NY SLIDE 7.0: STRIKING THE COLORS

 

                 Meet The Parents day was an event not too many teachers looked
                 forward to; nor could they escape or be excused from it. It required some
                
dressing for the part. At the end of the afternoon (or the evening, the
                 next day)
session, the question, "How many parents did you meet?", fell
                 from
everyone's lips. They hurried out the building thinking maybe it
                 wasn't worth
the effort, wearing that jacket and tie, or that black
                 dress.

                      Asst. Principal Bob Darling had tried once to implement an everyday dress code
                 for teachers, something within the bounds of the
college-professor look; at bare
                 minimum a jacket. It didn't catch on. It seemed
once they got tenure many
                 teachers didn't care much how they dressed.

                      Principal Wamp privately bemoaned the absence of uniting colors and a uniting
                 spirit at John Wayne Cotter H.S. Students for the most part
were more attentive
                 to fall and summer fashions (they had their 'Dress For Success'
day but only a
                 handful of seniors showed any enthusiasm for that); and her
staff looked on the 
                 profession as more akin to a job in a sprawling old stone
warehouse; a job that
                 demeaned them by requiring that they punch in a card on a
time clock. They
                 dressed in a way that provided at least some comfort, some
compensation for
                 the low salaries.

                      There were the usual mavericks in bizarre colors, jeans and sneakers; like Mrs.
                 Sciatti, responsible for school drama productions (last
year she mounted a huge
                 production of "Evita" in collaboration with
the music department, which went
                 down rather well). She favored braless ankle
dresses and beads, straight out of
                 the 1960s. And Mr. McNulty who believed his US
army fatigues would deter
                 trouble makers from starting anything on his floor;
and, of course, Mrs.
                 Haliburton.

                     The crew from Westchester – Meier, Lightbody, Brebnor and Ghansam – was
                 always nattily attired. They wore
jackets as a matter of course; it  looked
                 better leaving home for a job at a Bronx high school in a jacket and tie.

                 For the meeting with
parents the evening conference presented a problem. It
                 started at six thirty,
about four hours after the end of classes; which meant four
                 hours of doing
nothing; or finding something to do in the Bronx, since it made no
                 sense racing home to the suburbs and racing back.
                  

                 Luckily for them the father of one of the students, Jaime Bravo, owned a pizza
                 place in the Bronx. They
were welcome to hang out there, he assured them;
                 enjoy special service,
courtesy of Jaime, and special prices, courtesy of Jaime's
                 father. It became
their evening pre-conference ritual, going to the pizza place.
                 They reminded
each other about it, waited for each other at the school 
                  entrance.

                      Lightbody, the designated driver that evening, wore an elbow-padded jacket and
                 a tie designed with the Stars and Stripes.

                     "I see you're showing the flag tonight, Mr. Lightbody," Mr. Ghansam said, 
                 squeezing into the back seat.

                     "Damn right, I am. It's going to be a long night. I had six parents yesterday. Six 
                parents
.
With weather like this I don't expect many more. Yes, I'm striking the 
                colors
tonight."

                     "Hey, did any of you see Mr. Beltre yesterday? He's Jahmal Beltre's father," 
                 Brebnor said.

                     "I saw Mrs. Large…and I saw Mrs. Smalls…"

                     "This guy, they're from Jamaica, I feel really sorry for Jahmal, he's not going to 
                 pass my class, that's for sure. Anyway, there I was
trying to make it look like he 
                 might just
make it, if he got his act together. I mean, this guy is a pain in the 
                 ass; no
self-control, gives me no end of trouble. Anyway, there I was saying to 
                 his
father, Weell, he has a slim chance if he hands in the remaining assign- 
                 ments
. And Mr. Beltre's there, you know,
nodding and shaking his head like he 
                 understood what I was saying. Suddenly the
guy stands up and…smack…he 
                 lays a
right hand across Jahmal's face…he's got these big hands, like sledge 
                 hammer
swinging hands, and he goes…smackright across the face, sends 
                 Jahmal sprawling off his chair…"

                       "You're kidding me!" Lightbody turned in his seat.

                       "…and then he turns to me and says, See here, teacher, now you can't do that, 
                  cause
you not allowed to, but I can do that. Don't worry, I'm going to straighten 
                  this thing out."

                        "Probably went home and beat the manure out of the kid," Brebnor said.

                  "I sat there… I mean, I was stunned. I didn't know what to say."

                  "Well, fresh off the boat they keep coming, still
searching for the American 
                   dream…and bringing the old barbarous ways of
dealing with problems," 
                   Lightbody said.

                        "These days they're coming off planes, Mr. Lightbody, not boats anymore," Mr. 
                   Ghansam gave him a challenging grin.

                        "Well, now, thank you very much, Mr. Ghansam, for…shall we say… updating 
                   my metaphor. I presume in your day you came off the
boat."

                        "Mr. Lightbody, I'll have you know I arrived in this country by aircraft."

                             (from "Ah Mikhail, O Fidel", a novel by N.D.Williams, 2001)

 

 

 

HAND HARD CONTRACTS CHOICE THAT YIELDS

 

                                                                                            "…all the muttering kinship:
                                                                         Things with things, persons with objects,
                                                                         Ideas with people or ideas." 
                                                                                         - John Ashbery, "Vaucanson"

                                 I

                        A country boy's secret, a reason late to school:
                      his hand was squeezing smooth udders.
                                                                                    Early
                      rising he milked his father's cows, a little
                      business on the side which was fine once city
                      boys didn't find out; though in the lining of that chore
                      silver grains of shame heart beat fast grinding.

                           
                      After our Bunsen burn this parting sign  ̶  his secret 
                      safe, our gang of two  ̶  right hand raised, fingers squeezing
                      air fat  ̶  our way of forming futures unnamable, premises
                      of extraction we could count on to yield.              

