Great Bay, St. Martin (April 1, 2014) — St. Martin author Lasana M. Sekou was the keynote speaker at the first conference of the Virgin Islands Writers Association (VIWA) held in St. Croix on Monday, March 31, 2014, said VIWA principal Valerie Combie.
“One major concern of our writers is to get their work published. The committee thought that Mr. Sekou could enlighten us on the process by describing some of the challenges a writer may encounter, especially a writer in the Caribbean,” said Combie, who is an associate professor of English at the University of the Virgin Islands (UVI).
During his presentation Sekou pointed out challenges writers may face during the writing process and in preparing their manuscript for an agent or publisher to consider or review for publication. He also gave tips on tackling these challenges.
Sekou was also asked to “tell us about the possibility of having our work published by House of Nehesi Publishers,” said Combie. Sekou is the projects director at House of Nehesi Publishers (HNP).
Valerie Combie,
UVI associate professor,
organizer of the Virgin Islands
Writers Association Conference
Mostly VI writers from St. Croix attended the one-day conference where about 10 writers read from their book or manuscript. One high school drama group performed three monologues. The conference started at 8 AM and concluded at 3 PM. UVI dean Dr. Simon Jones-Hendrikson, folklorist Wayne “Bully” Peterson, Annette Michael, Dr. Frank Mills, doctoral student Brianna J. Grantham, Dr. David Gould, and high school student Victoria Smith, were among the readers.
Sekou’s 50-minute presentation included a question-and-answer period and a reading from the French Quarter cockfight story is his book Brotherhood of The Spurs. He also promoted the upcoming 12th annual St. Martin Book Fair among conference participants.
The theme of the writers conference was “The Faces of V.I. Writers” – organized in collaboration with the Virgin Islands Writing Project and UVI.
Great Bay, St. Martin (February 18, 2014)—The winner of the Casa de las Américas Literary Award for Caribbean Literature (2014) is Fear of a Black Nation – Race, Sex, and Security in Sixties Montreal by David Austin from Jamaica.
The winning book was announced by the St. Martin publisher/author Lasana M. Sekou at the announcement ceremony for the 55th anniversary of the Casa de las Américas prize in Havana on January 30. Sekou was in Cuba as one of 22 jurors, invited by Casa to review and analyze some 380 books submitted by Caribbean and Latin American authors for the Casa prize competition of 2014.
Wednesday, January 15 the 27th Annual Dr. Martin Luther King, Jr. Lecture will be given at the Philipsburg Jubilee Library, “A Revolution of Values …”, a discussion and new book launch with Lasana M. Sekou and Fabian Adekunle Badejo
Organized by Conscious Lyrics Foundation in corporation with Sos-Radio Billy D 95.9 FM, House of Nehesi Publishers, PJD2 1300 AM .
Lasana Sekou to Prime Minister Wescot-Williams, President Hanson: denounce Dominican Rep. “racist” law against its Black citizens
Great Bay/Marigot, St. Martin (December 8, 2013)—St. Martin author Lasana M. Sekou has called on Prime Minister Sarah Wescot-Williams and President Aline Hanson, to “officially and publicly condemn the Dominican Republic Constitutional Court decision of September 13, 2013 (Sentencia TC/0168/13), which threatens to strip the citizenship status from at least a quarter of a million of its citizens, leaving them stateless based on the color of their skin—as Black men, women, and children—and their heritage origins.”
In the letter of November 22 to the government leader in both capitals of St. Martin, Sekou wrote that the “Court judgment is racist and will lead to gross human rights violation in the Dominican Republic (DR) against the affected citizens: theft of their property, destruction of homes, loss of jobs, small business ownerships and bank accounts with the life savings of families, denial of educational opportunities, and the perpetuation of a range of violence, including rape, abuse of children, the elderly and the sick, police brutality, military detention, and the mass murder that historically stems from such abhorrent laws—genocide.”
According to Sekou, the tribunal sentence has absolutely nothing to do with immigration and much more with ethnic cleansing. “The racist ruling will invariably affect DR citizens of St. Martin heritage that have been part of Dominican society, certainly since 1929, and thought to number at least 40,000 people,” wrote Sekou. The Court ruling has a retroactive feature from 1929.
