THE FLAGMAN’S OCCURRENCE WAVE BAND

          

      < Situations and Revelations of Passing Notice in Guyana >

       Locket # 4 

       Bipti stepped out the car and I couldn't believe my eyes. I know this girl
       from
the village; as a pretty young lady, straight back, very fussy about 
       her clothes; inviting but paying no attention to other people; and
       carrying a umbrella, rain or shine.

       The only girl I know who took her real shoes wrap up in a bag till she get
       to the public road or her job; then she change over from the road shoes.
       A start life of pure focus, pure endeavour.

       And smarter than me, I have to say. All these years I only driving minivan,
       keeping people on the move. Cash in hand help make ends meet, which 
       is not a bad thing under the circumstances. Last does graze paragrass
       in this land of wait long.

       But Bipti! moved away from the village; she was appointed Loan Officer
       in a Georgetown bank  ̶  must have had a flair for finance. Next I hear
       she get married to an Insurance Company man known around town as an
       "eligible bachelor". You could assume she was already working her way
       up the ladder, if you know what I mean.

       Next, she left the country with the Company man, and they living in
       Barbados. Divorce the husband there! after bearing two children. Married
       a Barbadian doctor and went with him to live in "upstate New York", USA.

       This was going on over years. I was getting the news piece piece from
       people in the village who knew her mother.

       She kept in touch with the mother through barrels and Christmas cards
       with photographs tucked inside. In all this time she never come home to
       visit, even when the mother take sick, dead and bury. Which is to say,
       once she left this village that was it; is gone to the Falls she gone.

       I was heading out in the van for the city runs when she step out on the
       road, in company with a plump white lady. Face a little wrinkle up, but
       despite all these years I knew was Bipti.

       Something tell me stop; say, Hello, remember me?

       I hold back. Call me dray cart dumb; was the way she was standing,
       holding head and shoulders with an air of foreign highness; pointing
       at this house, that house; like she showing the white lady the backlands
       of ordinary she start from.

       There was heavy rain the night before; the grass was shiny green, and the
        road had muddy pools of water. I was praying she wouldn't turn suddenly 
        and aim a phone or point at me; as if to say some lives like certain habits
        will never change; and some folks with lower ambition will live and die
        on the same patch of land they born and settle; forest, village, hard 
        ship  ̶  no place
else.

        So even though I recognize her, I pretend I didn't know her.

        Showing up like that, alongside this white lady; both wearing white slacks,
        which wasn't really smart considering how easy clean clothes does pick up
        dirt in this place. And braided straw hat, cat-eye sun glasses, shoulder bag,
        also not smart considering how people does mark you quick as you step out
        the airport.

        When I drive back home for lunch time break, I find out she left the village
        already.

        My neighbor Ganpat wife [who I have to say is more intelligent than her 
        belly swell husband; he trying  ̶  is one whole year now he trying  ̶  with
        contractors to convert his bottom house into a beer parlour; clay brick 
        growing weeds near the paling waiting for the workers to come back.

        The man always sound agitated; talks then walks away, then turns back
        with the same warning: "Hell to pay in this world, hell to pay! This
        country heading straight to Haiti!"

        Telling me the other day, "I hear they inventing driverless cars; you and
        your hustling minibus soon going out of business." You see the son of 
        aggravation I living next door to?]

        Anyway, his wife said Bipti didn't stay long; like she was just passing
        through; came in their house for refreshment; stayed ten minutes, that
        was all.

        Apparently, the white lady (whose name she didn't fully get) was Bipti's
        supervisor at a bank in upstate New York where Bipti worked. The doctor
        husband from Barbados died (highway car crash); leaving her and (is now)
        three children; all grown up and "in college" and "doing well".

        And Bipti herself was doing very well; she had her own home in upstate
        New York (take-off-your shoes carpet, four-poster bed, Mexican workers
        doing the lawn). And, hear this, now she is "alone and available".

        Her exact words, Alone and available! which neighbor Ganpat wife repeated,
        raising her voice in a little school-girl, giggly way; half-turned on her front
        verandah as if somehow I was keeping her back from chores inside; always 
        hungry for scraps of information.

        Not that those words would mean anything to a man like me. If Bipti came
        back to advertise or tease anybody in this district, she make a wrong
        calculation.

        Running the minivan I does study people at the side of the road. You can tell
        who waiting for transport, who standing there, face blank like traffic lights
        not working; who just wish a limousine would glide over to the grass verge,
        not sardine van service every day.

