Tag Archives: Nicole Dennis-Benn

Reading Room and Gallery 36

Things I read that you might like too. For previous and future installments in this series, use the search feature to the right.

READING

INTERVIEW

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“The different sides of freedom was another thing that was always interesting for me to see.” – Alice Yousef on Poetry Influence on Origins: the International Writing Program Podcast

CREATIVES ON CREATING

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“Photography is not just about what you put within an image but what you choose to leave out of that frame.” – Nadia Huggins

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“Even Jesus had to pass through a punnanny” – Staceyann Chin talking about her life and work, and in conversation with Nicole Dennis-Benn

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Through the edit, we wanted to give the suspense and a little bit of hope. That was achieved by letting the scene breathe.” – How Spencer Averick Built Suspense Through Editing Ava DuVernay’s ‘When They See Us’

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‘The questioner said he was a journalist and had trouble making his mind switch from the journalistic style of writing to fiction. “I have students who have this same problem. I understand you. There is one thing you can do; interview the character/person you want to write about. Ask him anything, then you will have enough information to move them forward,” answered McFadden.’ – by Maryam Ismail writing on the Sharjah International Book Fair and specifically a session by African American author Bernice McFadden

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“Imagine Hirut on the top of a hill, rifle ready, prepared to ambush the enemy. Along the way to this war, she is forced to contend with sexual aggression and then rape by one of her own compatriots. The smoky terrain of the front lines has expanded to engulf Hirut herself: her body an object to be gained or lost. She is both a woman and a country: living flesh and battleground. And when people tell her, Don’t fight him, Hirut, remember you are fighting to keep your country free. She asks herself, But am I not my own country? What does freedom mean when a woman—when a girl—cannot feel safe in her own skin? This, too, is what war means: to shift the battlefield away from the hills and onto your own body, to defend your own flesh with the ferocity of the cruelest soldier, against that one who wants to make himself into a man at your expense.” – Writing About the Forgotten Black Women of the Italo-Ethiopian War: Maaza Mengiste on Gender, Warfare, and Women’s Bodies By Maaza Mengiste

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‘But she was a reader, in the fiercest sense. Susan knew exactly what she wanted. When I finished my last book, she said, “I love that Paris chapter. I want more. Could you please turn it into a novel?” She said it again and again, so often that I began writing the book in my head. Last month, when Susan fell ill, I asked what I could do for her. The reply came shooting back: “The best gift would be to write me that book.”’ – ‘I Think You Need to Rewrite It’: Ruth Reichl on What Makes an Editor Great

THE BUSINESS


FICTION

“This is Orson Welles, ladies and gentlemen, out of character to assure you that The War of The Worlds has no further significance than as the holiday offering it was intended to be. The Mercury Theatre’s own radio version of dressing up in a sheet and jumping out of a bush and saying Boo! Starting now, we couldn’t soap all your windows and steal all your garden gates by tomorrow night. . . so we did the best next thing. We annihilated the world before your very ears, and utterly destroyed the C. B. S. You will be relieved, I hope, to learn that we didn’t mean it, and that both institutions are still open for business. So goodbye everybody, and remember the terrible lesson you learned tonight. That grinning, glowing, globular invader of your living room is an inhabitant of the pumpkin patch, and if your doorbell rings and nobody’s there, that was no Martian. . .it’s Hallowe’en.” – from the script of the 1938 radio broadcast of H. G. Wells’ War of the Worlds which you can also listen to (I recommend listening to it first)

VISUAL ART

“We do not need permission nor expensive equipment to play the game or make art” – video essay re Steven Soderberg and his film High Flying Bird which was shot entirely on an iPhone

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Flow presents the results of its 2019 amateur mobile short film contest

POETRY

“You feel like is fire inside you
a fire twisting you insides into ash
a fire that sucking the earth beneath you dry
But you watch her dancing” – Tricia Allen

“…it almost I who came
back out of each punishment,
back to a self which had been waiting, for me,
in the cooled-off pile of my clothes? As for the
condition of being beaten, what
was it like: going into a barn, the animals
not in stalls, but biting, and shitting, and
parts of them on fire? And when my body came out
the other side, and I checked myself,
10 fingers, 10 toes,
and I checked whatever I had where we were supposed
to have a soul…” – How it Felt by Sharon Olds from her collection Arias