Mostly DR citizens of Haitian origin are among those affected by the ruling, which, wrote Sekou, “is not acceptable to any civilized nation that abides by established norms of the international community and the principles and practices of humanity.”
Prime Minister Wescot-Williams and President Hanson “must condemn this infection of apartheid in the Caribbean,” wrote Sekou, and “take a leadership role in the solidarity call for immediate, practical, and just corrective measures to be taken in the Dominican Republic.”
Sekou wrote that objection to the “racist ruling” should also be made in regional and international fora “where the adjusted autonomy” of 2010 and 2007 allows both St. Martin territories to do so. The Southern and Northern parts of St. Martin are territories of the Netherlands and France respectively. Wescot-Williams is the prime minister in the Dutch territory and Hanson is the president of the French territory. Sekou is an advocate for the Independence and eventual unification of St. Martin.
Considered one of the prolific Caribbean poets of his generation, Sekou said that “the designated channels of communication” that allow the governments in Philipsburg and Marigot “to request and if necessary to demand that the Netherlands and France denounce the racist ruling … must also be promptly employed.” He noted that calls for the boycott of DR trade goods and tourism are already being sounded.
Sekou said this week that “the early, clear and strong statements to the DR president and government by the prime minister of St. Vincent and The Grenadines and protesting groups in Trinidad and Puerto Rico among other places are admirable. Their positions represent the best of a history of solidarity and victory over oppression among Caribbean peoples and support for oppressed peoples in the region and around the world.”
He also said that the support for the ruling among significant sectors of DR society, including Cardinal Nicolás de Jesús López Rodríguez, has not deterred or stopped the growing concerns, findings, and mounting protests by other government leaders; regional and international bodies such as CARICOM, OCHR, UNHCR, Amnesty, OECS, the Inter-American Commission on Human Rights; human rights groups such as Reconoci.do; and individuals inside and outside of the Dominican Republic. Former DR president Hipolito Mejia recently called the ruling “a shame.”
Concluding his letter to Prime Minister Wescot-Williams and President Hanson, Sekou quoted Dr. Ralph Gonsalves, Prime Minister of St. Vincent & The Grenadines in his letter to President Danilo Medina of the Dominican Republic — against the September 13 decision: “The fig-leaf of sovereignty cannot be invoked when time-honoured and universal principles of citizenship and human decency are trampled upon.”
Dr. Artwel Cain promoveerde in 2007 op een studie naar de sociale mobiliteit van etnische minderheden in Nederland. Daarnaast is hij lange tijd directeur van het Ninsee, het Nationale Instituut voor het Slavernijverleden geweest. In 2009 verscheen onder zijn redactie het boek Tula, de slavenopstand van 1795 op Curaçao met bijdragen van verschillende auteurs. Tegenwoordig zwaait hij de scepter bij de Institute of Cultural Heritage and Knowledge. Vandaag een interview met hem over zijn leesgedrag en de boeken die hij leest.
Hoeveel boeken telt uw collectie?
Ik ga er van uit dat wij meer dan zo’n 1000 boeken hebben, dat zijn inclusief studieboeken en dan geschreven in vijf talen: Engels, Nederlands, Spaans, Frans en Papiaments.
In hoeveel tijd is deze verzameling opgebouwd?
Deze boeken zijn in een periode van ruim 35 jaar verzameld.
Wat is uw favoriete boek?
Mijn favoriete boek is moeilijk te noemen, omdat ik veel boeken ontzettend goed vind, maar als ik toch een moet noemen dan wordt het: Song of Solomon van Toni Morrison. Dat boek heb ik eind jaren zeventig gekocht. Op dat moment was ik vooral een muzikant die belangstelling had in boeken, vooral boeken geschreven door schrijvers uit het Caribische gebied en zwarte Amerikanen.
