Tag Archives: linisa george

A Love Letter from Linisa

Linisa GeorgeI’m calling this a love letter because love isn’t only romantic. In the note that follows, you’ll hear loud and clear Linisa Geroge’s boundless love for her sister in art, Zahra Airall, and the complicated love artists have to the journey, as well as passion (a kind of love) for the art that flows through her. I want to share the love as I felt it reading this, and so, with Linisa’s permission (from her social media):

“I’m feeling a bit emotional right now, so please allow me this moment to share something. As most of you know Zahra and I have partnered over the years to do quite a bit of creative projects in Antigua. Last year we made the very difficult and frustrating decision to take a year off from Poetry In The Pub. Many of you were sad and while we understood your emotions, we needed to step back and work on individual projects that needed our attention. There were things that we wanted to do that kept haunting us because we were not putting the time needed into getting them off the ground.

Today is the 27th June 2018, and well look at the universe responding to our hardwork. I revealed on Monday that my first book will be available in August and I founded a collective that will focus on fostering collaborative work between all creatives. Zahra is presently in Turks and Caicos with her Honey Bee Theatre on tour with her play ‘Light In The Darkness’ sponsored by UN Women through the Directorate of Gender Affairs.

In order to grow and evolve you must make hard decisions. You must step away from certain things and people and seek clarity. You must go silent. You must bite the bullet and prioritize. You must some times strip everything down and start over. I won’t get into all the frustrating tears of weariness that we’ve shed, or the times we were so close to calling it quits on our haunting dreams. I just wanted to share with you what it looks like when you push through in spite of surmounting obstacles.

I’m usually a very private person but in the past year retreating and focusing on my health and personal and professional development has allowed me to unlock new levels of consciousness. I don’t have any answers to success or financial freedom, but I do know the joy and peace that come with owning your greatness and living out your passions. Art.Culture.Antigua will be back next week and the Black Girl In The Ring Foundation is slowly tying up all its loose ends. There are other things in motion that I won’t share just yet, but know that I’m putting in a shitload of work. I’ve sacrificed a lot, some very personal. I’ve messed up and had to check myself and do better. The losses are tough to understand sometimes, but I’ve learned from every last one.

Thank you all for being supportive, whether you know me personally or not. Thank you for your kind words and deeds when I needed it most. Thank you for challenging me to do and be better. Thank you for every criticism and pat on the back. Thank you for supporting the arts and for supporting Zahra and I and all our many many initiatives.

A special thank you to my close circle, who may not always understand my process and why I do certain things and make certain decisions, but show up to cheer me on without me even asking. You all are the real MVPs and you each know how much I cherish your unwavering love and support.

For who much is given, much is expected, so I felt it necessary to share this with you. I am supremely grateful. Everything is not right, but I am right where I am suppose to be. Give thanks ALL-ways.”

Linisa has announced a forthcoming project The Black Exhibit and her first book ‘The Flowers In Her Hair – an ode to Afro-Caribbean Womanhood’, both due this August 2018. Linisa  is a past Wadadli Pen Challenge judge and patron. Both Linisa and Zahra have built up a lot of goodwill in the arts community through the energies and time they’ve put in to local arts – on their projects and in support of projects by other artists. As their stagings of the Vagina Monologues and its local spin-off When a Woman Moans indicated they set the bar high.  In an environment where the art DOES NOT get the support, investment, attention, or boost it needs, Linisa and Zahra have invested time they could have been putting in to their own art in to building an arts community – Young Poets Society to Poetry in the Pub. Creating art, while making a living, while being an arts advocate, while life-ing is tiring – I know – so kudos to them for having the courage to step back to come forward. This is Linisa’s  Love Letter to Zahra and their journey as figurative twins (though not bound by blood they share the same birthday), but it speaks to me and my own journey (its trials and triumphs and, again, its trials) and I suspect it will you as well. We are, none of us, perfect, among the things Linisa testifies to above is that we are all flawed works in progress, but in many ways these sisters are #blackgirlmagic #repecttheirhustle #beinspired

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, and Oh Gad!). All Rights Reserved.

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A & B Artistes Discussing Art

Primarily, in this space, I’ll be sharing discussions, in Question and Answer format, of craft, and insights to not only the author/artist’s journey but the story of the arts in Antigua and Barbuda. This is a Work in Progress. The main criteria, so far, for inclusion, apart from the Q & A structure and the arts/art history focus, is that these are interviews not conducted by someone who is part of the artistes’ publishing and/or promotional team, and are interviews that are in the public sphere on a platform independent of the artistes and/or their publishing and promotional team. Beyond that, it’s what I come across and you can also link me interviews that fit the very broad stated criteria by emailing wadadipen@gmail.com

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Tammi Browne Bannister talking to David DaCosta (December 28th 2016):
“When I was little, I loved reading Aesop’s Fables and was attracted to the humor, the lessons, and the tragedies and of course the way these tales made me think about the characters long after reading. I’ve written a few.” Full interview.

Mark Brown (2015) on Popreel, Swedish TV: “The main aim of the Angel in Crisis series was to bring a sort of humanness to people like her (the nun), priests, people who have to bear that burden of conforming to what society expects of them.” Interview begins at 7:35.

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Heather Doram on Observer Radio in a discussion which also included Joanne C. Hillhouse, Barbara Arrindell, and Dorbrene O’Marde (October 2017): “My feeling is that I have lived under several administrations and I really do not get the feeling that there is that widespread support for the visual and performing arts…you just use them when you need them…we do not even have a national gallery in Antigua and Barbuda so we the artists are there producing work in sort of isolation. I’ve seen it in many other countries where the national gallery would commission work; this sort of spurs the whole generation and activity of work and then the artists start to feel that sense of involvement and that their art work can actually support them…the same thing I’m sure applies to the literary artist…something like the cultural development division should be that nexus of that sort of leadership, this is where the cradle is…I would really like to see more support for the arts generally.” Read a transcription of the interview or listen to the interview.

Heather Doram participating in a virtual roundtable chaired by issue guest editor Joanne C. Hillhouse on Tongues of the Ocean along with Mark Brown, Emile Hill, Glenroy Aaron, and the now late X-Saphair King (October 2014): “They were reactive and passionate. They were not satisfied with the realistic interpretation of the Antiguan landscape. They wanted to push boundaries, they wanted to produce work with the visual language of engagement with their audience. Many of their works responded to and explored social, political, gender issues and self. The younger generation sought to explore their roles as messengers in their visual language. I think artists like Mark [Brown], Emile [Hill], and Zavian [Archibald] can be included in this group. They are much more open to expressing themselves and exploring a range of media and techniques in their work.” Read the full discussion here.

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“Art is not just a commercial transaction. When an artist shows you their work, they’re showing you their soul, their heart, and what’s important to them.” – Debbie Eckert on Sweden’s Popreel (2018) – beginning roughly at 4:30

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Cray Francis talking with Good Morning Antigua Barbuda (April 5th 2016):
“I felt like I had to write my own stories.”

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Linisa George reads and talks about ‘In the Closet’, which was the Antigua and Barbuda Poetry Postcard  for the UK series featuring works from the Commonwealth in time for the 2012 Commonwealth Games. “I’ve always been a poet…” she says, then explains the journey toward stepping in to that power. Link.