                      Who's to say such gestures, muscling youth dream
                      fibres, don't shape the man?
                                                                   True, much depends
                      on where heads low at night, the man up poke rise
                      of you; the old money belt way hovering.

                            II

                           
                      Your nation at war or stand still, dehydrating under tents
                      and you not sure what to do with your hands?
                      which normally would signal to the pocket system
                      find paths to guns, or farm fruit picking;
                      dentistry, or palming off soccer balls. So country

                           
                      boy now sits in brooding khaki view of District
                      Security  ̶  a standpipe they go to for missions: search
                      and redress. His squad men donned in black,chase
                      raiders in braids like livestock loose in Chinese rice fields.                  

                      At a family dinner spread I shook his wife's pain
                      baking hands. Her body clothes pinned moist in mesh
                      veil packs full his pipe call frequency.  
                                                                        Those mornings squeezing
                      udders?  the school yard secret sign?  silent, active

                      like heart conditioning, sugar; like dust folk fables 
                      from radio days.

                            III

                           At times you lose interest in what's on the table.
                      You start wondering what holds in store for all assuming
                      all lies pieced together in a cloud somewhere. Oceans swell,
                      forests strip, things get done with them. Micro tears, worming
                      our chip based loves, secrete like enzymes  ̶  it's conceivable  ̶  
                    
 ideas we pursue fold rear; names we follow; that faith we grip
                      and breach and fuse as submissions serve or stall.  

                           Still waiting for updates, mounds golden
                      ripe per pound?  from nature improved
                      pods?  go ahead  ̶  click Enter  ̶  hope sun
                      seeds stream. Not before, not after, dare you
                      wash your hands who still can't help yourself. 
                                                                                        That
                      or, simple as this sounds, consider the cow.

                                                                                           -W.W.

 

 

                    

                    

 

                                 
  

                           TO THE CRYSTAL BALL IN MY HAND

         
                      May your body's cool purity temper my
                          body's fires as they
                      warm your wisdom, and your sphere-clear perfection
                          pierce the core of this
                      dull diamond and so seed it to a shining
                         of its inner sun,
                      so that, when I zigzag through the world tilting
                         between night and dawn
                      and noon, this presence of my bones loose among
                          my fellow future
                      cadavers shall be in lightening service
                         to dense shadows and
                      dark masks that signal a running from the night's
                         certain returning
                      fall – which you survive simply by swallowing
                        its dark into your
                      belly's limitless memory of dawn's light.

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

 

 

 

NY SLIDE 6.9: THE DEATHING OF AN AMERICAN GIRL

 

 

                 The teams came back from the lunch break at different times, so for awhile
                 there was little team work; just one or two teamsters slogging
through the
                 paper
pile, disgruntled, looking at their watches, wondering where everyone
                 else was; and thinking of calling it quits for the day.

                      Bilicki made no objection whenever his team suggested they call it quits. One
                 afternoon Amanda explained she had a dental appointment; and
Bilicki himself
                 muttered he had business to take care of. The following morning the team
                 assembled but
Mimi Agulnick was late. This incensed him. Mimi didn't have a
                 sense of fair
play.

                      And Mimi came up with the most banal explanations for lateness. Always some
                 pathetic little story. This time it was her boyfriend. In
her mid-thirties, frizzy-
                 haired, always touching the mole near her left
nostril, Mimi talked with a
                 student's agitation about her boyfriend. She had no
scruples baring intimate
                 details. This was part of the free spirit image she liked to impress everyone
                 with: the teacher
who, when she wasn't teaching, could be naughty, could be
                 downright dissolute.

                 Yesterday morning she gave an account of her trip last summer to Jamaica
                 with the boyfriend. They'd stayed at a place called Ecstasy, where all expenses
                 were pre-paid, and everything
imaginable was catered for. All told to a gasping 
                 Amanda, their voices lowered,
the giggles muffled, while Mimi stood bent over,
                 her elbows on the desk, her
bosoms – my God given boobs! – bulging for world
                 acknowledgment; and her fat rump, unruly flesh stuffed and barely
contained in
                 blue jeans, stuck out in free spirited readiness.

                      Ignore, Ignore! Bilicki clenched and grit, irritation bursting his seams.

                      She walked in an hour late this morning, a little puffed face. She gasped and
                 seemed
frantic about something and apologized. To Amanda's What happened?
                 she launched into an explanation involving the boyfriend. He'd lost
his job,
                 poor thing; he was depressed; he was unhappy with their situation, with
having
                 to depend on her; she'd tried to cheer him up, and had left the house late;
and
                 then the traffic and everything.

                 Bilicki didn't know what to make of these revelations, and what looked like 
                 another display of shameless histrionics. In any event, despite the heaving of
                 her overburdened breasts, Mimi was ready and eager to pitch into
the piles
                 now that she'd arrived, so he said nothing.

                     At some point the chatter broke loose.

                     "This essay is doomed from the start…doomed." "Who's the kid?" "Sandy
               
Quinones …know him?" "Oh, Sandy…he's in my class. Fancies himself a lady-
                killer. He does little work and he thinks
he's God's gift to the girls." "And the
                girls go flip for him."
"Well, one thing's for sure, he can't write." "I've been telling
               
him that all semester. The other day I said to him, Sandy, you're going to need
                more than good
looks if you hope to graduate on time. He tells me, Don't worry
                about it. I've got the juice. I've got the juice
!"
"Well, this composition has no 
                
juice whatsoever… "The Deathing of an American Girl". I think he meant "The
                Dating of an
American Girl"! With some of these scripts, you read the first
                paragraph,
the last paragraph, you get a pretty good idea whether it passes." 

                     At this point Bilicki, his voice controlled but quivering with displeasure,
                intervened: "I'm sure Sandy's
mother would want us to give her son a fair
                hearing."

                    "You mean, give her son a fair reading," Mimi said.