Ik begon het boek te lezen en was uit het lood geslagen. Ik had nooit eerder zoiets moois gelezen. Zij had ook stukjes van liederen in de tekst opgenomen en zij liet haar karakters praten net alsof ze bezig waren muziekinstrumenten te spelen. Daarna heb ik tot nu toe al haar boeken gekocht en gelezen. Tot dat moment had ik Richard Wright (bekend van Notes of a native son) en James Baldwin (bekend van Go tell it on the mountain) als mijn favoriete schrijvers. Toni Morrison is nog steeds mijn favoriete schrijfster. Uiteraard heb ik ook een aantal van haar essays.
Welke zijn de overwegingen die u neemt bij het kopen van een boek?
Ik ga af van een aantal punten; ken ik de schrijver en haar/zijn werk? Is hij/zij al door vrienden gelezen en hebben ze die aanbevolen? Wat was de toon en inhoud van de recensie die ik in een krant of een tijdschrift gelezen heb? Is deze schrijver een goede verhalenverteller? En tot slot wil ik mijn tijd met deze schrijver doorbrengen?
Welke indeling hanteert u om uw boeken te categoriseren?
Die bestaat in mijn collectie op dit moment niet. Ik ben ruim zes jaren geleden op onze tweede verdieping van een studeerkamer naar de andere verhuisd. Sindsdien heb ik geen tijd vrij gemaakt om alles op de juiste plek terug te zetten net hoe ik dat had in de eerste kamer. Er zijn trouwens in de tussentijd veel meer boeken bij gekomen en die zijn gewoon op de boeken planken voor de anderen gelegd. Wanneer wij na zo veel jaren uit dit huis verhuizen ben ik dan bereid de nieuwe studiekamer netjes in te richten en de boeken nogmaals te categoriseren.
Zijn er ook andere plekken in het huis, waar boeken worden verzameld?
Ja, er zijn andere boeken in de zolderkamer vanwaar ik verhuisd ben. Mijn vrouw Alida Kock heeft ook een werkstudio in huis en daarin zijn ook weer vele boeken.
Leest u naast fictie ook non-fictie of andersom?
In de laatste tien jaar lees ik meer non-fictie dan fictie. Dit vanwege studie en mijn werk. Het zou ondoenlijk zijn op dit moment om ze allemaal te gaan benoemen. De laatste goede fictie dat ik recentelijk heb gelezen is van Maryse Conde: Windward heights. Tussen de bedrijven door lees ik op dit moment Miles een autobiografie van Miles Davis samen met Quincy Troupe. Dat is non-fictie. Het leest ook lekker.
Wanneer leest u meestal, waar en wat (genre) leest u dan ?
Studieboeken lees ik overdag en fictie in het weekeinde of in de avonduren, indien ik thuis ben.
Leest u in het weekend andere boeken dan door de week?
Ja, dat doe ik. Door de week gaat het om wetenschappelijke literatuur en in het weekend leuke boeken, meestal romans.
Behoren tijdschriften ook tot de door u gelezen lectuur?
Op dit moment niet. Ik heb geen tijd ervoor in de laatste jaren vrij gemaakt. Dit is een bewuste keus.
Welk boek zou u voor een tweede keer willen lezen en waarom?
Dat zal Black skin White masks van Frantz Fanon zijn. Ik heb dit boek ruim veertig jaar geleden gelezen. Ik zal het nu beter begrijpen en kunnen analyseren. Intussen heb ik ontzettend veel studies hierover en citaten ervan gelezen. Wellicht is dat een van de redenen dat ik het nog niet herlezen heb. Ik gebruik de tijd om ander werk dat ik nog niet gelezen heb te lezen.
Welk boek beschouwt u als een miskoop en waarom?
Dat heb ik niet. Een boek dat wel in de buurt komt is A Bend in the River door V.S. Naipaul. In dat boek heeft hij een fictief Afrikaans land dat net onafhankelijk was geworden en haar inwoners op een beestachtige wijze neergehaald. Dat was in 1979. Daarvoor had ik al zijn boeken gelezen. Na het lezen van A Bend in the River, kwam ik tot de conclusie dat V.S. Naipaul niet schrijft voor mensen zoals ik en die op mij lijken. Een aantal jaren geleden heb ik A House for Mister Biswas nog een keer gelezen voor een boekenclub die wij in Capelle aan de IJssel hadden, maar daarna heb ik geen boeken meer van hem gekocht en gelezen, behalve Een half leven dat ik in 2001 gratis bij een boekwinkel gekregen heb.