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Joanne C. Hillhouse interview on Caribbean Literary Heritage (June 2018): “Honestly, the first thing that flashed in to my mind is Antiguan and Barbudan calypso and Paul Keens Douglas – especially Tanty and Slim at the Oval – on the radio. Neither of which qualify as reading but which were foundational to my introduction to Caribbean literature. It’s there in Antigua and Barbuda’s King Obstinate’s Wet You Hand – a song which was fun and funny to me as a children and which I’ve used as an example of scene building and character description in my workshops, or in the way he knits the story of Anansi stealing the birds’ feathers into another of his songs – songs that did what Calypso did which was be bold-faced and satirical and reflective of our lives and our truth (especially the truths we didn’t dare speak) while bearing our unique brand of humour and matter of factness about life’s tragedies. It’s there in the writings of Shelly Tobitt – named for Romantic era poet Percy Bysshe Shelley; though I wouldn’t see the connection until college. A romantic idealist in his own right, or so his lyrics would suggest, as a child Shelly, the calypso writer and frequent collaborator of Antigua and Barbuda’s best calypsonian and inarguably one of the best the region has ever produced the Monarch King Short Shirt (who Dorbrene O’Marde writes about in his Bocas longlisted biography Nobody Go Run Me), was to me a poet who used the frustrations of the people to comment on economic, social, and political issues in a way that was deeply and enduringly philosophical, with melodies that captivated. So, the calypsonians and the oral tradition (including the jumbie stories) would have been my first reading of Caribbean writing.” Full interview.

Joanne C. Hillhouse talking to The Culture Trip (July 2017): “in The Boy from Willow Bend, Vere’s mother leaves Antigua for better economic and personal opportunities in the U.S., and Vere himself leaves at the end; in Dancing Nude in the Moonlight, Selena and her sisters move to Antigua from the Dominican Republic for better opportunities, and at some point one of the sisters moves away from there as well; in the story, ‘The Other Daughter’, the title character moves to the US for educational purposes. I don’t know if it holds significance to me (there are many stories in which people don’t leave) so much as being a reflection of the reality that movement is a part of the Caribbean existence—whether it’s to seek higher education, economic opportunities, or a different kind of life—the Caribbean diaspora (i.e. the number of Caribbean people no longer resident in here or in the Caribbean country of their birth) is significant. We are a region of small islands with intelligent and talented people, sometimes the desired opportunities to recognize our full potential or even the cover needed to brave the economic storms stirred up in bigger places isn’t there. So, it’s just a reflection of the reality, I think (but just one part of the reality that I write).” Full interview.

Joanne C. Hillhouse on Popreel, Swedish TV (2015): “The characters come to me; they don’t always reveal their stories fully, so for me writing is a journey of discovery. I can’t always see where it’s going but I’m kind of wandering my way through it and trying to figure out what is it all about.” Interview starts here at 8:50.

“When I was growing up, I didn’t know any writers from here, from Antigua, until I discovered Annie John, Jamaica Kincaid; the writers from here that I knew, and I have great respect for them, were the calypso writers, people like Shelly Tobitt and Marcus Christopher, because when I was coming up, calypso was the literature that I would hear that had some relevance to my community, the other literature that we read was mostly from America or from Britain. So it was a while before I could wrap my mind around this idea that this was what I was called to do.” – Joanne C. Hillhouse (2015) on Bookworm, Swedish radio 

Joanne C. Hillhouse in the Meet the Writer series at Grab Life by the Lapels: “I just enjoy experimenting within the story writing form, short and long. Much of what I write is character driven and distinctively Caribbean with (I like to believe) universal resonance – because I do believe the stories that are about the human condition can cross over without having to be diluted.” Full interview.

Joanne C. Hillhouse talking to M. J. Fievre at the Whimsical Project (November 21st 2014): “Calypso, the calypso at that time, sang the things people were afraid to say and reflected the concerns and reality of the folk, authentically, in their voice, in a way that stirred spirits. I think there’s a part of me that strives for that in my writing.” Full interview.

Joanne C. Hillhouse talking to Commonwealthwriters.org (2014): “I use a lot of detail, a lot of specificity in rendering the world, and I write from a very character-driven place – Who are they? What do they want? What is their truth (don’t compromise on telling their truth)? Why should we care?” Full interview.

Joanne C. Hillhouse is interviewed by Jamaican publisher-writer for Susumba (2013): “Honestly, I think it comes down to the material. I see publishing as the end game not the first step. Develop your craft, read a lot, experience life, write; these are more important. And when you’re ready do your research… take your shot, and don’t give up.” Full interview.

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TamekaJTameka Jarvis-George talking with SheRox: “I initially did not start out with the intention to write a whole book. I started writing what I thought was a short story, but it just wouldn’t end.” Full interview.

Jazzie B. talking with Chris Williams for Wax Poetics (May 14th 2014): “’Keep On Movin’ actually came about lyrically because we were at the Africa Center in Covent Gardens, and we were being put under a lot of pressure by the police. It was due to the fact that other clubs in the area were empty and ours kept being full. Every so often, we would get the squeeze put on us. At one particular moment, they threatened to close us down. The whole concept of this song came from there.” Full interview.

Clifton Joseph talking with Andy Williams: ‘…the first person to really encourage me into the writing/performing arts was an older man in my village of New Winthropes in Antigua, Mr. Murray, probably, visually, the most black, blackest person in “Blizzard” as we called our home on the northern coast of the island. I think I was around ten years old and in addition to singing the Antiguan calypso songs we heard on the radio, Mr. Murray would actually pay me a penny, or sometimes two-pence (we were still using the British colonial currency at the time) to make up my own “calypso” verses. The only snippet I remember from then are three lines: “in January they called me clinky, then in February they start to call me sebassie, and in June they start to call my cousin boone”…I have to give Mr. Murray maximum props for sparking that early interest in writing and performing.’ Full interview.

Clifton Joseph talking with Ian Ferrier (2007): “Hip Hop, Dub Poetry, Dancehall, Reggae all sort of come out of the same African inspired, Caribbean, American, emphasis on words, rhythm, repetition; all of those things pull from the same pool of stylistic influences.”

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JamaicaJamaica Kincaid talking with Mother Jones (January/February 2013): ‘I think I was trying to understand how, short of an accident—you know, you pick up the phone, he says, “Your mother is dead. Her car. The Earth fell”—I never expected the everyday to suddenly become an accident. Suddenly you go downstairs and the pine floor is a gravel pit. I was trying to understand how the everyday suddenly becomes the unexpected.’ Full interview.

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JoyLapps1Joy Lapps talking with Joanne C. Hillhouse (December 2nd 2012): “I think that my strengths lie in composition and writing lyrics for music composed by others and by myself. My inspiration comes from my lived experience and some things I read about or see on the news, my spirituality and love of God, falling in love with my husband, the everyday challenges of life…etc.” Full interview.

Natasha Lightfoot talking with Renee Goldthree for Black Perspectives (April 4th 2016):
“In the UWI archives, there was an almanac for the West Indies in the nineteenth century, and it contained an entry in the year 1858 for Antigua. The entry mentioned that there had been a riot and that the island’s jails were completely full, but it also claimed that the riot was nothing of any political significance. The entry suggested that the rioters were basically rabble in the streets causing trouble—and not at all political. That entry raised my antenna so to speak. I thought that the way the entry was written was a sign that whatever had occurred was very political: there had been a riot in the streets for several days and the jails were full of rioters. I wanted to figure out what happened and why.” Full interview.