        I had to learn when to slow, when to risk fast overtake; how to swerve from
        old men and stray cow; horn and flush quick business out the bush.

        I thinking now: Bipti was a real expert at love life and ladder moves  ̶ 
        forward, sideways; bypass, off the back foot moves. Left a lot of memory and
        sadness behind her, but that girl know how to measure steps; showing
        motion you barely notice as night slips out to day.

        If you ask me, most people born and bred in Canal District (except maybe my
        vest and pants neighbour Ganpat) know how to stake and hold a way in the
        world. People born and bred elsewhere does suffer  ̶  too much name match
        set, where wind blows.

        Take that girl from Wakenaam, Babsie. Start out moving to the city; take up
        with a city man (common law marriage, one child). The man catch she looking
        at another man, and warn her. He come home one night and plunge a bread
        knife in her neck. Just like that. Stab up her chest thirty times. It was in the
        papers, all over the news.

        R. Dookie
        Canal
District, Guyana

GONE THE BLUE THROUGH

                                                                               for Alison K.                      
                                                                                                                                                                                                                                                               
            Back then few could imagine how planes refuelled
            in the sky; everything had to be grounded : ambition
            like car engines switched off while someone with a wipe
            rag checked your gra
dient, and mongoose village eyes
           
assessed Atlantic storm marks ~ day break egret strollings.

            June afternoon's green house, the Morne deck view : sun 
            ironed leaves seemed wearable ~ the wind patient like brides
            maids waiting for turbulence to toss high sigh . unzip
            in amber sky.

            We could make out just below the rusted galvanize roofs
            of Placide Valley . history was hardly kind to shell drawn 
            island turtles on haunch lime.  

            Our smiles wheel feeling about intended lift as if already air
            sworn ~ long felt latitude lines known ~ already there!
            before "solar" like "audacity" coined clearance for so long 
            on one leg standing . elections coming.

               Lock unlock would set the hand that chance tapped our
                 crouched shoulders  >  the open will fill mission.

               Indigine news?  like close shave fears click! peel 
                 away as fin blades gleaming path shear clear
                    cross overcloud burst range.

                                                           Our miles flamingo forming :
            as North-South plains dry burn again
            as East-West wing tips stretch again
                                                    Ends up . gone the blue through :

                                                                                 – W.W.

 

 

             

  

 

                
                     CONVERSATION

               
                     When in silence alone I walk on
                     the winter city's hard
                     concrete going nowhere, my knees start
                     to needle me with their whispered screams.    

                     Now as beside me you walk above
                     words of hot stone your heart
                     translates to feather cloud, water wing,
                     stone light, I feel no pain but the wave

                     of love rising and falling along  
                     the seashore of our breath
                     out of whose spine sprouts our wall-less house,
                     all windows and doors, of shining speech.

                     (from "Scratches On The Air" by Brian Chan) 

             

 

THE FLAGMAN’S OCCURRENCE WAVE BAND

 

          < Situations and Revelations Of Passing Notice in Guyana >


         Locket #3


         Fyzabad and I were classmates in secondary school. He had this thing about
         dogs and cats. You wouldn't catch me dead hugging a dog or petting a cat,
         but Fyzabad (that was our name for him) would get angry and shout at people
         throwing stones at animals.

         Years later he make this big turn, and now he is this big animal protector.

         I was in the gold fields trying my hand at shaking and sorting. (Actually I have big
         plans: setting up an employment Agency for the gold fields; with me as Chief of
         Operations; yes, man). On a trip back to the city I heard he was in trouble with
         his Village Council. And I want to believe this all started with late-night cinema
         shows.

         Late-night weekend cinema was our schoolboy passion. It look like he never
         really gave up the habit (electricity was not reliable where he lived). After
         the show, while people on the road drinking and arguing, or planning nefarious
         activities with guns in their cars, Fyzabad hurrying home on his bicycle, the
         orange reflectors flashing on the pedals; slowing down only when he pass
         animals on the public road; a stray cat, a stray dog.

             He started riding with a shovel, cause some cars and minivans blasting through
         the night does lick up anything that don't get out the way fast. Drivers leaving
         animal carcass like tire tread strips on the road. All of a sudden he is this burial
         man for hit-and-run animals.

         He would stop, lean up the bicycle; scoop up the dead animal, and bury it in a
         shallow grave off the road.

         If you driving home on the country road late at night, and you notice somebody
         digging and digging on an empty piece of land, like he find a map and he
         searching for buried treasure, that was Fyzabad.