                "Well, my dear tax-paying team captain," Amanda scraped back her chair,
                 turning a few
heads in the room, "You're welcome to read this script…in all
                 holistic
fairness… there you go." She grabbed her bag. "Now if you'll excuse
                 
me, I have to go to the bathroom."

                     "Oh, let me come with you," Mimi said. "I left my bathroom key at home."

                      Bilicki sighed; he knelt at the pew of his soul; he prayed (for Mimi Agulnick) that
                 a sudden cancerous affliction would require the immediate
removal of one of
                 her boobs; he prayed (for Amanda) that horrible-looking
varicose veins would
                 show up and spread one morning as she lotioned her legs.

                      Mrs. Balancharia, whose accent at that moment sounded wonderfully soothing,
                 exclaimed, "We're almost done anyway, aren't we,
Brendan?"

                      It certainly looked that way. Just the Sandy Quinones script, then the totals,
                 and they were done. Bilicki picked up the Quinones'
script and he read it.

 

                             
                                           The Deathing Of An American Girl

                The deathing of a girl come's from meathing a girl. Eather in school or on the
                road and you and her begin to talk. You maybey would say, yo! Can I bring your
                bag for you if she have a bag. Maybey she would say eather Yes or no. If she say
                yes, you would take the bag from her and you would bring it for her. then you
                would ask her, What is you name and she would tell you her name if she want to
                but! I not shure she would want to. Then you would say my name is Sandy or
                anything you want to say. Then you would ask her if you can foller her to her
                hous. If she want to she would say to you yes, but if not she would say no. You
                may ask her for her phone number. Maybe she would give it to you and the two
                of you would exchange numbers. You may invite her to come to your hous and if
                she want to come she would say yes. About two week's later you would ask her
                if she would like to go out on a death with you. If she is in love with you, she
                going to say yes. But if she don't love you she going to say no. but if she say yes!
                you and her will plan a day or night and a place to go. When you go there the
                two of you would share some ideas and eat some food if you want to. Then you
                can do anything you want with her. Anyhow you want with her. That is what a
                death is.

                                                                                    THE END

                      

 


NY SLIDE 6.8: TEAM LEADER, BRENDAN BILICKI

 

 

                 For the marking and grading of the State Regents exam Pete Plimpler organized
                 his department into teams, selected, he said, smiling ruefully, on the basis of
                 their congruent personalities. He appointed captains to solve problems and
                 disputes that
might arise.

                      Bilicki was the captain of his team. He winced when he read the names of his 
                 team
members: Agulnick, Ballancharia, Blitch. What congruence was Pete
                 talking about. He'd simply arranged the
department alphabetically, the lazy
                 fop! Mrs.Ballancharia, always careful not
to offend, laughed at everything that
                 was said. Amanda and Mimi Agulnick, the
drama teacher, acted as if they hadn't
                 seen each other in ages.

                     Sporting a bowtie, and a brand new shirt he'd evidently cracked open for the
                 marking session first day, Pete Plimpler made a short
speech about responsi-
                 bilities; he reminded everyone the room was off limits to
inquiring students;
                 papers should remain in the room at all times, which meant
that Bilicki couldn't
                 disappear
somewhere quiet once the chatter started; and lunch break should
                 not exceed the
stipulated one hour.

                     Most everyone was dressed in blue jeans, or something suitably informal;
                 except Bilicki, who showed up dressed for just another day
at the office, and
                 was told to relax when he complained about the noise level
affecting his
                 concentration.

                 Captains had not much power; they assigned tasks and coordinated activities.
                 Bilicki knew he had to be careful. Each teacher was in
a sense a captain of his
                 or her classroom once the doors closed; they didn't
take it kindly when spoken
                 to about grading; they became edgy and
defensive if a colleague questioned
                 their judgment, no matter how subtle the
questioning.

                      They were expected to follow the criteria for measurement set out by the
                 State, but as the hours slipped by, and the pile of brown
envelopes still looked
                 formidable, fatigue set in, the eye glazed over from
repeating the same task;
                 and grading sometimes became a snap response.

                      Situations would arise and swell and consume everyone with cross-talk:

                      "Has anyone heard of Deliverance?" "Heard of what?" "This kid is using as his
                 reference a novel titled Deliverance."
"Wait, I think I've heard of… isn't that by
                 that writer, what's her
name?" "Judith Cranston." "Riiight… doesn't she write
                 those torrid romance novels?"
"That she does." "Okay, but is that literature?"
                 "Well, the question did say, Choose two
works from the literature you have
                 read
."
"Right, not necessarily the literature we have taught." "Right, so I
                 suppose we should
accept this book." "Yes, but does anyone know this book,
                 Deliverance?"  "Deliverance was written by James
Dickey." "Judith Cranston
                 writes these trashy novels about sex and
betrayal and handsome cruel men…"
                 "What am I to do with this
essay?" "Wasn't there a movie with that name?" "Oh,
                 that's
a different Deliverance." "About four guys in canoes and the Cajun
                 people?" "I think I
saw that movie." "No, that was something completely
                 different."

                 "What am I to do with this essay?" "Amanda…Amanda… I just told you who
                 the writer was. You're not listening to me."
"Just mark it. I mean, does it sound
                 credible? Does it try to
answer the question?" "Yes, but suppose the kid made
                 it all up." 
"Oh, I don't know, ask Pete." "Who's the kid?"  "…Jennifer Eliely?" 
                 "Oh, I had her once. She's a good
kid." "She's not going to be here next
                 semester." "What do
you mean?" "I hear she's moving out of state… she's trans-
                 ferring." 
"Why would she do that?"  "Apparently, she saw something dangerous."
                 "Saw something dangerous?"  "That's what I heard. She. Saw. Something
                 dangerous.
In her building. So her parents are shipping her out." "What a
                 shame.
She's such a  sweet kid." "I still don't understand. What could she
                
possibly see that was  dangerous?" "Brendan, could you help me with this? I
                 don't know what to do with this."