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Jelani ‘J-Wyze’ Nias, author of Where Eagles Crawl and Men Fly, talking about following his path to publication: “The biggest wall I encountered, not that there weren’t others, but the biggest was my own fear. And once you get through that fear/feeling of will people understand this, will people accept this, are people gonna see my vision, once you go through that then everything else tends to be a lot more easy to deal with.”  – Watch the video.

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Dorbrene O’Marde talking with Judd Batchelor at Batchelor of Arts Theatre Online (2016): “And one of the comments I made -which seemed to rattle some of the young writers, was the total absence of socio political concerns in this region, at this particular point in time when there is so much need for concern and there is so much need for understanding the post-colonial independence bind that we find ourselves in, that our leaders find themselves in that we as persons trying to inform leadership have not really clarified for ourselves. And my view of the role of the artist is to help in that clarification.” Full interview.

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Paul ‘King Obstinate’ Richards: “We’re prophets; a lot of things we write about comes true.” (King Obstinate on calypso, September 2013)

PHOTO credits: Pictures of Joanne C. Hillhouse and Joy Lapps are from the 2011 event Telling our Stories at the University of Toronto – event photo; of Tameka Jarvis George is from the 2006 Wadadli Pen/Museum literary showcase Word Up! – event photo/Laura Hall; of Jamaica Kincaid is from the 2014 University of the Virgin Islands literary festival – event photo; of Jelani Nias is a screen grab from a televised interview.

As with all content on Wadadli Pen, except otherwise noted, this is written by Wadadli Pen founder and coordinator Joanne C. Hillhouse (author of The Boy from Willow Bend, Dancing Nude in the Moonlight, Oh Gad!, Musical Youth, Fish Outta Water, and With Grace). All Rights Reserved. If you enjoyed it, check out http://jhohadli.wordpress.com Please note that, except otherwise noted, images on this site also need to be cleared if you wish to use them for any purpose. Thanks.

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Reading Room and Gallery XVl

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), click the links or use the search feature to the right, to the right.

VISUALS

No this is not just an excuse to post the Formation video. This is, as all links in this section, a how they made it post. And this is the it that they made – so much to unpack with the visuals (video directed by Melinda Matsoukas with footage from 2014 documentary That B.E.A.T. directed by Abteen Bagheri) and as I said on my facebook, I’m kind of digging politicalBey.

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“What are you going to do with this kind of thing?” – initial response to Dorothea Lange’s street photography during America’s Great Depression (sidenote: for more art on the Great Depression you can’t go wrong with the film The Grapes of Wrath and the book it’s based on)

POETRY

“Poems for me often come in a flash—and then there is the intense crafting that begins in getting at the poem that is hidden within that first draft.” – Jacqueline Bishop

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‘To add to the insult, my father reminded me that “Tonto” means dumb-dumb in Spanish. Perhaps I became a writer the very night I became an Indian dressed as a fake Indian named Dumb-Dumb.’ – Natalie Diaz on Hand-me-down Halloween

BIOGRAPHIES

‘”He wrote back to me saying ‘Michael Anthony, promise me you will never write another poem. But the short story has promise,'” recalls Anthony in remarkably good humour.’ Read more on this Trinidadian author.

BLOGGED

“The ballet that inspired the maswork is about the inevitability of death (the title gives that away, right?). It’s a classic Minshall move to have taken this exemplary work of European ‘high’ culture and translated it via two traditional Carnival characters, the moko jumbie and the Dame Lorraine. And through a minimalist but rigorously considered form, a deceptively simple performance by the masquerader, a touch of self-awareness and self-parody (it’s a burly dude in drag, after all), to have made something that his audience can plainly delight in, while feeling the little emotional quiver of recognition that this is an artist’s elegy for his art.” – Nicholas Laughlin in a social media discussion quoted on Annie Paul’s blog re Peter Minshall’s controversial 2016 King costume The Dying Swan – Ras Najinski in Drag as Anna Pavlova in The Dying Swan

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“It really does take me back to childhood; hearing (but not listening to) the weather report at the end of the 7pm evening news, sitting at the dining table with my brother eating supper of bread and… (bread and peanut butter or sardines or potted meat or corned beef or fried bologna or cheese or guava jelly or maybe just butter.. but always bread) and drinking ovaltine from my Minnie Mouse mug. The bread would be wood-bread (forever the BEST bread ever to be made!) and the ovaltine would be hot, sweetened with sugar (or condensed milk if there wasn’t any sugar) and creamy with milk. The adults would usually be talking about any and everything – politics, the number of times the “current lock off” that day (power outages were very common then), the happenings at school or work; they never seemed much interested in the weather report except when a hurricane was about to hit, then they weren’t interested in anything but the weather report.” – reminiscences… at SimplyNatural blog.

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“It appears that the local writer needs to begin to consider publishing her work in regional and international presses. Such an endeavor, though daunting, will begin to establish the readership necessary to establish regional relevance as an author and then hopefully territorial significance in the landscape of our local literature. Poets need to start publishing their poetry in established online and print journals, novelists need to start publishing short stories, and so on. The obvious benefit to the individual is that arduous process of creation and revision sharpens her skills and hones her craft, meaning that when the next great Virgin Islands novel is published it can be a text that stands up to and against the contemporary novels of the region.” – Richard Georges, BVI

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“Everything you hear me saying on this record is at least the fourth or fifth draft. I would write a verse and then rewrite it and rewrite it. I don’t sit down and write a song, and then slam down the phone like, ‘We got another one!’ and pop some champagne. It’s like if someone’s writing a novel: You write a series of drafts.” – Black Thought of the Roots as quoted in this posting about the greatest hip hop band of all time.

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NON FICTION

‘“Naipaul instructed Theroux in writing. He rejected anything false or showy or mannered; he insisted on clarity and simplicity and hard work. “The truth is messy,” he told Theroux. “It is not pretty. Writing must reflect that. Art must tell the truth.” He decided that a writer’s duty is to be wholly honest to himself, without compromise, and to tell the truth as he sees it, never mind the consequences.’ – Jeremy Taylor writing on V. S. Naipaul

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“My face is a mama’s face to my daughter. She holds my face and says Mommy, you’re pretty. My husband has only known me with this face. My co-workers have only known me with this face. I have many friends who know me only with this face. It is a good face. Next year will be half a life with this particular face.” – Latoya Jordan

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“With this heightened sensitivity to the Caribbean space and spirit, the ethos of Plantation, Kamau exists as a kind of sage, but in a society that still has not been able to consistently decide what to do with him, he can be more accurately likened to a figure in Roman law and society, known as the homo sacer, a status that may fall upon oath breakers as well as persons who threatened the hegemony in that society.” – Vladimir Lucien writing on Kamau Braithwaite

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Okay, so this isn’t riveting prose; but it is riveting research into youth career selection among a select group of students in Antigua and Barbuda, and revealing in what it says about the disconnect between available subjects and career goals and national agenda. Give it a read.