         The property had to belong to the government or somebody; he never stop to
         find out; wasn't worried an officer might jump out the bush and arrest him. In 
         the heat of the moment, in the dead of the night, he there giving these animals
         a proper resting place.
              

         Eventually he had to stop. Somebody sneak up one night and steal the bicycle;
         left him right there on the road with the shovel and a crocus bag, looking round
         in the dark, wondering how his bicycle could disappear just like that.

         He buy another bicycle but the same person or somebody else sneak up and steal
         that one too. That was how the whole late night burial business come to a halt.

         I hear next that Sanita, his wife, went back to her mother with the children,
         saying she tired staying in the house all day cooped up; couldn't even relax
         outside in her vegetable garden.

         What really distress her, and this is what start the problems with the Village
         Council, was her husband's new occupation. Fyzabad was now driving round in
         a van rescuing animals.
In the middle of the night he out there in this van
         looking for stray dog and stray cat.

         He decide next to open an animal sanctuary. When I visited him he had 99
         stray dogs and 31 stray cats in his backyard.

         He started giving each of them names, but he had too many animals, or maybe
         he run out of names; so he stop with the names. But he kept correct count and
         'Date of Rescue' in an exercise book.
 

         "These creatures are like family. Nobody want them. I taking care of them," he
         told me. Then pointing with owner's pride, he said: "You see these two?  
         Spartacus and Shane?"  He whistled, and they came over. "They show more faith
         in this country than most people I know, I'm telling you." (Spartacus and Shane
         were assigned front yard warning duty, to keep intruders off the property.)

         People in the village were up in arms: who in their right mind would drive
         around saving stray dogs? not missing pets with collars, mind you  ̶  stray
         dogs
! This country could barely afford anything like a Dog Pound, and he 
         there playing big Dog Saviour.

         The backyard with the mango tree and with wire mesh fencing and food
         bowls and the galvanize shed was a living disgrace. It was hard to imagine a
         place like this anywhere in the world.
 

         The next door neighbors condemn it as a big health hazard; the owner not
         even qualified or trained to look after animals. "He bringing these dogs from
         the public road into the village, which in turn bringing down property values,"
         the lady across the road was saying. "At least with chickens, they give you eggs
         you could eat or sell. All we getting from his backyard is noise and smell. And
         on hot windy days this place is real hell."

          Fyzabad was convinced he had the only human solution to the problem: "All
          they doing is complaining and complaining, they wouldn't lift a finger to take
          care of these creatures. You see the people I have to live with?  Hold their nose
          at corruption, everywhere is corruption. Smelling to high heaven. But you
          should hear how they address an honest working man like me."

          I wished him all the best. I told him to be careful; do what he think is right,
          what make his life start up and run every morning; but look outside every now
          and then just in case somebody sneak up in the dark and thief the van while he
          at the back with the dogs and the cats.

          T. Sennah
          Georgetown, Guyana

VISHNAVI IN ALICE LAND

             
          
               Local gentry pass around her _ One of you now. She likes the cane             
               field forbearance of shires, Mt. elsewhere in Mozart moments.

               For other metaphors and worlds who would not scratch away
               at ground bird humming weeds undraining furrow seeds.

               Tells no one of one dog dream retracking : lost 'n' dressed in  
               city streets pushing a red wheel barrow, ear rings snagged in old
               North hair extensions; while vowels leave lungs target circling, 
               lips measure their poured proper tea.

               What happened to your bundle, county lab coats poke; don't you
               walkers cross the desert with knotted bundle?
                                                                                      She's up for stuff
               like that : didn't walk didn't cross I flew . and my baggage fell
               somewhere over the ocean if you must know.

                   In a silk chamber, ripe contractions pinging, Come Soon
                   uncramps, kicks warn : birth roots lease hold strain there
                   after.

                Now do us both a favour, she backs back to the wind, harness
                  sire my fate, at least for awhile, till I release the old
                    form new leaf tendency.

               Was your prime cut satisfactory, this heritage chef might
                  table. So much depends on what now? long friends point
                    grey skies unable.   
                  
                
   She could fall through again : compost or pose from cloud
                 
or cave  ̶  tell tale seams faux glazed  ̶  dot marked Here
               Here! head light ending . Not so Sorry?  say, Cheerio, then.

                                                                                 – W.W.