                 "I just wish you'd all shut up. And get on with marking," Brendan's brow was
                 creased and grim. He'd been stuck on one
paragraph, reading it over and over,
                 unable to block out completely the talk
that seemed always too loud. "We've
                 still got piles and piles of
envelopes, and the tallies to do, and then…"

                     "Whoa, Brendan, Brendan, you really must learn to relax, "Amanda said.

                     "Yes, you need a time out, lighten up," John Benkovitz shouted from across the
                room."

                     "What you really need is to see your barber… no kidding… this time of year, a
                 haircut would do wonders for your state of
mind."

                              (from "Ah Mikhail, O Fidel!" a novel by N.D.Williams 2001)




POEMS FOR OLD MEN CHECK HOP SKIP LIGHT ON

 

                    Looked at papi (90+ the other day) and wondered:
                    what sun beams – spirit, gene or grund  – 
                    through tree leaves track my trail.
                    His hair has thinned but he enjoys the prayer mode
                    console of the barber chair, the valet snip snip of scissors.

                    His brother, back in the islands, had the holy grey beard
                    of the village healer; full facial hair to signify wisdom,
                    scruffy importance, or mystic herb manhood; he'd rub
                    his finger rings for luck, trace routes for repatriation.

                    His brother, tooled for harvest like no one else, strip bladed
                    cane limbs found off citrus lanes; then as his fires waned
                    turned Baptist preacher, still believing he could make
                    hips sway mouths moan
while the children
                    fidgeted on hard benches.

                       More taciturn, papi’s a shortwave man; falls asleep to World
                    News Today
.  Among his found new habits: a moving bowel
                    scan; hot cold good morning! shower; baseball homers, collard
                    lasagna; head bobbing to Armstrong’s “Dream A Little Dream”;
                    old math skills once thought worth less; & his blood truce
                    with our wriggling ancestors.

                       He had two wives; the first one left, the second died;
                    he's walked brick towered over, shoved subway platform lines.
                    When time check lights, he figures, despite filed office white
                    teeth, wide east west numbered streets of strangers
                    not all kind, he’s had a good life here.

                       For heaven's sake, don’t pause and brood, 
                       or perch like Rodin's man props chin,
                       on toilet seats, he warns, the expert now.  

                                                                                                  -W.W.

 

 

                              

                    

 

 

 

                                            CLOSE-UP & FADE:

                                     This old man is a mist's or cloud's blur
                                  that, focusing itself, dissolves
                                       without raining or snowing.
                                       In the depth of his dark field,
                                  he frames you mirroring his fate
                                  of appearing and having to fade,
                                  and he climbs back to his vision's sleep
                                     disturbed to no issue but this
                                        shadow of your youth passing

                                          close, and too late.

                                    (from “Within The Wind" © Brian Chan)

 

 

Review Article: GUIANA 1823: BLOOD SEX AND ANGST

 

 

1823 might one day come to be regarded as a hinge year in Guyana’s historical
development, outsignifying other years and events, like 1834 in Essequibo,or
1763 in Berbice. And who knows, some good day, when our nation is brimming
with prosperity, and can boast a film studio and film-making talent, someone
might secure the financing to make a movie or documentary based on events of
that year.

1823 saw the uprising of slaves on the Demerara plantations in what has been
described as “one of the most massive slave rebellions in the history of the
Western Hemisphere”.

It has inspired several books, the most acclaimed so far“Crowns of Glory, Tears
of Blood” ( 1997) by the Brazilian professor (History/Yale) Emilia Viotti da
Costa.
   This book is recognized as a serious work of reconstruction, well
researched,   careful with facts and the nuances of relations among the many                    power players.

But long before the publication of that scholarly work there was Ratoon (1962), a novel by Christopher Nicole.

Based on events of the same year, Ratoon takes fearless liberties with the
historical record. In an author’s note Nicole states that incidents described inis
book were “based on eyewitness accounts of what actually took place”; but the
main characters were invented.

The novelist like the professor attempts a multi-angled chronicle of events,
though for his staging Nicole inflates the number of slaves involved in the
uprising from the estimated 12,000 to a potential cast of 20,000. Nicole’s                          fiction covers those history-altering days in prose that feels “modern”, if at
times unmoved by (to borrow language from author George Lamming) the
 profound implications of that human tragedy.

The focus of the novel is the Elisabeth Plantation House. It stands in an almost
exotic setting, “in the centre of a carefully created paradise of soft green
lawns, deep flower beds brilliant with multi-coloured zinnias, and borders of
heavenly scented jasmine and spreading oleander bushes.” 
Beyond it, the                        slave compound, a vegetable patch; then the chimney of the boiling house, the
canefields and irrigation ditches.

Readers get a sense of what life was like for slaves and slaveholders in East
Demerara villages, stripped now (though not completely) of their colonised
character – Plantation Nabacalis, Plantation Le Ressouvenir, Le Reduit,
Vryheid’s Lust, Mahaica, Felicity, Success – and reconfigured today as numbered
“Regions”, as if as places they never existed.

Nicole allows access to the August meeting of the Demerara Racing Club in                         Kitty, “a teeming, brilliantly coloured ant-heap, winning and losing, drinking                     and  sweating, betting and gossiping”.

At Camp House, the Governor’s Residence  “overlooking the silt-discoloured     estuary of the Demerara River” , we listen  as Governor Murray and Captain     Bonning argue over what to do about rumours of slave insurrection, and how to  deal with the rebels. We’re curious about a young English missionary John  Smith who passes by “astride an emaciated mule, proceeding  slowly up the coast.”