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‘We run into an old lady.
“Children, tell me, can I drink milk from my cow?”
We look down at the ground, we have our orders—collect data, but don’t interact with the local population.
Finally the driver speaks up. “Grandma, how old are you?”
“Oh, more than eighty. Maybe more than that, my documents got burned during the war.”
“Then drink all you want.”
I understood, not right away, but after a few years, that we all took part in that crime, in that conspiracy.’ – Voices from Chernobyl by Svetlana Alexievich #riveting

WRITERS ON PUBLISHING

“Compelling reasons to carry your book include you (1) being a local author; (2) having strong publicity backing your book; or (3) proving that you will bring in the readers/buyers. If you don’t have any of these three things, you’re a tough sell.” Brooke Warner writing on why your book isn’t being carried in bookstores  

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“By industry standards, I suppose I am a failed author. Since I started writing for young readers in 2000, only three of my thirty stories have been published traditionally. I turned to self-publishing as my only recourse, and now face the contempt of those who see self-publishing as a mere exercise in vanity.” – Zetta Elliott on Black Authors and Self-Publishing

WRITERS ON WRITING CREATIVES ON CREATING

“My friend James Patterson is a big believer in the importance of a great outline. These days, in fact, the outline may be the main thing he actually writes, while he turns over the actual writing to his stable of co-authors. This is how he manages to turn out three or four novels a year, and still fit in a few holes of golf most days. Still, James Patterson believes in hard work. Seven days a week, in his case—though Mr. Patterson doesn’t call writing work, because he loves it so much. This is a man with an unmistakable passion for what he does.” – Joyce Maynard after taking James Patterson’s masterclass. Two comments: 1, I always wondered how people churned out three to four novels a year. Mystery solved. 2, I won’t sign off on drafting outlines and leaving the actual writing to co-authors but I do like the belief in “hard work” and the “unmistakable passion”.

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“Once I am done with a draft of a chapter, I am the only person who can read it. Pages are full of half sentences, doodles, arrows pointing here and there. Then, I complete sentences; I fix the grammar, and make the images understandable. Then that chapter is ready for an editor.” – How I Write My Graphic Novels: A Breakdown from Ozge Samanci

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“To be honest, when I started with the pthalo blue background, I intended to let the wispy bits of the feathers fade into the blue … but then I mixed up a nice buttery colour and I just got carried away cutting away the negative shapes around the wreath shape.
That left me with a blue wreath floating on a light background. So then I got the idea to add a pattern, to help integrate the different elements of the image  … and I started with circles. How about a wreath floating, on a stoney riverbed?” – Donna Grandin as she creates.

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“The other thing I would say is if you feel safe in the area that you’re working in you’re not working in the right area…go a little bit out of your depth…” – David Bowie

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“Then one day I realized something. I realized that in the midst of all of the colourful leaves, there was the occasional stem covered in tiny white flowers, like little starbursts. I had seen the stems with the buds before, but for some reason I never noticed the flowers.” – Donna Grandin

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“If your handsome, muscular, confident hero strides assertively and briskly into the dusty, spare, lamplit room, you’ve got a problem with excessive description—specifically, with the overuse of adjectives and adverbs.”  – Joseph Bates writing in Writer’s Digest the Five Cardinal Sins of Description

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“A concert pianist practices twenty or thirty hours for every hour she’s on stage. That’s after she’s completed years of lessons and practice to master her craft well enough to be on stage in the first place. A champion athlete trains long and hard to prepare herself for an event that may last seconds. Everyone expects this of them, the athlete and pianist expect it of themselves. No one expects to succeed – or get paid – for their first effort. Except writers. Writing is a craft and a skill that requires constant work, constant practice to maintain. I took the book back down off the shelf.” – KeVin K (Kevin Killiany) blogging at NovelSpaces

INTERVIEWS

“Being laid off, having to live off the bare essentials didn’t detour him, as a matter of fact he didn’t mind at all. It was almost as if he was liberated and being forced into his calling. Attending writing workshops, classes, using his experiences, he has built characters that are so much like him and his experiences and characters that are nothing like him at all. He’s taken his readers from small country towns to international locations that would be any traveler’s dream. Speaking not just as an author but also as a fan I have seen his books grow and evolve; novels that aren’t just about sex or drama but novels that are meant to tell stories. To this day he still goes to writing classes and gets excited about taking notes and learning new things.” – re fAntiguan Eric Jerome Dickey

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“Let’s take ‘Where Did Our Love Go’ by The Supremes. This is a hypothetical example, but, to me, the most important part of that song is the tenor sax part in the background. So while everyone will sing the lead — ‘Baby, baby where did our love go’ — I’ll start singing … the saxophone part that’s buried in the mix somewhere. I have no idea why [it is] that the small nuances of a song are more attractive to me than the actual song. [But] this definitely explains why I have zero pop sensibility.” – ?uestlove of The Roots on NPR. Listen to the full interview.

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“Soul II Soul was a collective and formerly a sound system. This is how we started. Making music together came about during our days as a sound system. Most traditional sound systems make their own music, which is what led to the genesis of the whole Soul II Soul forming. You can really relate back to songs like “Jazzie’s Groove” and “Fairplay” to get a full understanding of what we were trying to do musically. What I tried to do on the first album was to explain what Soul II Soul was all about. Technically, Soul II Soul is a sound system rather than a band per se, which is why we have a rotating lineup of different singers. This goes back to the origins of the old sound systems as well, because in a sound system, you would also have many different MCs or DJs. All of these things combined to form Soul II Soul.” – Jazzie B., British artiste with Antiguan roots reflects on Soul II Soul’s breakthrough album.

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“It starts while I’m in the final editing phases of a novel—that’s when I begin thinking about what I’d like to work on next. I consider what would be fun and what excites me. Once I have a clear sense of where I want to go, I write a quick first draft, kind of vomit-style. This doesn’t take more than a couple months, and it’s usually a short manuscript, not more than 60,000 words. I let that draft sit for a while, then go through and hack out bits I hate and fancy up the bits I like. Once I’ve done this a few times and feel I’ve hit a wall, I send the manuscript to a couple readers. I incorporate their feedback and make more revisions and then hire a freelance editor. Right now I am working with Diane Glazman for my next novel, Spore Girl. Then I begin shopping the manuscript around. I went with a small press for Destroying Angel, and I hope to sign with an agent and release Spore Girl with a larger publisher.” – Missy Wilkinson on doubt, writing, and which book she’d like to live in.

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“Talent is the tiniest part of a writer’s makeup. What counts is perseverance, good friends (writers and non-writers), a tough skin to ignore what others think about you–which is none of your business anyway–and a little bit of luck, which will help you on those days when you are down and thinking, ‘Why on earth am I doing this to myself?'” – JAmerican writer Geoffrey Philp on his writing journey and tools.

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“…there’s no money in it…” – Linisa George, Antiguan and Barbudan writer, arts and social activist, and former Wadadli Pen judge, on her various arts projects. Listen to the full interview.

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, and Oh Gad!). 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 and my books. You can also subscribe to the site to keep up with future updates. Thanks.

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Mailbox -Black Girl in the Ring: That’s what’s up!

Have you checked out the BGR mag, as yet? You’re a couple of years late since the 2013 re-launch of the site. But never too late. BGR stands for Brown Girl in the Ring, a poem with long legs (because, yes, it has travelled far and continues to make tracks). Out of writer, past Wadadli Pen judge, and BGR mag founder BGR2Linisa George’s struggle with image and identity, the poem, Brown Girl in the Ring, became popular on the Antiguan and Barbudan stage. It was part of When a Woman Moans (a Vagina Monologues styled production by Women of Antigua, the very group that brought the Eve Ensler play to the local stage). It has since been referenced in my book Musical Youth, which deals with some of the very themes of colour and self-acceptance explored in the poem; it was also Antigua and Barbuda’s contribution to the Poetry Parnassus which coincided with the Olympics, and The World Record publication that followed. When I edited the Antigua and Barbuda edition of Tongues of the Ocean, it was one of the local pieces I specifically requested for inclusion; and from that posting, the poem caught the eye of the folks behind the Bahamas’ Shakespeare in Paradise festival, who included it in their 2015 production.