 

 

                              

  

 

 

                            VIRGIN WHORE

                         She wears dark glasses to mask her eyes red
                           with fear and grief and fury and bliss
                     but the cold lenses also clear her vision
                       in these glaring streets which she walks, aware
                           of the easy horror and sadness
                     and nonsense and beauty about her, needing
                      
to cringe weep scream bless but merely mumbling,
                        
 like the mad woman she's meant to be,
                    
with a voice not her own, though no one's else's,
                        
whose lonely freedom is its one meaning
                        
 as rooftops and gutters and pavements
                     strung together by the words hooked in her flesh
                        pretend the hooks have never existed.
                            I listen beneath her breast, read and
                     sing her dribbling tongue, and score her bleeding feet
                        and the daily changing lines of her palm.

                      (from "Within The Wind" ©  by Brian Chan) 

 

            

Review Article: DARK MUSIC IN THE BONE

 

         Published before (1955) in Great Britain, "My Bones And My Flute" (2015) was
       meant to be an entertaining work of fiction, "a ghost story in the old fashioned
       manner". Which might tempt old-fashioned readers to anticipate haunted houses,
       cobwebs and creaking doors. In the hands of Guianese readers back then, it was
       a boldly invented tale that scared the living daylights out of many.

        In (pre-television) 1950s Guiana, reading habits were more empowering than what
      passes as functional literacy today. Local folklore was filled with "jumbie" (ghost)
      stories of headless horsemen, and unseen tormenting spirits just waiting for city
      residents to step into the Guiana forest with its Amerindian guardian myths.

      Pioneer Guianese poets and writers turned     ________________________________
      to the coastal and forest interiors for        
      phantasmagorical material and metaphors.             MY BONES and MY FLUTE
      Human mysteries were solvable and literary                        by
      detectives like Sherlock Holmes and Watson     
      were the preferred gentlemen of reason on               Edgar Mittelholzer
      the job. (Mittelholzer's characters make  
      reference to the fiction of Edgar Allan Poe.)           Peepal Tree Press Ltd.
                                                                                    England, 2015, 236 pgs

                                                                         _________________________________
 
       In preparing his manuscript Mittelholzer must have felt he had a winning formula
       for overseas publishers: a Guianese ghost story with original genre elements: a
       flute, a toxic "parchment", disoriented locals and a haunting colonial memory.
       Something editors had probably never seen before.
 

       The flute interrupts the daily routines of his main characters, the Nevinson
       family whose leisure habits included listening to Debussy's "L'apres-midi d'un
       faune" on a portable gramophone. It intrudes on the soirée small talk of Mrs.
       Nevinson and her church folk, and the conversation of her adolescent daughter;
       all of whom, the narrator notes, should remind readers of the pride and prejudice
       "characters in a Jane Austen novel". 
 

       He explains that at first it sounded "as if someone were practicing a Debussy 
       scale and weren't getting it right." Later with widening appreciation he
       identifies the sound as "a tuneless, wandering trickle of treble notes coming
       out of the trees that stood so still in the night". A vagrant flute, then; baffling
       but bearable; no great cause for concern.
 

       But there's the "parchment". It belonged to an old Dutch planter, Mynheer
       Voormans, who committed suicide after the insurrection in 1793 during which
       he suffered "persecution" at the hands of rampaging "black wretches" once
       under his plantation control.

       To show he wasn't quite done, that plantation power (and its European source)
       would not go away quietly for good, Mynheer Voorsman placed an avenging curse
       on a parchment left behind. Touch it  ̶  as a curious Mr. Nevinson did, preparing
       to read  ̶  and disharmonies would fall upon the rest of your sleep and waking life.

          Mr. Nevinson, who manages the Berbice Timber and Balata Company, invites the
       narrator, Milton Woodsley, to join his team of investigators (his wife and
       daughter) as a kind of 'paranormal consultant'.

       Readers get a sense of what in Mittelholzer's work would become a major theme
       or pathology: skin colour and colonial privilege. 
The Nevinsons' near-white skin in
       those days allowed them the ease to distance themselves from unwanted sights, 
       flute annoyance; and from most everyone else.
       
      
The narrator tells readers his skin was actually "olive"; that is, near near-white. 
       This partly explains his self-styling as the epitome of 1930s Guianese bohemian
       "cool"  ̶  an ambivalent fellow; even-tempered, quite pleased with himself; who
       makes diary entries and sketches for paintings in spare moments.

       His (authorial) descriptions of Guianese jungle creepiness should make today's
       disabled (or disinterested) Guyanese writers sit up and take notice  ̶  how far,
       despite fears of rejections, Mittelholzer's confidence and talent had advanced in
       1955: his exuberant evocations of colonial folkways and the Guianese natural
       world.

