles that catch my interest, not just literary ones, from quantum physics to the amazing life and anatomy of an octopus. I assume it’s the same for everyone.” – Bocas longlisted poet (Guabancex) Celia Sorhaindo in conversation with US based Jamaican writer Geoffrey Philp on his blog.

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‘I’d had workshop earlier that day, and my professor, Elissa Schappell, said two pieces of advice that lodged in my brain: Don’t be afraid to take risks in your writing, and Write what only you could say. It was advice I needed to hear at that point in time; I’d been pursing art in an academic setting—the MFA—and the program had, ironically (or perhaps not-so-ironically), left me feeling creatively stifled. Elissa’s words reminded me of the thematic and formal risks I wanted, and absolutely needed, to take in my art. What she said helped me feel the freedom I needed to feel to begin “Brown Girls.”’ – Daphne Palasi Andreades, KR Conversations

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“Seabirds are a constant in my daily life. Along my daily commute frigates are flying overhead while pelicans rest on the waterside rocks. Just now, in the empty lot next to my apartment a lonely heron wanders about. When I ride the ferry over to the outer islands or over to St. Thomas, brown boobies chase the boat’s work. Sometimes I feel like my outstretched fingers may just graze their bellies.” – British Virgin Islands poet laureate and OCM Bocas prize winner Richard Georges in conversation with acclaimed and award winning Jamaican writer Jacqueline Bishop for her series in the Jamaica Observer Bookends supplement. Read the interview:

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“She changed the requirement that actresses in the movies being invariably likeable or attractive. She lifted the veil of appropriate behaviour in women to expose what was scary, unexpected, or ugly; in other words, to do what was appropriate for the character” – Meryl Streep on Bette Davis for Turner Classic Movies

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, With Grace, Lost! A Caribbean Sea Adventure, The Jungle Outside, and Oh Gad!). All Rights Reserved. If you enjoyed it, check out my page on AmazonWordPress, 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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