‘Fool neber ‘fraid w’en moon look bright,
Say, “Crab and jumbie lub dark night.”
Jumbie like moon as well as we—
Dey comin’ waalkin’ from de sea.
Deir foot tu’n backward w’en dey tread,
Dey wearin’ body ub de dead
Dat fisher-bwoy dat wu’k on sloop,
He watch dem waalkin’ from Guadeloupe.
Dey waalk de Channel, like it grass;
Den, like rain-cloud, he see dem pass.
Dey comin’ steppin out ub Hell,
Wit burnin’ yeye an’ a sweet smell.’ – Lullabye by Eileen Hall from her 1938 collection

“It is far from here now, but it is coming nearer.
Those who love forests also are cut down.
This month, this year, we may not suffer;
the brutal way things are, it will come.
Already the cloud patterns are different each year.
The winds blow from new directions,
the rain comes earlier, beats down harder,
or it is dry when the pastures thirst.
In this dark, overarching Essequibo forest,
I walk near the shining river on the green paths
cool and green as melons laid in running streams.” – from The Sun Parrots are Late This Year by Ian McDonald

REVIEWS

‘The book starts with an epigraph from Jamaican blogger Paul Tomlinson’s reproach to the commissioner of police to “go inna the bush and catch” the criminals who “always escaping in nearby bushes.”’ – Vahni Capildeo on Kei Miller’s ‘In Nearby Bushes’

REPORTS

“She writes intuitively from her own rural Jamaican childhood through to her becoming a global citizen, and because she writes from a searing past of aloneness and pain, her self-discovery and choice of self makes her work relevant, not only to people of the Caribbean who appreciate that she deals sensitively with race, class hierarchies and cultural oppression ­ the legacy of colonialism – but to all sensitive people of the world who respond to her quiet assertion of personal identity.” – One on One with Olive Senior in the Jamaica Gleaner, 2004

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“Canadian writer Margaret Atwood and British author Bernardine Evaristo split the Booker Prize on Monday, after the judging panel ripped up the rulebook and refused to name one winner for the prestigious fiction trophy.” UK-based Evaristo is Ango-Nigerian though those of you who’ve read her previous novel Mr. Loverman might remember that it features an Antiguan character (I remember meeting her when she was here in Antigua researching that character). Her Booker winning book is Girl, Woman, Other; tied with Canada-born Atwood’s Handmaid’s Tale sequel The Testaments. Read the judges’ reasoning here.

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, With Grace, and Lost! A Caribbean Sea Adventure – Perdida! Una Aventura en el Mar Caribe). All rights reserved. 

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Reading Room and Gallery 35

Here I share things I like that I think you might like too. But not just anything. Things related to the arts – from the art itself to closer examination of the art to the making of the art…like that. There have been 34 installments in this series before – use the search window to the right to find them; and there’ll be more additions to this installment before it too is closed – so come back.

VISUAL

“I’ve worked with so many artists, but I’ve seldom experienced such an ebullient, rich, and massively productive creative process,” Mouly told Artnet, later adding, “The goal for both of us was not just a resemblance but something that emotionally evokes her person, because Morrison is deeply complex. [The artwork] works in a cathartic way for the artist and the viewer and the reader…I’m very grateful that Kara was willing to put herself through this process.” – ‘Quiet As It’s Kept’: Artist Kara Walker Creates the New Yorker’s Cover Tribute to Toni Morrison

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BLOGS

“Our last poetry and prose collection was published in 2014 and we are overdue for another.” – Althea Romeo-Mark blogs about Writers’ Works’ Bern in Switzerland

NON-FICTION

“As an adult, when I was estranged from my mother, my father would ask me to recall those holidays where my mother labored in the kitchen for hours. He would ask me to think about why my mother went to such pains and expense. Was it just for her friends, he’d want to know? Of course not. He would tell me that my mother always felt an astute guilt at raising me away from my extended family. For all those holidays absent of grandmothers and aunts and uncles and cousins. Instead of allowing me to feel that loneliness, she filled up our house with guests. She feared that I would never know family as they knew it, that even though I professed not to feel that sense of loss, I had inherited it nevertheless. Her failure to teach me those values, my mother believed, extinguished in this world a way of love.” – Give Hostages to Fortune by By Mehdi Tavana Okasi