Nicole seems very much attuned to the speech rhythms of the ruling white
oligarchy (“Ah, Bonning,” Murray called. “Resting your men. Good. And this is
Packwood?  Come inside with me, my man.”)
He is on less certain ground with
his “invented” creole-slave talk (“She done sleeping. And it time. She going
feel them blows for she life.”
) which often sounds invented, and might dismay
regional linguists; though no one can be sure what creole voices sounded like in
1823.

                                                    ____    

The central characters in Ratoon were born in Guiana: Joan Dart, daughter
of a plantation owner Peter Dart, but not “representative” of Demerara white
women of the time.  Unmarried (at twenty six) she had spent all her life in
Guiana and had come to view Plantation Elisabeth as “home”. Then, Jackey
Reed, “a young negro, tall and slim”, drawn to the crusading ideas and energy
of the white missionary John Smith. He adopts Christianity and joins the
movement plotting the slave revolt.

Their contrasting plantation-creole identities converge one fateful day. Jackey
Reed makes a break for freedom but is pursued, captured and placed in the
stocks by Peter Dart who, multiple heartbeats later, collapses and dies. In that
instant his daughter must assume owner responsibilities.

Joan Dart had kept her father’s books; she’d helped him run the plantation                        after his wife died. But at the moment when she must give the order for the                     branding   and flogging of a runaway, she hesitates.

It is a mind-altering moment. With responsibility suddenly thrust upon her, Joan
Dart begins to weigh issues of ownership, belonging (“Sugar and heat and mud
were in her blood”
), the moral welfare of slaves; and the plantation as “home”.
Later with the leadership role thrust upon him, Jackey Reed, too, is forced to
grapple with complex emotions: duty to his race, the unchristian values of his
“Congo” brothers who indulge “their Damballas and their cane rum”; and an
eruptive desire for Joan Dart whose white body “behind the thin muslin” stood
six feet away from him in the stocks.

After the first 100 pages – of Dart family dispute, slave restlessness, gathering
clouds and screaming kiskadees – the weighty issues blur into background, and
the August 17, 1823 revolt gets under way.

With firm command of his material Nicole switches reader attention back and
forth between the clashing forces, tracking the shift in fortunes with movie-
making craft. There are set pieces done in graphic detail of violence and battle
and rape. The slaves win an encounter, but celebrate prematurely, settling
scores and drinking freed rum. Slave-General Jackey Reed, with the numbers
favouring a one-sided overrun of the plantation, finds his hopes for victory with
few casualties quickly dashed. He argues with his co-conspirators (Gladstone,
Obadiah, Quamina, Cato of Felicity, Paris of Good Hope) over tactics; he is
alarmed at how quickly the slave will to fight evaporates after sudden reversals.            

 At the height of the insurrection, Nicole shifts the focus away from confusion                     and bloodletting. Taking a page from old Hollywood movies – where amidst                         exploding  ordnance or circling Indians the hero takes time out to cradle the                     head of a dying  man, and share dying seconds of reflection – he asks readers to                 follow his  conflicted couple as they slip away to share moments in the                             canefields. At issue, whether they should commit fornication.

Joan Dart, fighting back a “spasm of shudders” in her thighs, reminds Jackey
Reed that he is six years younger; in her eyes still a boy, and for all intents and
purposes still a slave. He reveals the lust he harbours for her, and the Christian
faith that has kept these feelings prudently locked away. In any case, he                            reminds  her, he’s in control now of the plantation.

They argue and agonize for several pages, sorting through fears and desire,                         until Nicole’s pen breezily steps in to decide the issue: “Her arms moved of                       their own  volition wrapping themselves round his neck in a paroxysm of                         delicious agony”.

                                                   _______ ≈ ↨ ≈ ________      

If there’s a governing principle in Nicole’s “explosive bestseller” novel, it
frames issues of intercultural curiosity and biophysical play, evolving identity
and individual freedom (albeit at an unformed, ratoon stage) that engage the
two natives of Plantation Guiana; and how easily an eruptive interest in “the
other” can be swept up in the tide of “events”. This will not come as news to
tribe-wary Guyanese who observe each other’s ways and means with averted
post-plantation eyes and ship-sinking feelings.

First published in 1962, round about the time a self-ruling Guyana was                              teetering toward those overseas-engineered “racial disturbances”, Ratoon is                    usually mentioned (if at all, and in a lowered volume of appreciation) – as                        among the best-known published works of Guyanese fiction. For some readers                    its consumerist treatment of grave historical matters might seem                                       inappropriate. Christopher Nicole, its 1930 Guiana-born white author, no                          doubt had his reasons for inventing inserting characters in the maelstrom
of that pivotal year.   

To bring lyrical closure to the predictable course of events Nicole serves up a
coda to remind readers his novel is not just about a doomed uprising and an
impossible romance.

Captured and held hostage for awhile, weary and disheveled from lovemaking                   in the cane fields, Joan Dart is rescued by a Colonel Leahy (“How long have you
been like this…? Anderson get a carriage… Damnation. Have a litter made,                        then, and I want four of your strongest men.”
) But in the very next minute, on                  receipt of “an express from Mahaica Post” delivered by a horse militiaman, the                  Colonel places her under arrest for “consorting with the enemy”.

Readers interested in how the colonial justice system dealt with white
women and their unconventional choices must get through the last 30 pages
to see how that turns out, if Joan Dart wins forgiveness and goes home again.

Those pages might also set in motion the kind of discourse on ‘broader issues’
that regional academics find pleasure in – “the whole question of the role and
responsibility of native white proprietorship in modern C/bean society.                            Though not a few would argue that Ratoon‘s sensational account, its blood
flow, authored liberties and subsidiary lust, is not a useful place to start this                       inquiry.

Book Reviewed: Ratoon: Christopher Nicole: Bantam Books/St Martin’s Press:
New York, 1962, 246 pages. A version of this article was posted elsewhere in
2008.