                                                       ~~

      At some point in the narrative you might expect a panicky loss of composure,
      and full-throat screams when the team of jungle sleuths first encounter the
      cursing, walking spirits of the insurrection (accompanied, you'd imagine, by
      phantom flutes orchestrating in the trees). Doesn't quite happen that way.

      At Plantation Good de Vries they make contact with the locals; they learn of
      mysterious new deaths and new flute playing; they return at night to share
      deductions, and wake up the next day to a sun that "shone from a sky remotely
      daubed and speckled with cirrus and cirro-stratus which dissolved as the morning
      progressed ".

      Mittelholzer prompts his narrator to deliver erudite Sherlock Holmes-like
      analyses: "Let us suppose," he says, "that this Dutchman had left some strongly
      psychic emanation of his personality  ̶  some etheric magnetic effluvium  ̶  within
      the fibres of this manuscript…"

         He maintains his rational perspective until, during a period of "waiting and 
       watching", as new harbingers (the sharp rustle of shrubs; a rank goatish smell;
       a creaking hammock rope) gather to challenge human bravery, he observes
       "a humped shadow-mass" entering the bedrooms of their jungle cottage. 
       (This is probably the scare moment best remembered by older Guianese 
       readers.)

        Kenneth Ramchand (Professor Emeritus, University of the West Indies) has written
       an Introduction to this edition  ̶  46 blowy, biblio-background-filling pages  ̶  that
       opens up the book's contents for scholarly partake. (Mittelholzer, he says, "wants
       to leave you accepting the supernatural".) The cover blurb suggests, too, that the
       novel has "serious things to say about the need to exorcise the crimes of slavery
       and individual wickedness".

       New readers may elect to stay the discourse (which could be sopor-inducing at
       times); discover what the fuss was all about (dabbling in the dark arts could
       unsettle bone complacency? ear plugs and face masks won't keep out dust
       fall from the past?) Or simply jump the gap and ride along with Mittelholzer's
       story-telling, his chapters gliding steamer-like up the Berbice river in the full-
       bloom English registers of his day.

       Either way the new British publisher of "My Bones and My Flute"  ̶  Peepal Tree
       Press, a home port for redemptive postcolonial opportunity  ̶  would be
       delighted if you put a serious handle on the book's reputation; get as comfortable
       as verandah arrangements permit these days; at the very least give the story a
       good old-fashioned try.    
           
                                   - Wyck Williams

 

 

THE FLAGMAN’S OCCURRENCE WAVE BAND

           < Situations and Revelations Of Passing Notice in Guyana >

 

          Locket #1
         
          This work getting seriously out of hand. People don't realize I am the sole and
         solitary porter employed at the Canal District 2 Mortuary. I can't do any better,
         otherwise I would seek to secure permanent employment elsewhere. I have a
         brother living in Trinidad. He write telling me how bodies piling up with all the
         killing over there.

         I here working twenty four hours per day. Receiving payment for just an eight
         hour period. Advantage is being taken of my situation.

         And seeing as how I living close by the mortuary parlour, contact is being made
         to me at any given time to provide service which includes (a) washing and
         cleaning of parlour (b) stitching and dressing deceased after postmortem
         examination (c) Pick up dead morning noon or night and deposit same dead in 
         freezer. (d) Operate emergency power in case of blackout (e) Remove body
         from freezer as per request of family midday or midnight.

         Sometimes is me they call upon to bathe and dress the dead for quick religious
         burial, but the money paid for performing "special tasks" goes straight in the
         biscuit tin of the parlour supervisor.

         Only the other day a dead fell out my hands which was under heavy strain to
         transport the body from one location to another. This is a clear indication that
         I alone cannot do the work with only two hands. More hands are needed and
         urgently for the dead to be properly taken care of.

         To add insult to injury the supervisor who drives the hearse is in the habit of
         going from abuse of privilege to abuse and cursing related to my job abilities.
         Bad enough I have to see and handle what temper or getting old does breed
         and do to people.

         This is clear indication of the action to come that is piling up. Advantage is being
         taken of my situation

         A. Sadhoo,
         Canal District, Guyana
                                                                 *
                                                     
                                                                                 

          Locket #2

          The Magistrate at the Canal District #2 Assize has his listening and sentencing
          ways. This is what I hear from the Clerk of Court Records (I am telling you in
          the strictest personal confidence. Your ears only.)