Talk about a ripple effect; this poem certainly has that. And none knows that better than George. Here’s what she shared in  a release at the time of the self-described “online lifestyle website”‘s re-launch in 2013 (like I said better late than never).

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“BGRmag…was conceptualized from the autobiographical poem ‘Brown Girl In The Ring’ written by Caribbean poet Linisa George. The poem, which is featured in the London 2012 Olympic poetry anthology ‘The World Record’, chronicles a young woman’s journey to self-acceptance as she battled the desire to be of a lighter complexion, brown girl, to the joy she ultimately discovers in just being herself; The Black Girl In The Ring.

Through lifestyle articles on career, sex, love, art and fashion, just to name a few, BGRmag hopes to challenge [challenges] BGRs to recognise their beauty and uniqueness both inside and out. From the stay-at-home mother to the farmer, from the lawyer to the doctor, from the philanthropists to the teacher, from the DJ to the artist, attention will be focused [focuses] on the diverse and complex experiences and lifestyles of black women globally, and the life lessons to be learned from their journey.

Linisa George was born in Guyana, but has been living in Antigua since the age of 4, and is very forthcoming about her experiences as a young girl struggling to maneuvre through a maze of self-doubt and low self-esteem. Now in her early 30s, she created BGRmag to spotlight the many facets and accomplishments of black women, mindful not to rank one achievement over the other. By highlighting the diverse stories of black women, BGRmag will provide [provides] another outlet and opportunity for young girls to be inspired and motivated to carve their own future through self- discovery and acceptance.

The prototype for BGRmag was developed through Linisa’s personal blog, previously known as Motives ‘n Thoughts, which was re-vamped in January 2012 under the new name; blackgirlinthering.blogspot.com. The rebrand in 2012 propelled the idea of BGRmag into action, birthing the …comprehensive and informative website, as an alternative to the stereo-typical and many times dangerous media projection of black women. The website isn’t about promoting division; rather it will focus its attention on celebrating that which gets lost in the midst of noise. BGRmag will reveal itself to be a creative vision to share extraordinary stories.
Readers can expect to be [are] the fly on the wall as BGRs share their unique experiences that have shaped their lives for the better. Informative articles will dispute thoughts and insight debates. Contributors will interview and articulate stories that will compel BGRmag readers to re-examine their views on what it means to be a black girl or woman. The online magazine will [does] not reinvent the wheel, but rather will pay[s] close attention to refining what is already in existence. You can expect BGRmag to add[s] their distinctive voice to the market of magazines and publications that continually uplift black women. Black Girls In The Ring are fierce, fabulous and ready for their close-ups.

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Editorial Notes:

BGRmag’s vision: To celebrate the accomplishments of black women at all levels of society, and foster the unique voices of black girls in the ring.

BGRmag’s motto: ‘Define Yourself’

BGRmag’s Pledge: Strong. Powerful. Loving. Beautiful. Active. Innovative. Humble. Vibrant. Comedic. Serious. Daring. Loud. Ambitious. Indifferent. Aggressive. Trendsetter. Sister. Mother. Wife. Friend. Lover. Stylish. BGRs are genius individuals.

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For General Questions, Editorial-Related Comments and Questions, Feedback and Suggestions, Event & Press Release Submissions, email us at blackgirlinthering@gmail.com

BGR

I’m about two years too late posting this so don’t wait another minute. Check out BGR mag and define yourself.

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, and Musical Youth). All Rights Reserved. Seriously, a lot of time, energy, love and frustration goes in to researching and creating content for this site; please don’t just take it up just so without even a please, thank you or an ah-fu-she-subben (credit). If you enjoyed it, check out my page on Amazon, WordPress, 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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Reading Room XV

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.

FICTION

“So, Damian spent his time climbing trees in our backyard, acting like those TV monkeys. He mimicked them: jumping on me like those babies did their mommies. It’s cute when they do it. But when he did it . . . well, things broke. My arm, leg, and, once, he yanked so hard on me I herniated a spinal disc.” – Read Mindy Halleck’s full story.

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‘“Did you pack a snack and a sweater?”

Charlisa pointed to her backpack. “They’re in my satchel,” she said, waiting to see if Sister Rita would notice she’d learned the word.’ –
Read the full award winning story by Brenda Scott Royce here.

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I’m putting this in the fiction category though Moko’s Firing the Canon includes visual arts and poetry as well, because I mostly talk about the fiction here (you can and should read the whole issue though).

VISUAL

A new website, http://www.barrelstories.org launched in January following the successful Commonwealth Shorts’ film by Lisa Harewood, Auntie. Lisa’s idea is for the site to encourage conversations about the effects, both positive and negative, of migrants leaving their children behind in the care of others. It’s a place where we can listen to personal accounts of parents, children and carers.  You can also contribute your own story; to do so, email to submit@barrelstories.org

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“A definite powerful conversation piece, the mural sends a strong message to our society and demonstrates what can be accomplished when youths are empowered and encouraged to affect change.” Read more about this mural, created by youths of Antigua and Barbuda.

WRITERS ON WRITING

“Although you the writer are indeed doing the writing, your narrator is the one telling the story. And that narrator is not you. Sure, your narrator could be a slightly more neurotic or jealous version of you, or someone very different from you, or somewhere in between, but he or she is not you. Yep, even when you’re using first person.” – Janelle Drumwright

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“While too much detail and description can bog down the pace of a story, the reader still needs adequate description to frame the story.” – Zetta Brown, introducing How to Create a Fictional Setting by Michelle Gwynn Jones.

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“Very often your dialogue can become stilted unless you are a good listener, and if you listen you’ll discover that people interrupt each other.” – Maeve Binchy – Secrets from the Writing Club

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“Making people believe the unbelievable is no trick; it’s work. … Belief and reader absorption come in the details: An overturned tricycle in the gutter of an abandoned neighborhood can stand for everything. Or a broken billboard. Or weeds growing in the cracks of a library’s steps. Of course, none of this means a lot without characters the reader cares about (and sometimes characters—‘bad guys’—the reader is rooting against).” – Stephen King, read more at Writer’s Digest.

BLOG

From Antigua to London to the US to the Bahamas…Linisa George’s Brown Girl in a Ring is indeed well-travelled. In this post, a Bahamian actress reflects on performing it in the country’s annual Shakespeare Festival. Check out what she had to say about the experience in this posting – You are what you do, not what you say you’ll do on her blog The Little Lady’s Diary.

AUTHORS ON PUBLISHING

“Most writers I know continue to work on their submissions for years, even after acceptance, feeling they can always improve. So don’t get egotistical about what you want to stubbornly believe is your final draft. Accept that most writing is never final, even amongst the best.” Read more of Ralph Monday’s article : The More Lines Cast Into the Water, the More Fish That Will Bite (and Other Tips on Submitting to Lit Mags)

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“Never give up” plus *bonus* Supernatural gifs. Read more on self-publishing after publishing by Jennifer Armentrout here.