 

 

 

 

NY SLIDE 6.7: ALL YOU DESIRE, MR. BREBNOR

 

 Being friendly with students had its rewards and boundaries.
“Look all you want, don’t touch,” McCraggen in Phys. Ed would say. “And if you
touch, don’t  roam.” Which was alright for him to say, teaching in the gym. He’d
kiss the Hispanic girls on both cheeks, the Spanish way; he’d hug them and
squeeze  them, and heaven knows what else he did – and got away with.

Last year in the Regents test room this girl Theresa Santos – she was a senior
now, getting ready for college life – caught him, Mr. Brebnor, looking. She
had this short skirt on, you could see right up the canyon of her thighs. She
caught him sneaking a peek.

His eyes sort of swept past her body like the beam of a search light, and there,
like a breach in the fence of a POW camp – her open thighs. She looked up at
him, smiled and crossed her legs. The search light moved on. It circled and
passed her way again, and – holy camoli! – the breach was there again.

Now she was writing furiously, head bowed with a strange inspired concen-
tration, as if the answers to all the questions on the page had started
flooding her brain; she had no time for ladylike proprieties; she had to
put pen to paper fast.

The heads of the other students were bowed over their papers. Brebnor peeked.
His eyes popped alert in his skull and became a hairy-legged insect. It crawled
up the girl’s legs, over her knees, it started down those thighs. Not once did
Theresa Santos flinch; she chewed her gum a little harder, but not one muscle
of awareness twitched on her thighs.

At some point she must have felt a frisson of impropriety,
prompting her to cross her legs; he looked away with one fast beat of his hot
heart.

That was last year in January. Here, now, so far, nothing quite as world-
upturning  happened. Just dark thoughts – as yet to slide into a zone of
depression, but all the same dark, angry dark thoughts. Like the tardiness of
the teacher who should have relieved him long minutes ago!

He heard her shoes clack clacking up the hallway. He started gathering his
things for an abrupt hand over and wordless exit. He didn’t look up to see who
it was; he knew who it was, from the footsteps in all haste, apologizing for
being late. He knew the old hag face, the fading, single picket fence of the
body, the short skirts she wore, too short, despite the firm, youngish legs. No
man would want to hold her in his arms, he thought; but the legs merited,
maybe, a quick second look.

                           (from “Ah Mikhail, O Fidel””, a novel by N.D.Williams, 2001)

 

 

 

 

ISLAND GET AWAY COOL MOVES ON

 

                       The flight plane left no vapor trail, her sister
                     waived, sighting street costumes in sky gray blue; 
                     not taking on the baggage handlers who’d catch her 
                     breezy skirt in the shutter of an eye any Republic day; 
                     then likki ting, likki ting, till the next out bounders gather.

                          Everybody stands, pulling down carry ons; bend, 
                     twist, cabin door waiting 1st check. Sitting, sensible
                     you might seem disabled, unfit to race; breath 
                     holding in place. How to move – borne bred
                     braised from bati mamzelle, douens on lime? 
                     done with hot oil pan, kilkitay off line?

                          Your bags on the carousel need identity marks, 
                     otherwise you could spend all day watching 
                     your belongings go round and back. At Arrivals, not
                     kindred eyes in hoodies, muttering, seem to dress you 
                     up and down – you’re never Whom they’re expecting.

                     Wait, is that you?  knit hat red, cheeks peckish
                     smooth touch cold, all set to pinch?  from blood thin
                     lips, How are ya?  puffs back at you. O, the permanence
                     new in the hug hello, new fat embedding.

                     Alone in the basement where folks let you bide, 
                     bundle loose near the storm door; kindness will gust 
                     then settle for passing wind. Turn, toss the cicadas,
                     Aedes of Aegypt perforating sleep; sink
                     marks on dreams you fleshed. Log in to night
                     engine noise, snow silent coating.

                                                                       You’ll wake to revelations –
                      old poet hands love stroking start up thighs; lift that
                           veil, heart that steel. When you’re clear to launch, step
                           over Ave Marias passed out in the lobby, mementos
                           not saved. Cross the street – see at the corner?  a store
                      front of Eve white roses, like island immortelles 
                      but with price tag?  Take the bus there to a far state.

                      They’ll see you coming miles away, like twilight      
                      hills on fire; steady – Set your mode? – scratch burn

                           through their frost – curve up ahead – Crow
                           scare power signs, bald eagles gripping the wires 
                           and – there, there, see? – you’re in – swing
                           or miss, your stem’s in play; breathe blue
                              particles of air,  
                      pitch your world, work at the who you are.

                                                                                             – W.W.      

 

                     

                  

                                  
                        FATES 
    
                       
We are of our times as peas are of the pod
                       
which they must quit, green and sweet to be devoured
                        by Time, or dry and eager to be sprouted
                       
in the hearts of infants yet to be conceived.
                   
                               (from “Within the Wind” ©  Brian Chan )

 

 

NY SLIDE 6.6: BLUES FOR MR. BREBNOR

 

  
                 Brebnor was standing at the window of a classroom on the third floor, a
                 proctor for the state Regents Math exam; his mind stretched out on a nail
                 bed of introspection.

                 So Bob Meier had gone on sabbatical; he hadn’t said a word about it to his
                 buddies, except that asshole Jim Lightbody, who seemed determined these
                 days to sound upbeat and cheery about everything; from the proposal to
                 close of the school, to his crumbling marriage. Asshole.

                     The man’s marriage was on the rocks, on the rocks; and there he was 
                 making stupid little jokes, telling the carpool that his daughter, a high school
                 senior, had decided to drop out. She was dropping out, from a school in
                 Westchester; a good school, with opportunities and advantages, clubs and
                 advanced courses, and nurturing sports programs. You’d think they’d have no
                 drop out problems out there; you’d think a girl, whose father was a teacher,
                
would have no reason to drop out.
And what did Lightbody, the loving
                 father, say to her? Go ahead, drop out, if that’s what you want to do.