          Monday:    
          According to the prosecution, Defendant (name withheld) went to Lot 133
          where members of the Pentecostal Church situated at above address observed
          him during the service in a mango tree with a bag picking the fruit. An alarm
          was raised and the defendant was later arrested and charged. Quantity of
          mangoes found in bag: 32.

          Magistrate frowning: Praedial Larceny. Defendant given options (a) dedicate
          rest of his natural life to the Pentecostal faith or (b) 32 days in prison.
          Defendant chose Option (b).

          Tuesday:   
          Defendant in the court (bony fellow with scar across left cheek, name
          withheld).

          This lady open her shop doors but went to the back of her premises to do some
          washing. After fifteen minutes she hear a noise coming from the front of the
          shop. Came back to investigate only to find this fellow walking away with a
          bunch of bananas and a carton of cigarettes and cigarette lighters valued
          $2,000. Like he picking and choosing what he wanted that day with no intention
          to pay.

          Matter was reported to the police. Arrest was made. Defendant confessed to
          charges. Magistrate scowling : Simple Larceny: Defendant sentenced 50 days.

          Wednesday.
          Defendant claimed he picked the mangos from a loaded tree in the compound
          of the District Medical Office because no one else was picking them. Magistrate 
          glaring: Praedial Larceny: Defendant given 70 days.

          You see this country? People does grow like guava and turn hard, that is all
          I have to say.

          A. Sadhoo 
         Canal District, Guyana

 

 

VIJINIE EN PRINTEMPS

                                                                                     

                                                                                  for  L _ C _ & _ Z

 
            These days Vijinie and I have reached our city limits  ̶  which 
            way through district road rim crumbling partners duty lottery
            bound : harmonium sold. 
                                                      We haven't felt the Kaieteur
            rocks since our first river rapids . blade flash in Carib sync;
            strapless soundings past fall stairs to myth made treasure
            caves : worth more our weaving lives. 

            Dreary one grows at home page formatting  ̶  Holy gladioli!
            bursting pods!

                       The issue for us now: destination, destination

            A grand hotel links transit fare and parks in the dark suggest
            a squirrel furtivity; back seats we never felt inclined . the
inter
            screen
net face  ̶  her daughter's constant touch place, Vijinie
            
frets  ̶  fixed stare inset hand holding.

            Bird nest away on virgin island?
                                                     Sky grey surveillance might type
            set hawks side track our orbit path : seat choice discreet lips
            bite grip the other till Come in now! some desk watch sniffs
            and rails our mount rush Kilmanjaro. 

                   D'accord : plateau for out source leap clear found.

                                                                       Now comes the hard
            part : deep breath savings . moves that suit space simulations
            for our planet wide arms glide the life sole purposed soaring
            synth : Amalivaca!                                              
                        
                                              Flight control : you won't believe  ̶  
            how attendant
we are to loved ones safe on the ground.
                                                                                                 
                                                                                      – W.W.

 

 

                        

 

 

                                     
                          CALL

                          Now I must be content with the flesh
                          only of your voice through this plastic
                          hollow at my ear that tastes the salt
                          in your laugh and swallows the silence
                          gluing our words of resignation. 
 

                          But no complaint: never too much pain,                
                          always just enough; and we will keep
                         
magneting ourselves into words
                         
that amplify our avid missing
                          
of each other until we arrive

                          at that moment waiting to use us
                          as only one of its many rhymes
                         
by which it will prompt itself to be
                         
more itself, without apology,
                         
and uncover itself, without shame.

                          How else can it be? We are born of,      
                          and into, overlapping desire,
                         
and out of such mutual dreaming,
                         
this egg of disembodied yearning
                         
is one day bound to translate as flesh.

                     (from "Scratches On The Air" by Brian Chan)

  

JOHANNA SCHOUTEN-ELSENHOUT (1910 – 1992)