Wie is uw favoriete schrijver/auteur en waarom?
Toni Morrison. Zij weet een verhaal te vertellen en zij heeft veel kennis van zaken. Een van haar boeken, Jazz, vond ik in eerste instantie moeilijk te lezen vanwege de wijze waarop het geschreven is, maar daarna dacht ik het boek niet voor niets Jazz heet.
Wat is zo bijzonder aan de Caribische literatuur?
De Caribische literatuur neigt naar onafhankelijkheid. Men houdt zich niet bezig met “the single story” Dat wil zeggen, datgene wat men denkt dat de lezers in het Westen over het Caribische volk willen lezen. De verhalen zijn meestal herkenbaar. Ze brengen je weer thuis. George Lamming en Maryse Conde zijn twee goede voorbeelden van schrijvers die dit doen. Het zijn twee schrijvers die trouwens nog levend zijn. In het geval van gedichten gaat dat ook op voor wat betreft het werk van Lasana Sekou en Derek Walcott. Uiteraard zijn er veel meer goede schrijvers in de diverse landen en eilanden. Ik kan mij met deze schrijvers identificeren. Ik voel mij thuis bij hun werk.
Hoe kijkt u naar de wereld der wetenschap/letteren?
Zowel bij de wetenschap als bij de letteren dienen Caribische mensen hun eigen verhalen in alle tonen en kleuren zelf te vertellen. Men moet niet meer de fout maken om zich slechts bezig te houden met de ‘master’s narrative’. Men dient de ruimte te nemen en te vullen met de eigen fictie en non-fictie.
Thirty-one years is a long time to wait for a new harvest of voices, but in many respects, Where I See The Sun – Contemporary Poetry in St. Martin – the second anthology of poetry to be published on the island within two generations, was quite worth the wait. Just as the first, Winds Above the Hills compiled and edited by Wycliffe Smith was linked to a major cultural event, the St. Maarten Festival of Arts and Culture (SMAFESTAC) held in 1982, this new anthology can be described as a commemorative publication to mark the 10th anniversary of the St. Martin Book Fair, never mind the fact that it came out in 2013 and was launched at the 11th edition of this important literary event. It is not within the purview of this review to compare the two anthologies, but suffice it to reiterate the pivotal role House of Nehesi Publishers (HNP) has been playing in the development of a St. Martin literary tradition, with dozens of published writers whose works may have never seen print.
Where I See The Sun … is therefore a welcome addition to that steadily increasing list of HNP publications – professional in their presentations, delightful in their content, and edifying in the maturing of the literary arts in St. Martin.
Where I see the sun … I see a rainbow, straddling the hills, arching through the sky, with feet firmly grounded in the Caribbean Sea. This collection of poems, culled from a publicized “Call for Poetry,” reflects the exciting ethnic, national, and racial demographics of the island. However, this is not a rainbow collection in the sense of a lack of collective identity. To the contrary, these are ALL St. Martin poets, singing St. Martin songs like a well-experienced choir. It is a credit to the editor of the volume, poet/essayist/historian and publisher, Lasana Sekou, that he deliberately selected these poets despite their varying backgrounds as true St. Martin voices, speaking to St. Martin issues of their choice. St. Martin is a melting pot and as I have argued in other places, it is perhaps the most Caribbean in this sense, of all the islands in the archipelago, certainly, the most charismatically Caribbean of them all. Here, place of birth and country of origin is meaningless when you embrace the land and its people. In other words, you don’t have to be born here to be considered a St. Martiner; you just have to fit in, blend in and make your own contribution to the life and progress of the people and you will become what is termed in local parlance: “born to be here.”