                 He disclosed all this on a Monday. Lightbody’s cheeks and chin always had a
                 freshly shaven look on Monday. And there he was, all clean and smooth,
                 bringing the carpool up to date about his family situation, like it was
                 someone else’s family situation: “So she says to me, If you guys break up
                 don’t expect me to stay with either of you
. So I said, Fine, fine. But
                 where are you going to go
? And she says, I’ll move in with my boyfriend
                 Move in with her boyfriend!… So I said, Fine, fine, do whatever you want.        

                 Sharing this very private family…mess…that Monday morning with the carpool.
                 With Ghansam, for chrissakes! He didn’t care if Ghansam found out. The man
                      was clearly in need of professional help. One of us should have told him that,
                 instead of just going along with his jaunty…crapulous…crap.

                 January was the most difficult time of year for Brebnor. So many issues floating
                 up to the ceiling like helium balloons. Always in January. First month of the new
                 year, end of the semester. Nothing but work, piles of
paperwork; final grades,
                 all kinds of pressure. And always the air escaping
from those helium balloons
                 leaving him acid with mistrust and resentment.

                 Here he was watching over the bowed heads of ill-prepared students taking the
                 State Regents exam; grappling with questions they had
little hope of answering.

                      He was losing it – the love of teaching, the passion he’d started out with never
                 mind the low salary. He’d begun to look back, regretting
missed opportunities,
                 forks in the road not taken. He was thinking about his
teaching schedule for the
                 next semester, the school set to close at the end;
the years he had left before
                 retirement.

                     And his marriage – his wife was refusing to have sex with
him. Going on two
                 weeks now, no sex. Not tonight. No,
I’m too tired.
And all because he’d
                 forgotten their wedding
anniversary. Forgotten to take her out to dinner. First
                 time this had ever
happened, and suddenly she’s acting peculiar. You’d think
                 she’d understand
after all these years living with him, sleeping with him.

                 Of course, there was more to it than that. Things weren’t going too well
                 between them – little things, stupid petty things; snappish
arguments at dinner,
                 sullen shoulders in bed.

                 He went to the door and looked up and down the hallway. He wasn’t allowed to
                 sit. They didn’t want you sitting. It didn’t make a fucking
difference standing or
                 sitting, but the assistant principal walked in on him
the other day and made a
                 big deal about it; telling him there might be Board of
Education people in the
                 building monitoring how the exams were being proctored;
looking for small
                 things, like teachers standing, not reading the New York Times at the desk.
                 Little shitty
things. Like remembering to write on the board at 10 minute
                 intervals
how much time had elapsed.

                 He looked at his watch. He should have been relieved 5 minutes ago by
                 someone. Some teachers took their sweet time showing up for
relief
                 assignments, and the assistant principals did nothing about that! He
decided
                 not to stand at the door, scowling, evidently waiting to be relieved.
He went
                 back to the window. 

                   (from “Ah Mikhail, O Fidel!”, a novel by N.D.Williams, 2001)

 


Review Article: USEFUL RETRO SPECS: ROY HEATH

 

                 Shadows Round the Moon (1990) the last book released by Guyanese   
                 author Roy Heath is described, perhaps for marketing purposes, as his
                 “Caribbean Memoirs”. In fact, its range is limited to Guyana, and what 
                 Heath delivers in his gently reflective prose are fond recollections of 24 years
                 growing up from boy to manhood. Readers hoping for insights into how his
                 writing career began might be disappointed.

                 Heath takes his time scaffolding these memoirs (at page 70 he’s not yet 10
                 years old). “Whilst still a small child” he writes, “ I always felt that I 
                 belonged to a group larger than the family…This feeling of belonging, the
                 notion of the larger family, was very strong and, as I know now, a source of
                 confidence in case of destitution.”  

                 His great grandfather came from the island of St Martins in the 1850s. His
                 foreparents, the de Weevers, settled and struggled on the coast, not on the
                 plantations. His father died when he was 2yrs old. Raised by a proud,
                 controlling mother he experienced a sort of internal migration, residing 
                 (then changing homes) in Agricola, Bagotstown, Queenstown.

                 There were August holiday visits to relatives in Essequibo (it’s as close as
                 Heath gets to author Wilson Harris’ territory, to encounters with “men in
                 quest of diamonds… [and] in pursuit of their souls”) and forays into Berbice
                 and the sugar estates. He comes close to VSNaipaul territory during a
                 stint as Clerk at the Crosbie Court, a special court held on Wednesdays for
                 Indian immigrants and their descendants. There he heard the disputes and
                 full disclosures of testifying family members, and gained insight into issues
                 and problems (domestic and psychological) that often dwelt unarticulated as
                 community elders chose veils and dissembling over transparency.

                 You could develop a profile of Heath as: a man of mixed-race origins, bred
                 and raised in Demerara, who somehow remained unaffected by colonial or
                 plantation depredations. In fact, so circumscribed was his living environment
                 readers will barely notice the overarching management role of the imperial
                 power in these memoirs.

                 There’s reference to the pervasive American presence at the Atkinson
                 (Timehri) airbase during World War II, and the social aftermath when the
                 war ended. The riots at Enmore were happening round about the time
                 Heath was getting ready to depart. He recalls “meetings of the People’s
                 Progressive Party under the lamplight at street corners”; though what stands
                 out in his memory at that time was “a reduction of daily funeral
                 processions”, which Heath attributes to a sustained DDT campaign to cleanse
                 the colony of malaria.

                 Heath’s fiction conveys none of that anguish of being transplanted and
                 culturally challenged. His feelings of “belonging”, he says, extended no
                 further back than his maternal grandparents. The major life hazards were
                 more indigenous and persistent – disease, poverty and destitution. As Heath
                 looks back, the reader discerns the importance of Georgetown and its
                 ordered environs in shaping his sensibility. It was in the city that an
                 apprehension of self “as separate from his family” would later develop.