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“Instead of sending the manuscript out to other potential markets, I waited…and waited…and waited for a response from Arabesque. I eventually got despondent and put the whole publishing idea on indefinite hold. (Pro tip: DO NOT DO THAT!)” – Liane Spicer at Novel Spaces

VIDEO

“Books have an extraordinary power to take you out of yourself and into someone else’s mindset, so that for a while at least you look at the world through different eyes.” – Ann Morgan talking about her journey Reading the World. (click on the image for the vid)Ann MorganFor For my thoughts on the book that her journey birthed, check Blogger on Books ll

POETRY

“And somewhere inside him, he wanted/ to be here for all of it: all the repeating shapes and pegs/ of that life-long game where the more things changed,/ was the more they stayed the same.” – Vladimir Lucein’s Overseer: Detention

***

“It’s not your fault, no
I blame those boats
I blame the coast
Hell, I blame the tide
I blame the sea for not picking a side
I blame the slave traders and sellout chiefs alike
But it seems like you blame me
For being born in a former British colony
I sound white?
As opposed to what?
Sounding American?” – slam poet Maya Wegerif, Why You talk so White?

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This one started showing up in my social media timeline after the November 2015 Paris attacks. I decided to look it up and share it. It’s by Somali-British poet Warsan Shire:
later that night
i held an atlas in my lap
ran my fingers across the whole world
and whispered
where does it hurt?

Read all of What they did Yesterday Afternoon

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by David Crawley.jpg

by David Crawley

INTERVIEWS

w/David Baldacci:

‘A former lawyer, Baldacci still attacks his writing career as if preparing for a high-stakes defense. His typical day currently involves a few hours of work on his second Decker thriller, another few hours drafting Book 3 of Vega Jane, and another few hours on a screenplay. “During the course of the day I might work on three or four different projects, but only when I run out of gas on one do I move on to another,” Baldacci says. “I write until my tank is empty each day. I don’t count words or pages or whatever—that seems like an artificial goal for me.”’

w/Claudia Rankine:

‘“Because white men can’t/ police their imagination/ black men are dying.” What was in your mind when you wrote that line?

When white men are shooting black people, some of it is malice and some an out-of-control image of blackness in their minds. Darren Wilson told the jury that he shot Michael Brown because he looked “like a demon”. And I don’t disbelieve it. Blackness in the white imagination has nothing to do with black people.’

w/Brenda Scott Royce:

“When I struggle to think of ‘what’s next’ in a story, I draw a blank. But then I’ll be listening to NPR or shopping for groceries or having a random conversation with a stranger, and something sparks an idea. Meeting someone with an unusual occupation always makes me wonder, could one of my characters do that for a living?”

w/Marlon James:

“At some point you have to accept writing bad on the way to getting good. That you can write one hundred pages and only use twenty. I’m at the stage where that is no problem for me. I’m a very sloppy writer and I don’t rewrite, I don’t reread, until I’m done. I write everything straight to the end.”

Pamela Taivassalo Wikholm travelled from Sweden to Antigua in 2015 and interviewed a handful of local artistes – Joanne C. Hillhouse (writer), Tian Winter (singer), Mark Brown (painter); see interview links for all three below.

w/Tian Winter (Popreel TV):

“If it’s singing, just sing; someone will hear you, something will happen.”

w/Joanne C. Hillhouse (on Popreel radio):

“The writers from here that I knew and I have great respect for them were the calypso writers people like Shelly Tobitt and Marcus Christopher because when I was coming up calypso was the literature that I would hear that had some relevance to my community,, the other literature that we read was mostly from America or from Britain.”

Joanne

w/Joanne C. Hillhouse:

“The characters come to me. They don’t always reveal their stories fully, so for me writing is a journey of discovery. Like I can’t always see where it’s going but I’m kind of wandering my way through it and trying to figure out what is it all about.” – Antiguan and Barbudan writer Joanne C. Hillhouse on Sweden’s Popreel TV.

w/Tian Winter:

“If you have a dream, don’t let anybody, no one, not your mother, not your brother, no one, kill that vibe, kill that dream out of you, don’t let them out that fire.” – Antiguan and Barbudan soca artist Tian Winter on Sweden’s Popreel radio.

w/Mark Brown (on Popreel radio):

“I need to paint things that people are not saying enough, and people find hard to say, and hrd to encounter, and hard to read, and hard to speak about.”

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w/Mark Brown:

“At that time I didn’t know what it was called but I knew that I lived in a very imaginary world.” – Antiguan and Barbudan artist, Mark Brown’s interview on the Popreel TV programme on Swedish TV.

 

w/Eric Jerome Dickey :

“I walked from the undergraduate degree in Computer Systems Tech, but I carried the knowledge with me. Every class I had taken at the University of Memphis to complete those requirements; from English, to Physics, to Sociology, to Latin, to Electronics, to kicking it in karate class with Bill Wallace, it all went with me.”

w/Nalo Hopkinson:

“The Caribbean region. Writers from there are producing wonderful literature that takes language, story and form and bends them into creations you would never have believed possible.”

w/Carol Ottley-Mitchell:

“CaribbeanReads is a small publishing company dedicated to serving talented Caribbean authors. Our aim is to make publishing more accessible to potential Caribbean authors and to increase the number of high-quality books about and for the Caribbean.”

w/Ision Hutchinson, Tanya Shirley, and Christian Campbell:

“I know there are some people who are just born with exceptional talent, but for the rest of us, I recommend workshops with reputable poets, constant revision of the work, an openness to criticism and an insatiable desire to read poetry.” (Tanya Shirley in S/X Salon interview)

NON FICTION

“The self-governance of trees is mysterious and moving, though not always elegant.” – read all of Summer Edwards’ descriptive and reflective Fairmont Trees

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“When someone dies their silence becomes a sort of held note, a key on the piano pressed down for so long it becomes an ache in the ear, a new sonic register from which we start to measure our new, ruptured lives. A white noise. Maybe this is why there is so much music in dying: the funerals, the singing, the hymns, the eulogies. All those sounds crowding the air with what the dead can’t say.” – Read all of Ocean Vuong’s The Weight of Our Living: On Hope, Fire Escapes, and Visible Desperation

***

“…getting a whooping from her was like getting a beating with fresh plucked feathers. I cried mostly because I didn’t want to hurt her feelings…” – Yvonne McBride, The Ballad of Broad Street

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A & B Arts Roundup

Linisa George’s Brown Girl in the Ring featured in Shakespeare in Paradise in the Bahamas. “Erin Knowles, one of the directors of Murder & Poetry, came across George’s piece as a feature in a 2014 Tongues of the Ocean issue that focused on art and literary works from Antigua and Barbuda. Knowles felt instantly connected to George’s poem and had this to say about her choice to have Brown Girl In The Ring included in her production, “The piece focuses on the element of identity and coming to terms with that which we should be proud of. I think it’s an excellent piece to be included in my production because of the language and references to the ring-play that we idolized as young children.” Brown Girl in the Ring is being performed in the round alongside other poems that align with the goal for Paradise Unmasked.” Read more.

Couple weds… “In lieu of gifts the couple requested monetary contribution in support of programs and services of the National Public Library in Antigua and Barbuda. A total of seven thousand-two hundred dollars ($7,200.00) was collected.” Read more.

Actress Francoise Bowen at Oktober Film Fest and launching acting and photography workshop. 12088521_10156134500480013_8342677097546161736_nSee her blog for details.

“I saw this as an opportunity to challenge myself.” – Antiguan and Barbudan artist Mark Brown on his participation in the “international collaborative organized by Shackles of Memory, a cultural tourism program that seeks to call attention to slave trade sites and encourage artists to create pieces for exhibition…part of TOSTEM, the French acronym for Cultural Tourism through the Footsteps of Slavery.” Read more.

“The two day workshop attracted 25 persons from the fields of design, writing, music and small businesses and covered the following areas: Overview of Crowd Funding and Social Media Marketing; Opportunities in e-Business for OECS SMEs; Crowd Funding Yesterday and Today; How to run a successful Crowd Funding campaign and the work of regional Crowd Funding platform Vision Funder based in Barbados.” Read more.