Nobody in this new collection exemplifies this “new arrivant” St. Martiner more than Mariela Xue, born in the Dominican Republic, brought to St. Martin at age 9, went to primary school here and returned to do high school in the country of her birth and then returning to St. Martin in 2002. Mariela, who is married to a Chinese, speaks for all those “born to be here” St. Martiners when she writes in “Over-qualified exile”:
“Am a daughter of the soil by proxy/an’ have achieved a great deal/impossible in my birthplace/Saint Martin, surrogate mother,/has given me more than I could imagine,/the opportunity to excel,/when the very people who open the door and held it/open are at times not of their own doing/denied this privilege.”
Mariela Xue is not really “a daughter of the soil by proxy” as she proclaims: she is a true daughter of the soil because in this soil, a “surrogate mother” is a mother, period. She is one of the few poets with five or more poems in this collection and certainly one of the new talents I expect to achieve a great deal more.
Where I see the sun … I hear voices, fresh like the dewdrop on a hibiscus leaf, coursing through the contours of memory deposited like aging salt in the Great Salt Pond. The sage, Kamau Brathwaite was right. Indeed, as he wrote in the blurb that opens this volume, “It’s a rare & sparkle event to have an anthology of (mainly) young poets – already into memories, their bright eyes searching the horizon for future and language.”
“My language is like the wind,” writes Georges Cocks in “Idiom, Creole.” “It strokes my soul as the clouds that it’s teasing,” he continues, ending the poem thus: “These chains of islands/Offshoots of magma/Recognise/Creole, the language of these paradise lands.”
But if Cocks, one of the few published poets in this collection, sees his language like the wind, taking flight “as the migrating bird from the mainland,” Kimasha P. Williams minces no words in making the link between the language she speaks – St. Martin English, a variety of English-based creole, as Dr. Rhoda Arrindell, former Minister of Education and a leading linguist, has already established – and her identity.
Williams declares in “These words in my mouth”: “These words in my mouth/I love them/ I ain’ care wah you gawh say/These words in my mouth/I love them/I talking like this everyday.//Don’ come tell me is broken English/When you can understand well/Fine! I gohn leave it outside the classroom/A’leas until they ring the bell.//These words in my mouth/I love them/These words in my mouth is me/Te’een matter how much I hide it/These words are my identity.”
Dr. Arrindell, the foremost proponent of recognizing the St. Martin English as a nation language, to use Brathwaite’s term, would surely be smiling on reading this.
Language, identity and culture are all intertwined, a tripod upon which rests the St. Martin Personality. Tamara Groeneveldt in “I know St. Martin’s Culture” rattles off a litany of cultural markers to knock out the colonial notion that St. Martin has no culture. “I don’t know about you, but I know about me/I am sick and tired of hearing that/St. Martin doesn’t have a culture./I know that if everybody knew what I eat,/Live and breathe on my island,/They would snatch it up like a vulture.”
And indeed, they do.
Groeneveldt is not alone in extolling those elements of St. Martin culture – its food, home remedies, dance, songs, economy, plants and other natural resources. She is in the company of Lysanne Charles (“Miss Grandmother”) who paints a folksy, lyrical and rootsy picture of a nurturing Caribbean grandma who took care of her as a child when she fell sick, and of Raymond Helligar (“Sin’ Martin Is We’z Own”) who writes: “So we claiming this land fo’ we and everything on it,/is we own/So every gawling, every pelican, is we own/Every rockstone in the gut, is we own.”
There are others too: Terry Daniel, Glenda York, Patricia Chance-Duzant, Tadzio Bervoets, Lucinda “La Rich” Audain, Faizah Tabasamu, and Laura Richardson in a polished classical form, all speak glowingly about the land, its people and its culture.
The tone of their voices is unapologetic, unashamed, and unafraid to proclaim their identity as St. Martiners and to claim the island without regard to its dual colonial status. They sound at times like rappers – just being real – dealing with their own existential stuff, generally oblivious of where real political power actually resides.
This latter observation could be considered a drawback in the whole collection: that the poets – with one or two marked exceptions – seem in the main, unconcerned about the political developments and constitutional future of the island. There is no doubt that this does not reflect what, in recent years, has been the dominant issue among the people of the island as expressed constantly on radio call-in programs, TV talk shows, newspaper articles and online publications. In his introduction to the anthology, Sekou expresses a cultural Job-like concern about this point but it will not, and I don’t think he meant it to, stop the inevitable scrutiny.