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“Since my 30s, I’ve hated those birthday cards with their black balloons and messages of doom: How does it feel to be over the hill? Don’t collapse your  lungs blowing out candles!” – Judith Guest

POETRY

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At sunset,
when sunlight morphs into dusk,
slaps start: mosquito roulette.” – Lelawattee Manoo-Rahming’s Writer’s Digest winning Weekend at the Beach

CREATIVES ON CREATING

“LVDB: My first novel was in the first person, and that felt like working from the center to the exterior in that I feel like I had such a deep understanding of that character from the start. And it was more about how to write this character in such a way where what I understand about her is accessible to a reader who is not me. With The Third Hotel it was sort of the opposite in the sense that there was a lot that I actually didn’t know about Clare and didn’t understand about Clare and so hard to work from the outside in. One bit of latitude that you get in the third person is that you can see into a character and you can also see around them. That roundness of perspective felt important for The Third Hotel, given how much instability there is in both Clare’s POV and the world at large.” – Crystal Hana Kim and Laura Van Der Berg in conversation

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“For fiction written in the past tense, here’s a technique for tackling flashbacks that I stumbled upon years ago, and writers I’ve shared it with have tended to get highly excited: Start off your flashback with, let’s say, two or three standard-issue had’s (“Earlier that year, Jerome had visited his brother in Boston”), then clip one or two more had’s to a discreet “’d” (“After an especially unpleasant dinner, he’d decided to return home right away”), then drop the past-perfecting altogether when no one’s apt to be paying attention and slip into the simple past (“He unlocked his front door, as he later recalled it, shortly after midnight”). Works like a charm.” – Are These Bad Habits Creeping Into Your Writing? by  Benjamin Dreyer

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“Rule No. 10: Revise, revise, revise.” – Colson Whitehead, Rules of Writing

INTERVIEWS

“The importance of controlling the image answers the question of why there are very few black films from that time. The hostage-taking of the image is something that happened because of a lack of access to tools, because of a lack of access to exhibition and distribution, because of a lack of access to the tools that captured who we were, and because of how images were distributed falsely with a different and untrue narrative. Every time a filmmaker of color makes a film, it is a rescue effort. It is an act of resistance and defiance to use tools that were kept away from us, tools that were used to harm us for so long. When I get to a film like this, where there are so very many black people in it, every frame becomes a vitally important demonstration of freedom.” – Ava Duvernay in conversation with vulture.com re her mini-series When They See Us

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I don’t make any such decisions as my poems come to me as the first few lines come into my head, and any language that it comes in I just continue in that language. Sometimes it breaks in the middle of the poem and goes to Jamaican or breaks and goes to England but from when the first few lines come into my head that is the language it comes in
and I don’t make that choice in advance.” – Jean Binta Breeze talking to Jacqueline Bishop. Read the full interview which was published in Jamaica Observer’s Bookends column edited by Sharon Leach: BOOKENDS MARCH 24

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“I resisted buying a scrapbook-like biography of Charles Dickens put together by Lucinda Dickens Hawksley, his great-great-great-granddaughter, on the occasion of his bicentenary (1812-2012). The book has photographs and facsimiles of documents: letters, his will, theater programs . . . I have the same birthday as Dickens (February 7th), and when he turned 200, I was a mere 60. A friend heard me talking about the book and surprised me with it.” – Brooklyn Book Fair pre-event interview with Mary Norris

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“I was an avid reader when I was a pre-teen, so my mother would come home from work with Sweet Valley Twins and Sweet Valley High novels. It felt like Christmas each time. I would inhale the newness of the books, running my fingers across the pages, refusing to put creases in them. I was shocked when I came to America and found out that people leave books on sidewalks to take for free! I discovered The God of Small Things, The Alchemist, and 1984 this way. I had considered it an abomination to leave books on street corners, but I remember grabbing every one of those titles as if I were in a contest and grabbing gifts.” – Brooklyn Book Fair pre-event interview with novelist Nicole Dennis-Benn