See which Antigua-based filmmaker made out at Caribbean Tales. See.

The Antigua and Barbuda Independence programme has been posted and the arts (visual, fashion, singing, music, drama, dance, pan, culinary etc.) are present-please (there’ll even be two days of car racing)…always happy to see the arts represented as they are the best representation of who we are (the arts are as necessary as air to me; yes, that’s how passionately I feel about it)… but no need to check it twice, the lit arts are in fact once again absent (the last lit art contest ended in 2011 with a stirring presentation by the then competition coordinator who recommended a way forward that seems to have fallen on deaf ears… and the Antigua and Barbuda International Literary Festival which was near the head of the pack when it started in 2006 was rumoured to be returning this year after an absence of about five (?) years but like most rumours… well…peep the schedules for yourself) …meantime we can give props to Barbuda for the inclusion of poetry at least in its programme…might be time for a visit to the sister island). But, see below, it’s not formally a part of the programme but the groups and individuals which continue to hustle outside the system aren’t sleeping on the literary arts.

Stories Handed Down

Don’t forget, one of the things I try to do on this site is alert you to Opportunities (for grants, publishing, etc.) and taking it one step further, nag you re upcoming deadlines. This one, Stories Handed Down is specific to Antigua and Barbuda. Get on that.

Sharing some thank you’s from my blog re my participation in the Brooklyn Book Festival: thanks to “the organizers of the Brooklyn Book Festival for inviting me, Musical Youth publisher CaribbeanReads for making it happen, …Beverly George and the Friends of Antigua Public Library …, my co-panelists for a wonderful shared experience, Caribbean Cultural Theatre for all they do to promote the artistes from the region, everyone who came out, family, friends etc etc …and not just thanks but big big props to talented Antiguan and Barbudan designer Miranda Askie of Miranda Askie Designs for outfitting me (in jewelry and clothing) for the event…” Haven’t read the blog or seen the pictures yet? Check it out.

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, Fish Outta Water, Musical Youth, and Oh Gad!). 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 and my books. You can also subscribe to the site to keep up with future updates. Thanks.

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A & B Writings in Journals and Contests (A – M)

This page has grown fairly quickly, so I’m breaking it up in to two pages. For N – Z, 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.

AIRALL, ZAHRAThe Looking Glass – in Theorizing Homophobias in the Caribbean – Complexities of Place, Desire and Belonging – 2012

Excerpt: “They’d met at a conference in Mexico, she was from Dominica, and Laurie was instantly drawn to that thick French accent when Marie spoke.”

ARRINDELL, BARBARAA LIFE, a spirit…a name – Tongues of the Ocean – 2014

ARRINDELL, BARBARA – How Snake Stories became Anansi Stories – Womanspeak: A Journal of Writing and Art by Caribbean Women, Volume 7 Womanspeak 7– 2013

ARMSTRONG, VEGALegend of the Sea Lords in Tongues of the Ocean – 2014

Excerpt: “Suddenly Freya dove under the water, the others quickly followed her. When they caught up with her they too saw the mysterious creature.”

BROWNE, BRENDA LEE – Granny Cecelia’s Travelling Handbag – Womanspeak: A Journal of Art and Writing by Caribbean Women Volume 8 Womanspeak 8– 2016

BROWNE, BRENDA LEEexcerpt from London Rocks in Moko: Caribbean Arts and Letters – 2015

Excerpt: “Dante’s mother asks if he is getting married as he smells as sweet as a bride and he had been getting ready since about 5pm – well since midday when he went to the barbers for a trim and a shape.”

BROWNE, BRENDA LEEFor my Father & Untitled – Tongues of the Ocean – 2014

BROWNE, BRENDA LEE – Betty Sope – Womanspeak: A Journal of Writing and Art by Caribbean Women, Volume 7 – 2013

BROWNE-BANNISTER, TAMMI – Wee Willie Winkie – The Caribbean Writer Volume 29Caribbean Writer 29 – 2015

BROWNE-BANNISTER, TAMMI – Stabs in the Dark – Akashic’s Mondays are Murder series – 2014

BROWNE-BANNISTER, TAMMI – Strange Fruit – Tongues of the Ocean – 2014

BROWNE-BANNISTER, TAMMI – No Frills, No Lace in Poui: Cave Hill Journal of Creative Writing – 2014

Excerpt: “The director’s walk was ceremonious not in haste, perhaps from years of practice. He carried one hand lying in the other at the back of his buttocks and he went along with his head bowed.”

BROWNE-BANNISTER, TAMMI – Coo Yah – in Moko: Caribbean Arts and Letters (online Virgin Islands journal)- 2014

BROWNE-BANNISTER, TAMMICocks, Hens, Dogs and Swine – in St. Somewhere (online literary journal) – 2013

BROWNE-BANNISTER, TAMMIThe Bird who saved his Food – in Anansesem (online Caribbean Children’s Literary Journal) – 2013

Excerpt: “Once upon a time an albatross got caught in a fisherman’s net that was spread out at sea.”

BROWNE-BANNISTER, TAMMI – Mango Belly and Mango Belly Part 2 – in Anansesem (online Caribbean Children’s Literary Journal) – 2011

Excerpt: “He ate each and every kidney, tantalizing his classmates with every suck, pick, slurp and lick. Their mouths watered and their eyes followed the golden juices that gushed down his hands.”

BUTLER, LORINDA T.Antigua Me Come From – in The Caribbean Writer, Volume 8 – 1994.

D’ORNELLAS, ANNALISA -Toes in the Sand – national contest selection (no word of announced publication) – 2009

Excerpt: “I was once a girl
that played on these shores.
I gathered the shells
in  bundles and scores.
I wore them on my neck
and strung some as bangles
I  noticed their twinkling
and delightful angles.”

EDWARDS, GEORGE W. (AS TOLD TO JOHN H. JOHNSON) – Folklore from Antigua, British West Indies – Journal of American Folklore Vol. 34 No. 131 pp. 40-88 – Jan – March, 1921

Excerpt (from Johnson’s introduction): “The stories, riddles, and proverbs given in this collection were recited by George W. Edwards, a native of Greenbay, Antigua, British West Indies…George Edwards is a man fifty years old. In giving the bulk of this material, he exhibited unusual memory-power. Aside from prompting, suggestions, and riddles Nos. 34, 39, 42, 45, and 47, he alone is responsible for the entire collection. He has lived in New York for the past ten years. His greatest aid in recalling the stories has been his wife, who is about thirty years of age and also a native of Greenbay, Antigua. She is the informant of the five riddles mentioned above.”

EDWARDS, GEORGE W. (AS TOLD TO JOHN H. JOHNSON)The Chosen Suitor from Folklore from Antigua, British West Indies, Journal of American Folklore Vol. 34 No. 131 as reproduced in Bluebeard (ed. D. L. Ashliman) – 1999 -2014

Excerpt: “Dere’s a woman had one daughter an one son. Dis boy coco-bay, boy, an’ he was an’ ol’ witch too.”

EDWARDS, SHAKEEMADiaspora & That Laugh – Tongues of the Ocean – 2014

EVANSON, TANYA – Apocalypsiata – Womanspeak: A Journal of Art and Writing by Caribbean Women, Volume 7 – 2013

Excerpt: “Soon there’ll be nothing left to burn/books, beds, bodies on the Barbie”

EVANSON, TANYA – reading/performing at Calgary Spoken Word Festival – 2013.