Why does this group of poets sidestep the issue? In fairness to them, they are not the only ones: other artists, regardless of the art form they practice – music (especially kaiso), dance, theater, plastic arts, etc. – also seem to deliberately ignore political issues. For them, there is a clear separation between art and politics, never mind the political melee rampant around or during carnival, which has become the main course of calypsonians of all stripes. And even then, the lack of ideological commitment is glaring.
This is bothersome, especially in a collection of poems like Where I See the Sun that opens with “The Ponum Song,” a liberation song, with its accompanying dance, intoned by our enslaved ancestors, which one would have thought would set the tone for what to expect in the collection.
The St. Martin cultural and historical icons that Sekou has identified and popularized island-wide and beyond in his writings over the years, are clearly visible in a number of poems in the collection. However, one is still apt to ask: where is especially the political aspects of the “Sekou School” that I identified years ago in Salted Tongues? That school of poets, led by the revolutionary Lasana Sekou, whose hard-hitting poems seek a knockout punch against the colonial status of the island? For sure, they are there in name: Deborah Drisana Jack, Changa Hickinson, who says, perhaps rhetorically in “small change II”: “The nurse asked me,/Why are you so negative/about country in the kingdom/when your blood is B positive?” Then retorts: “When our rulers/are our leaders/there will be no/yard sale of government.”
I would add Faizah Tabasamu and even Mariela Xue as “new entrants” to the Sekou School, although their poems in this volume do not speak directly to the ideological directions of Sekou. Whatever the reason(s) may be, this is an omission that should be of concern to the progressives on the island.
Nevertheless, Where I See The Sun can also be considered a harvest of salt. Long before tourism, long before the advent of European adventurers, buccaneers and slavers, long, long before the West Indies Company that reaped millions in profits from our ponds, salt was king here. The Amerindians reputedly named the island “Soualiga” – land of salt. Tabasamu, in her poem of the same title, personifies her as “a woman with rockwall plaits in her hair/and white sand painted on her toes…./her lips are liquid red/and her fingers cannot hold a pen/they are brittle/from picking sour diamonds from the water/in her tub.”
Like Bervoets in his excellent prose poem, “The Great Salt Pond (3000 BC – 2012 AD): A Eulogy”, Tabasamu laments that “she isn’t who she used to be.” This is generally acknowledged on the island, not only by environmentalists like Bervoets, but also by a very large section of the population, resulting in HNP embarking on a popular signature drive to put a stop to the unnecessary filling of the Great Salt Pond, described appropriately by Sekou as the “cradle of the nation.” The resolution and signatures were later presented to the Parliament of St. Martin as well as to the relevant Ministers. Salt is the ingredient that brings out the good taste in this collection of poems. Salt, in not just a historic way, but as a metaphor for the sweetness and bitterness the island has known, is engraved in every St. Martiner’s DNA. Nobody captures this better than Dr. Jay B. Haviser in his poem “untitled”: “naked is the body and soul of the salt-picker,/salt surrounds them,/salt within the very flesh of their hearts…” These may be perhaps the most powerful three verses in the entire collection.
Drisana Deborah Jack is certainly among those who have elevated salt to the level of a national symbol. She writes in “the edges sing our songs”: “the footprints of the Caribs/etch the sides of the hills/marking their place/their present/our history/looked at you/saw women and salt/named you after both/one to soothe, one to suck/one to heal, one to season.”
Jack, a published and accomplished poet in her own right and a leading painter/multi-media artist, leads the choir in singing love songs, for what would a volume like this be like without love poems. In “the nest and other homes for the heart” Jack waxes lyrical: “someday love will find you/build a nest in your heart/with twigs of longing and bits of fabric/from clothes long worn.” Or in “tonight”: “I wait for you,/with supple skin/scented with hints of jasmine/and orchids…/warm…moist…open.” The subtleness of her erotic conjurations is a trademark of Jack’s poetry: she has a way of “killing you softly” with her pen.