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“I daresay that as Caribbean writers, we are extremely fluent in the shapes and short story procedures absorbed largely from an English-focused curriculum; and later, from our exposure to narratives outside the Caribbean. In fact, we excel at them, much as we used to in cricket. If people don’t know it yet, the Caribbean is the producer of world-class contemporary short fiction in the Commonwealth, I’m thinking in particular of Trinidad and Jamaica. There’s absolutely nothing wrong with that. But I do contend that the caribbeanness of the Caribbean short story remains underexploited, though I’ve begun to see the emergence of writers who are reaching past the creole language to explore ‘folk’ tropes and structure.” – Jacob Ross in conversation with Jacqueline Bishop. Read the full interview: Ross 1Ross 2Ross 3Ross 4

FICTION

“I continued to go to the interviews, to prove that I was still alive, but I no longer expected anything.” – The Golden Bough by Salman Rushdie

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“It is an awkward thing to buy fish from another vendor. It’s like horning your partner, or switching to a new barber or hairdresser. Be guaranteed that your regular vendor will find out about your clandestine purchase, because the new vendor will be sure to gloat that they were able to ‘tek yuh sale from yuh’, and the next time you go to the market, your regular vendor’s glare will follow you all the way back to your house. Even those dead fish eyes will stare at you with scorn, and that normally tender flesh will fight you all the way down from your throat to your colon.” – A Hurricane and the Price of Fish by Shakirah Bourne

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“I’m Mildred 302.0” – Mildred by Robin Burke

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‘Humph,’ Mavis say in her usual grunt: ‘Nuh worry. Mi find some US dolla under the dresser when mi clean it last week that mi aggo keep. But mi have something fi har though, man. De wretch nuh know sey is her toothbrush mi use clean the toilet.’  – Son-Son’s Birthday by Sharma Taylor

Antiguan and Barbudan fiction and poetry here and here.

REPORT

“Born in 1892, Savage would often sculpt clay into small figures, much to the chagrin of her father, a minister who believed that artistic expression was sinful. In 1921, she moved to Harlem, where she enrolled at the Cooper Union for the Advancement of Science and Art. A gifted student, Savage completed the four-year program in only three and quickly embarked on a career in sculpting. During the early to mid-1920s, she was commissioned to create several sculptures, including a bust of NAACP leader W.E.B. Du Bois and charismatic black nationalist leader Marcus Garvey — two key black leaders of the period who were often at odds with each other. Both pieces were well received, especially in black circles, but the racial climate at the time hampered wider recognition of her work. Savage won a prestigious scholarship at a summer arts program at the Fontainebleau School of the Fine Arts outside of Paris in 1923, for instance, but the offer was withdrawn when the school discovered that she was black. Despite her efforts — she filed a complaint with the Ethical Culture Committee — and public outcry from several well-known black leaders at the time, the organizers upheld the decision.” – from The Most Important Black Woman Sculptor of the 20th Century (Augusta Savage) deserves More Recognition by Keisha N. Blain  

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“I write, and I take my writing seriously,” he said. “Awards affirm this. But were I to write for awards, I would be a failed writer.” – Kwame Dawes in article in The Daily Nebraskan

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“Winning the regional prize for the Caribbean means everything to me. It means that I made the right choice. After my first semester in college, I had to make a difficult choice between doing what was expected of me and what I wanted. It seemed to be a selfish decision. I come from a struggling family and a struggling island, so as a girl with potential, I was expected to prepare myself for a lucrative career in the traditional professions: law, medicine, architecture. However, I chose to write. I got a lot of criticism for that choice. Many people asked me what I could do with a Literature degree: write children’s books; teach? I could, and there is nothing wrong with either. I make my living using my degree, and I am happy, but I still felt as if the true purpose behind my decision had not been realized. It has now.” – Alexia Tolas, of Bahamas, Regional winner (for the Caribbean) of the 2019 Commonwealth Short Story prize. Other regional winners are from Zambia, Malaysia, Cyprus, and New Zealand

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, Lost! A Caribbean Sea Adventure, 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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