EVANSON, TANYADervish Weaponry from the CD Memorists on Badilisha Poetry.

EVANSON, TANYA – reading/performing about “An-teee-ga”,  The Travels of No Travels and other pieces at the Calgary Spoken Word Festival.

Excerpt: “Let me tell you bout that place/in Caribbean/clear blue water/sand sat between your toes/in hot sun/and the people/my people/and not my people/Antigua”

GEORGE, LINISA – In the Closet – BBC Poetry Postcards series – 2014.

GEORGE, LINISA – Brown Girl in the Ring – performed during the CARA Festival, Antigua, 2009. Later published in the World Record (a publication of global artistes invited to perform at the 2012 Poetry Parnassus staged to coincide with the 2012 Olympics). Published (2014) in Tongues of the Ocean. Also featured, the Charlotte Caribbean Festival, and, 2015, in the Shakespeare festival in the Bahamas.

GONSALVES, GAYLEMiss Ellie – Tongues of the Ocean – 2014

Excerpt: ‘Ellie points to England, a land that is far from the Caribbean Sea, and smiles at her daughter, “This is where it all started.”’

HILLHOUSE, JOANNE C.* Papa Jumbie – Akashic Books’ Duppy Thursday series – 2017

Excerpt: “… he choops to heself. Only picknee believe in jumbie. Dead na speak an’ Papa dead long time.”

HILLHOUSE, JOANNE C.The Other Daughter – Adda (the Commonwealth Writers online literary magazine) – 2017

Excerpt: “The day we went uphill, my corn-rowed head level with Mom’s melon-sized chest, my inquiries about where we were going were met with silence and a determined tug on my arm as I dragged my feet.”

HILLHOUSE, JOANNE C. – The Bamboo Raft, Election Season, and Zombie Island – Interviewing the Caribbean – 2017

HILLHOUSE, JOANNE C. – Game Changer – Moko: Caribbean Arts and Letters, Vol. 9 – 2016

HILLHOUSE, JOANNE C. – When we Danced – The Caribbean Writer (also winner of the Caribbean Writer’s 2014 Flash Fiction Prize) – 2015

HILLHOUSE, JOANNE C.Children Melee in Moko: Caribbean Arts and Letters – 2014

Excerpt: “Peanuts roasting
 Music pumping
 Obsti prancing about in pigtails”

HILLHOUSE, JOANNE C.Summer 1 – The Missing Slate – 2013 & Something Wicked – The Missing Slate – 2014

Excerpt: “Essie is flamboyant as ever; her full and curvy frame hugged up by a red bustier straight out of a burlesque show, black leather pants, and dangerously (sexy, she would say) red heels that still only bring her up to Claudette’s chin. Claudette is also in black, tall and svelte in a black strappy ankle-length maxi dress, black combat boots and a black beaded cloche hat someone like Louise Brooks might have worn during the jazz era; her red-red lip stick and the red beading in the fitted cap, the only pop of colour. Essie had given the whole get-up an eye roll when she’d picked her up. Claudette had done her own mental eye roll at the way her friend, enviably comfortable in her own skin, still doesn’t get the concept of size-appropriate clothing.”

HILLHOUSE, JOANNE C.The Cat has Claws in Akashic Book’s Monday’s are Murder online noir series – 2013.

HILLHOUSE, JOANNE C.  – Caribbean Woman in The Columbia Review – 2013

HILLHOUSE, JOANNE C.Teacher May – published in Poui: Cave Hill Journal of Creative Writing – 2011

HILLHOUSE, JOANNE C. – Ghosts Lament – published at the SX Literary Salon – 2011.

Excerpt: “…as someone beats a pan; a skanking Marley jam…”

HILLHOUSE, JOANNE C. The Arrival – published in Calabash – 2008.

HILLHOUSE, JOANNE C.Prospero’s Education (on hearing George Lamming) – published in Calabash – 2008.

HILLHOUSE, JOANNE C. – Friday Night Fish Fry – published in Liberian journal Sea Breeze and read at the Breadloaf Writers Conference – 2008

HILLHOUSE, JOANNE C. – Da’s Calypso – published in Calabash – 2008.

Excerpt: “He na min school pon
Shakespeare,
but he understan’ well
de ingenuity o’
wan pun,
weave imagery o’
everyday life
inna song –”

HILLHOUSE, JOANNE C. – reading excerpts from unpublished manuscript Closed for Repairs and poems Second Middle Passage and Apocalyptic Dance while a participant in the Caribbean Fiction Writers Summer Institute at the University of Miami – 1995.

Excerpt: “A sister pimping her soul
A baby with a gun in his hand
Love gone cold”

*Clearly, I’ll know all of my credits but I don’t want this page to be the Joanne show, so this is just a sample. Follow the links to read other published fiction and poetry by me. Some of it is also available in Dancing Nude in the Moonlight 10th Anniversary Edition and Other Writings.

ISAAC-GELLIZEAU, DOTSIE – Home – national contest selection (no word of announced publication) – 2009.

Excerpt:”Her soul and heart rejoiced
Upright and locked position”

JARVIS-GEORGE, TAMEKA Woman to Woman – Tongues of the Ocean – 2014

JARVIS-GEORGE, TAMEKA – Poem Ugly featured in film of the same name.

JARVIS-GEORGE, TAMEKA – Poem Dinner featured in film of the same name.

JOSEPH, CLIFTON – That Night in Tunisia  – performed in the documentary Dark Arts in the Plastic Hallway – 2009.

JOSEPH, CLIFTONI Remember Back Home & Slo Mo – performed at the Words Aloud 4 Spoken Word Festival in Canada – 2007.

Excerpt:
“It wasn’t all bright smiles, sea sand, sun and
fun

Back home had its share of oppression in the sun

Back home had its share of dreams burnt in the
sun”

LAKE, EDGAR O. – Little Richard’s Second Coming in Calabash – 2007.

Excerpt: ‘But, the Faithful wait for the King of Pommade, Tuti
The Monarch of Mascara, pre-Pink Floyd, Tuti-Fruti
He’s turned his back on Hollywood – protesting!
He’s the King of Rock-and-Roll – will take it back –
“This Little Light of Mine – Say What?”
The tired Daughters of the Carolinas toss their curls
Little Richard’s seen the fork in the road – and took it

Praise his name!’

LAKE, EDGAR O.Walcott Reads to Brodsky’s Godmother in Calabash – 2007.

LANGLEY, CHARLESBlack Woman Cry – Tongues of the Ocean – 2014.

MCDONALD, HILDA – Dawn and Evensong – KYK-OVER-AL No. 22: Anthology of West Indian Poetry, edited by A. J. Seymour (p. 47) – 1957.

MEDICA, HAZRA – The Greeting in Poui: Cave Hill Journal of Creative Writing – 2012.

MEDICA, HAZRA Ode to a Night in Ale – finalist in the Wergle Flomp Humor Poetry Contest – 2010.

MEDICA, HAZRAThe Banana Stains – Highly Recommended in the Commonwealth Broadcasting Association Short Story Contest – 2008/9.

Excerpt: “I see my father motioning for me to come to him. His face is grim- the inspector had not been kind to him. On the drive home I think of Mr. Massiah and his stained clothing. Mr. Massiah has calloused hands. His hands make me think of the banana trunk in my dream.”

MINGS, KIMOLISALittle Red Hoodie – 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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