Tabasamu’s love is also perfumed: it is “lavender, regal and true,” “lined with silver.” But while hers is a divine love, Tamara Groeneveldt takes up Jack’s subtle eroticism in “Sweetest thing I’ve Ever Known.” “Sweetest thing I’ve ever known/Still makes me smile although I’ve grown old/Sixty years later and it still sends the sweetest chills/Up and down my old bones./I may be gray but my fire never went cold.”
Hurrah for those whose libido remains intact even into their old age.
But young love is a learning process, as acclaimed musician and songbird, Mischu Laikah seems to suggest, whether she is trying to wriggle out of a controlling relationship (“New Beginning”) or simply trying to “Fall in Love Again.” Her poems, as could be expected, are written to be put to music.
There is a strong female presence in this volume, which is de facto representative of the cultural landscape of the island. Of the 25 poets in this anthology, 15 are women. Nothing to really worry about? What is certain is that this is approximately the ratio of female to male students in many of our classrooms. It is a topic for a different discussion.
As for Where I See The Sun, Drisana Jack ends her beautiful poem, “the edges sing our songs” with this one line: “the harvest will not be simple.” Sekou, I’m sure, knows that the harvest of voices in this anthology was not simple. But it was bountiful and opens the barn to brighter suns.
Where I See The Sun – Contemporary Poetry in St. Martin, a new anthology of 25 poets and spoken word artists, edited by Lasana M. Sekou, at Van Dorp, Arnia’s, Shipwreck Shops, and Amazon.com
Fabian Ade Badejo is an author, journalist, and literary/culture critic.
Philipsburg — Tribute poem to the assassinated [5.5.13] parliamentarian of Curaçao and leader of the island’s Independence movement Helmin Magno Wiels, Dec 9, 1958 – May 5, 2013.
Another king
just crowned in the kingdom
of blood, a coronation of bullets wheezing death
in a hail of the assassin’s contract of hate
circling to puncture through
the riddled breastbone of the nation
to still&rent the sovereign heart from beating true
St. Martin (February 22, 2013)—February 2013 proved to be extra busy for authors published here by House of Nehesi Publishers (HNP). While in its 30th anniversary year, “HNP is happy to see what is for us an unprecedented crush of activities by at least 14 of our authors in just 28 days in the Caribbean, the USA, and Israel,” said HNP president Jacqueline Sample. Among the busy set of writers taking part in Black History Month celebrations and literary activities, in the shortest month of the year, were Dr. Rhoda Arrindell, Amiri Baraka, Dr. Jay B. Haviser, Fabian Adekunle Badejo, George Lamming, Marion Bethel, Joseph H. Lake, Jr., Drisana Deborah Jack, Daniella Jeffry, Robert Romney, Chiqui Vicioso, Kamau Brathwaite, Nidaa Khoury, and Lasana M. Sekou.
“I congratulate the writers for keeping busy, which causes a demand for their writings and their appearances in their community and in various parts of the world. I also thank the book reviewers and bloggers, and the organizers of activities who invited our writers as guests authors and keynote speakers at conferences, literary readings, school visits, library exhibits, and media appearances this month,” said Sample. Baraka and Arrindell were the busiest with numerous speaking engagements. At the EUROTAST Symposium (2/8/13), five out of the seven “First Voice” panelists and the conference’s St. Martin principal, were all authors published by the small press that has managed to produce books by leading authors from throughout Caribbean, the USA, and the Middle East.
St. Martin, Caribbean (February 20, 2013)—Thirty years ago, when Lasana M. Sekou started House of Nehesi Publishers (HNP), he was the only author the new publishing outfit had or could count on. Three decades later, HNP has established itself as a leading multi-media publishing house in the Caribbean with over 75 titles, including books by world renowned authors George Lamming, Kamau Brathwaite, and Amiri Baraka, to name just a few. However, its emphasis continues to be in developing St. Martin authors in consonance with its stated mission of a “critical development of the ‘national literature’ of St. Martin, North and South, as a natural part of the dynamic, world-class literatures of the Caribbean.”