A MAN f’ SAR’ ATI                                      THE COMPASSIONATE ONE

   A dis’ n’ a braka dey                                  Is this the black day
di kis’ a nyunman-nen bunfreyda               that got nicknamed Good Friday
di brantmarki mi masra Yesu fesi              that branded my Lord Jesus’ face
pe sweti tron brudu                                  where sweat, turned into blood,
e lon lek’ watra e was’ doti puru                runs like water washing dirt away
f’ mi yeye nanga skin kon krin                   thereby cleansing my body and soul?
Nôn
o hey                                                 Heyday!
dis’ a trutru wan yoboprisiri.                     This is truly a great feast!
?Grontapu.                                               O, world
a dis’ n’ a moro big’ presenti                      is this the biggest present
di y’ ben abi f’ gi wan sar’atiwan                you could give a compassionate one
di sdon a tap’ penbangi lek’ spotpopki        who’d been at the torture bench
e brenki a mindri wi sondu maka               like an effigy made sport of;
di wer’ na en ede let’ togu                         one who shines amidst our thorn-like sins
pe krin konsensi n’ e geme ke.                   worn on his head as a fitting token
Sotru mi bun-ati masra Yesu                      where a clear conscience need not grieve?
kruktu-du trowe yu na bantama                 Truly, my dear Lord Jesus
pe kroysi donpu yu na ondrosey.                evil doings threw you in the morass
Sonduboku                                                where the cross depressed you downward.
no den surdati ma yu na krawasi                O, sinners
d’ e fadon lek’ agra a tap’ en skin.            not the soldiers, but you are the cat-o’-nine tails
Bita-ati                                                     that come down like bullets on his body.
a yu e tek’ wan nyun fayatiki                     O, vengeful ones
luk’ en a dungru ibri dey.                           it’s you who, with a fresh firebrand,
Konsensi f’ libi                                           every day look him in the dark.
opo greb’olo                                              O, life’s conscience
nanga mi masra Yesu                                 open my Lord Jesus’ grave
luku fa a kra
         &#0160
;                                                                 and see how the soul
e saka mek’ kosi bos’ en futu                     curtsies and kisses his feet
di ber’ pen                                                that bore his pains
a mindri grontapu doti                               on earth
f’ mi yeye nanga skin kon fri.                      to free my body and soul.

                                                              *

    EKSENPRE                                                VIRTUE

    Lobi dyari                                                 In love’s garden there’s no place for enmity
feyanti n’ e gro                                        nurtured in the soul to grow, nor for abuse.
kranpa or’ n’ ati
broko saka                                               Love does not take offense nor knows fear
n’ e psa drape                                          but walks right through nettle weeds
Lobi                                                        two-faced weeds
n’ e farsi ef’ frede                                    are not found blocking its path either.
a e waka
a mindri brantimaka                             Love knows no envy nor does it undermine amity
tufesi wwiri                                          like the termites that eat away from underneath.
no de f’ si a tap’ en pasi
Lobi                                                      Love has the power to grow in anyone’s heart
n’ e dyarusu nyan en kondreman            it does not insult nor does it beguile
lek’ uduloso a ondrosey                         
people whatever their color.
Lobi
a krakti f’ bow ini ibrisma ati                  Love has a clear conscience amid good and evil
a n’ e afrontu ef’ bedrigi                         in a well of holy water.
difrenti Kloru libisma
Lobi                                                      Truly, life must be tough for the Lord.
a wan krin ati
a mindri ogri nanga bun
ini wan peti fu seygiwatra
Fu tru
a libi faya
f’ wi masra Gado

Poems from ‘Awese’ copyright © by Johanna Schouten-Elsenhout Estate, Paramaribo, 1965
                                      Copyright this English translation ‘Awese: Light in This Everlasting Dark Moon’ © by

                                              D. France Olivieira, Paramaribo, Suriname, 2010

BAT WINGS FOR BREAKING BALLS

             

              So how does it feel, he pivoted, stretching possibility on your island;               
              how old did you say you were? Twenty six?  My . goodness!
              And still a taxi driver . taking this lens capturer of sun laid 
              yoke to the airport  ̶  see my shoulder parrot posts. [

              From the back seat who understands why axles drive on blood cut
              corners, and one pothole 'n' route hijacks your grid. Or why some
              evenings midriff Meena looks at you . view find taboo . look spins
              parasol lines from henna palms.
                                              Tree hollows signal roost at some flambeau
              road junction . Please Wait . fixed wing circle breakers, safe
              flight home. [   

              Some nights you sink, Yes, let the locust swarm the days
              remaining
: close! wild coast rites, blow! ashes; service for
              
shadow limbs in pain. Boxed straight you cross  ̶  no rise back
             
wind I used to know him bare face lime.]

                                                           *

             
I know I'd feel fear foul ~ futurus interruptus ~ cooped on a bloody
             cruise ship : captain crew sea sky port frame ~ hubris sharking white
            
cap flotage; enough to turn friend fiend. I mean, people would
             reach
to leech

             or fathom swapping mates room hasps unhinged ~ fat wives belly
             pushing hard men over board. Then there's your money well of little
             word
bond lift off shore so grope hands hoist your deck cheer rocks
            
away all for the rake 'n' fun of it ~ ghastly business!