 

 Img013 (Medium) (Large)

                                                                       [Georgetown Seawall, Guiana 1962]    

                 Shadows revisits his growth to young manhood and the influence of 
                 relatives and friends in those early years. Pivotal to his growth were a
                 multi-talented uncle, a Georgetown school friend; several self-made men
                 who took pride in what they knew; plus the streets he walked, the
                 neighborhoods he lived in and the ethnic-varied behaviours he observed
                 outside the city.
                
                 An intriguing revelation is his young man’s transgressive interest in city 
                 brothels and the forbidden pleasures of Tiger Bay. There is, too, a lingering
                 description of an affair – one of those “landmarks in my awareness” – with
                 the unhappy wife of a Forest Ranger too often away on duty in the bush.
                 These were probably the earliest indications of Heath’s restless, indepen-
                 dent will in a time of fluid (if puritanical) proprieties.

                 The book ends with his departure for England. His reasons for leaving are
                 familiar ones: intense frustration, the futureless environment of his civil
                 service job, “the stifling rule of parochial norms”. When he gets to England
                 unknown potentials would emerge transforming his colonial origins into what
                 he later became: a multi-faceted individual who carried inside him not just
                 “dreams”, but embryonic talents that must have been quietly evolving.

                 He recalls the friendly advice of a Clerk at the Crosbie Courts (a Mr. U)
                 who said to him one day “Once we find a solution to our material wants
                 we will have penetrated the forest only to be faced with the desert”.  
                 There’s a modesty (at least that resistant colonial strain of modesty) and an
                 adjustable serenity about the Roy Heath narrative. For all his achievements
                 (novelist,teacher, poet, fluent in
 French and German, barrister-at-law) 
                 he may have decided to pitch his tent closer to the forest (with fewer
                 risks); choosing difficult but reachable goals over trailblazing aspirations;
                 and settling as a writer for an elegantly mannered prose more likely to
                 engage ordinary readers than attract the vocabulary of scholarship.

                 But in his pursuit of migrant success how, you might still wonder, did the
                 possibilty of a writer’s vocation emerge? How did a man from the colonies
                 fire up those engines, sustain the focus to produce eight respectfully 
                 received works of fiction?

  Img014 (Small) (Medium) (Large)                                                        [Leguan Stelling, Guiana 1962]
 

                 His first novel was published in 1974, almost 20 years after he arrived in
                 England. This discovery of creative purpose is barely touched on in his
                 memoirs, and there’s little evidence of its genesis in Guyana. In the 1930s,
                 he says, English was the subject that attracted all the unqualified teachers. 

                 Books were not part of his gregarious youth; school rituals he found boring;
                 and though he lived on the fringe of that tradition of public story telling
                 among the creoles, he would make a self-conscious effort later – in his 20s
                 “amidst a growing torment about my place [in the world]” – to acquire “an
                 adequate fund of words” with which to set off for fresh start possibilities in
                 England. 

                 His novels, he points out, were inspired by the exceptional circumstances of
                 his personal life. His fiction characters are grounded in observations of his
                 colonial neighbourhoods and shaped by the reading habits he acquired in
                 England. Heath worked within himself, it seems, maintaining a low visibility 
                 among other migrant (Caribbean) writers, as if writing was not a profession
                 to which he naturally “belonged”.

                 Shadows Round The Moon offers spare glimpses of Guyana’s social history
                 back in the days. There are references to authoritarian fathers (“those
                 embodiments of terror”); the 1930s “public morality” that allowed the
                 disciplining of children by concerned neighbors; the hardships and indignities
                 of colonial existence within which Guianese struggled day by day to eke out
                 memoir-worthy lives.

                 In that simpler time when generalizations were admissible, Heath notes, in
                 reference to East Indians, “the powerful undertow behind their passive
                 conduct and outward display of prayer flags”. And the village of Agricola, he
                 says, was curiously divided: nearer the Public Road a class of strivers – school 
                 teachers, village council employees, policemen, dressmakers – but deep in 
                 the backland areas, smaller houses and subsistent plots, and “the sound of 
                 drums with a forbidden beat”, heard at night and feared by the children. 
 

  

              Img015 (Large)
                                                   [Parika Wharf, Guiana1962]

                                                   
                 Georgetown then was a society of blossoming prejudice and hidden taboos;
                 race jostling with race but finding civil accommodation; where a mother
                 from a family “with background” would guard her daughter against 
                 undesirables (“I don’t allow her to mix.”) But harsh material deprivation 
                 brought on by a 30% unemployment among working people) “threw up 
                 characteristic relationships of dependency”, which then nurtured the
                 often noted (and easily exploited) Guyanese generosity of spirit.

                 Shadows Round the Moon brings pleasing closure to the unspectacular yet 
                 very productive writing career of author Roy Heath. As a model of personal
                 development his coming-of-age-and-leaving-home narrative might inspire
                 free searching individuals whose lives creep by on dismal days fighting off
                 the omens of VSNaipaul"s "futility".

                 As the Guyanese nation unwittingly rolls back its future to the plantation
                 years when a one-eyed, intransigent directorate commissioned obedience,
                 punished difference, while a sulking carelessness bided time, readers might
                 want to look again at Heath’s book of memories: his accounts of colonial
                 frictions and behaviours still active in our nation’s organism: the old fears
                 (destitution, dead ends), the old ambivalence about "belonging"; and (when
                 the spirit senses prison or wilderness in the air) the familiar recourse to
                 flight and fresh purpose elsewhere.

                 Book Reviewed: Shadows Round The Moon: Roy Heath: Flamingo: London,
                1990, 254 pages. (A version of this article appeared elsewhere in 2008)