Afgelopen zaterdag verzorgde Quito Nicolaas een lezing voor Stichting Simia Literario. Onderwerp van deze lezing was De onbekende stemmen in de St. Maartense literatuur. Stap voor stap werd het onderwerp ingeleid en waarbij zijn veelal positieve ervaringen op het eiland naar voren kwam. Nicolaas constateerde dat het jammer is dat nog steeds de boekhandels op Aruba en Curaçao niet voorzien zijn van de prachtigeboeken die op St. Maarten worden uitgegeven. De uitgever House of Nehesi Publishers had ook besloten om zich meer in het Caraibisch gebied te oriënteren, voordat de grote markt in de VS en Canada worden aangeboord. Hiervolgt een korte samenvatting van de lezing.
St. Maarten is tot 10-10-2010 een eiland geweest dat een onderdeel van de Nederlandse Antillen vormde, waar om weinig werd bekommerd en laat staan naar geluisterd. Het was ook dit proces van bestuurlijke isolatie – een gescheiden wereld tussen de Bovenwindse – en Benedenwindse eilanden – dat ruimte bood dat men intern aan de economische opbouw van het eiland – volgens eigen inzichten – ging werken. Het naar binnen toe gericht proces werd naast een reeds sterk ontwikkelde identiteit, het fundament dat de eigen cultuur en literatuur goed kon gedijen en verder floreren. St. Maarten is het zoveelste voorbeeld in de economische-geschiedenis dat zodra er sprake is van eco-ontwikkeling en welvaart, er culturele patronen zich gaan ontwikkelen. De burgers beginnen zich te interesseren in hun geschiedenis, taal, cultuur en andere verworvenheden en menen dit op schrift te moeten vaststellen.
De House of Nehesi Publishers heeft als een katalysator in het literaire proces gewerkt en gezorgd dat er een literaire infrastructuur is gelegd. De St. Maartense literatuur steunt op een tweetal pilaren: enerzijds werken van auteurs van eigen bodem en anderzijds op publicaties van Caribische auteurs. Behalve poëzie werden tevens werken op het gebied van geschiedenis, politiek, cultuur, folklore, religie en muziek gepubliceerd. Na drie decennia zijn praktisch alle genres goed vertegenwoordigd: biografie, autobiografie, reisverslag, theater, essaysbundel, ego-documenten, korte verhalen en uiteraard poëzie. Dankzij Lasana Sekou hebben tal van St. Maartense schrijvers een kans gehad om te publiceren. In haar fonds heeft HNP momenteel een 41 tal schrijvers, waaronder ook een aantal uit de omringende buurlanden, dat 1 of meer publicaties op hun naam hebben staan. Zo zien we werken van Fabian Badejo (2003) Shake Keane (2005), Chiki Vicioso (2007), Marion Bethel ( 2009), Amiri Baraka, Howard Fergus (2008), George Lamming (2009)en Kamau Brathwaite.
Opmerkelijk is dat de St. Maartense literatuur weinig proza heeft voortgebracht en veel meer poëzie-adepten kent. In dit opzicht verschilt Sint Maarten niet van Aruba en Curaçao en kan dit meer als een ontwikkelingsfase getypeerd worden. Resumerend kunnen we vaststellen dat de orale geschiedenis van St. Maarten een bijzondere rol in de literatuur kan spelen. Opgevoed en grootgebracht met de verhalen van vroeger die de grootouders vertelden, moet de nieuwe generatie schrijvers dit als materiaal zien om hierover te schrijven. De tendens om in het verleden te graven en op een ontdekkingsreis te gaan is tegenwoordig enorm en om wat ermee te doen nog groter. Romans of korte verhalen die ons met de tijd een kijkje gunnen in de leefwereld, emoties, denken en gedragingen van de St. Maartenaar.
Portret van de Sint Maartense schrijver Lasana M. Sekou, gemaakt door de in Suriname werkzame fotograaf Nicolaas Porter. Nr. 104 in de reeks fotoportretten die Porter in opdracht van de Werkgroep Caraïbische Letteren maakt. Voor informatie kunt U mailen naar: nicolaasporter@hotmail.com. Wie de hele reeks wil zien kan hieronder klikken op het label Werkgroepportretten.
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