             Wish you all the luck of the world, young man. All the luck
             of the world! What am I saying?
                                                                                EXIT : are we coast
             clear?
[ Atlantis . like white rum off the breath . making you scent
            
fast turn and waiver. Wheel tight I grip 'n' tack I don't . pretend
            
it's choice : sure, almost there.]
                                                                                       – W.W.

 

                          

  

                                                                                          
                                             
                                

                            ORSON'S OASIS

                          Is that my own words surprise me evidence
                             of Recognition's ubiquity,
                          or of a 'comprehensive understanding'
                             beneath a patent stupidity
                          that knows no star of speech but 'the universe
                             in a grain of sand' in the desert
                          of a blank page which the parched crab of my hand
                             gropes across towards some oasis
                          of meaning perhaps only one more mirage
                             desperate but no less essential
                          to breath than are rainclouds to dry tongues and wells?

                         
                          This sideways-slow but crystal-clutching-fast crab
                             has stuttered often words blind to pain
                          and joy, the very seeds of all utterance,
                             seeds whose flares and flames can melt the snow 
                          shrouding the only food the delving crab needs:
                             Truth's impersonal crystal of Earth's
                          carbon transformed to a lucent loneliness
                             that would now belong to a new Earth
                         
on which collective crystal-clouds, unsnowed, rain
                           
  that charity that erases all
                        
debts of cold hearts, false words and their cruel coin.

                               (from "Readiness" by Brian Chan)

                                     

JOHANNA SCHOUTEN-ELSENHOUT (1910 – 1992)

  

      
  FREDE                                                           FEAR

  Frede a takru bedrigi                                     Fear is an ugly deception
  fu doystri ini eygi ay                                      aimed at blurring your vision
  a mindri smoko                                              as if surrounded by smoke
  pe y' e si                                                        letting you see ghosts
  yorka e spuku deyten                                     spooking around in broad daylight.
  Frede a wan konsensfonfon                            Fear is a troubled conscience
  d' e skrek' a yeye                                           that starts your soul
  mek' a lon moro tigri fes' winti             letting it run faster than the jaguar under the wind. 
  Frede a yere soso krey a dungru                     Fear is to hear only cries in the dark
  pe y' e prata bere ddon ppaya a gron      where you, lying flat on your stomach on the mat on  
  e luk' fa libi e tron                                         the floor,
  mekunu a tap' pikadu                                     are watching how life adds
  Frede a wan libisma                                       insult to injury.
  sondro kra                                                     Fear is a heartless human being
  di n' e bribi a Gado                                        who doesn't believe in God.
  Frede na futumarki                                        Fear is the footprint
  f' wan wiswasiman                                         of a coward
  d' e lib' todo sref' bron foto                     who even allows the toads to burn down the town.
  Frede a wan yorka                                         Fear is a ghost
  d' e prey bakafutu banya                                that dances the bakafutu banya 
 
te a fadon                                                      until it falls
  ini en eygi greb'olo                                         into its own grave. 

                                                                * 

     SOROMARKI                                            THE SCAR

     Dis' a wan pen                                        This is one great hurt
     a skin-ati                                               the pain
     fu den bakatifi                                       from the wisdom teeth
     a ten f' den yungu yari                            when I was young  
     di dray baka gwe                                    that has gone forever.
     Dis' na tere                               
     f' den bita yuru                                       This is the end
     fu tanapu                                               of the bitter hours
     nanga mankrakti                                     to make a manly stand  
     f' swar' den garperki                                and swallow the gall pills
     a mindri den krepiston                            while standing in the wilderness of pebbles.
     Dis' a wan dek'ati
     f' tyar' a kroysi                                        This is a special courage
     mindri den sorgu pkin                              to shoulder the cross
     Dis' na soromarki                                     while raising children.      
     di sabi diri                                              
     lib' a bakagron                                        This is the scar
     d' e seyri ini mi kabesa                            that knowledge
     sabiso                                                     left behind in the field
     tron watr
ây swanpu tide                         is still sailing in my mind.
     Fu tru                                                    
     Ondrofeni-skoro                                      This is the scar
     a basi                                                      that wisdom
                                                          &#01
60;        turned into a swamp of tears today.

                                                                   Truly, experience is
                                                                   the best schoolmaster. 

                                   

                           Poems from 'Awese' copyright © by Johanna Schouten-Elsenhout Estate, Paramaribo, 1965
                                   Copyright this English translation 'Awese: Light in This Everlasting Dark Moon' © by

                                           D. France Olivieira, Paramaribo, Suriname, 2010