“Part of an Age, or All Of Each Day”?

“Part of an Age, or All

 of each Day”?

Poet Brian Chan offers this crystal of existential choice to the Guyanese reader who during the (post)colonial period was stuck with the (pre)determinisms of Comrades Burnham & Jagan; and who with outward bound options shrinking these days might feel still fettered inside our national narrative of assiduously going nowhere.

Of course, the past still lingers, and History continues to undress itself for the scrutiny of hoary academic over^seers. But Chan has had his fill of “the past” and its recent restorations:

        So the legacy of Englishness

        and its weapon of the left-unsaid:

        colonies abandoned to a mess

        of incestuous whispers and stammered

        tributes to indifferent ghosts by numb

        men pretending hard          (from Compensation)

It is never flattering to discover that, years after Independence, habits of truth-concealment, of bathing the memory of the dead, persist in our nation. It seems harder still for the Guyanese citizen to step past so much distress & dysfunction of our own making; tough to correct & manage that facing-forward backward nation-drift.

But given the patterns of frantic migration over the years, just who is the Guyanese citizen? and where does his soul reside?

These issues are at the heart of a new collection of poems The Gift of Screws (2008) which, after years in private circulation, has finally been released by its Peepal Tree publisher in England.  

They are strange, hard-to-reach poems. They seem at first reading to be striving for a self-obscuring complexity. They owe a little to the colourful, nation-mapping explorations of Seymour, Carter, Harris and McDonald; they’re modernist in sensibility and cerebral in that hyperspatial Palace of the Peacock way.

Guyanese readers would have to give up so much that might be considered essential to survival today – give up old ethnic antagonisms that see evil & its minions in the other race; give up dead hero worship, though as Chan says “WE LIVING are only as bold as we entertain our ghosts”; give up the sex for favours exchange, narco-business runnings, street and public service modes of disregard.

Give up “words”, too, (“anything said can mean anything else/ and nothing can mean anything at all.”) for they only provoke the vapours of the barely-literate; or the blandishments of those Heritage gatekeepers who feed you a porridge of sad “memory” and separate “pride” but keep you locked in.

Martin Carter (b. 1927) once faced a similar dilemma. As living in Guyana became insupportable back in the socialist-experiment days he wrote of “the bafflement of speech”, the poet’s state of being confounded by the prescriptive thunder of political discourse. (He would have been silenced again and forever by the snarl & cold verdict of guns in the hands of those east coast/wild west phantom bandits). Carter eventually gave up and sank into gloom, shaping then publishing elegant lines out of misery.

Brian Chan (b. 1949) does a kind of inner retreat, slipping off into a world he has built around him. You could call it his dream space, his alternate reality. His poems suggest you could do the same with tools of the imagination – construct your own ark of salvation; or share his dream space if you like.

You’d be hard put to recognize his world the way Ian McDonald identifies places on the Essequibo coast as sources of self-transcendence. And it might be uncharitable to locate it floating in fine mists somewhere over the rainbow; or up past those epiphanic rapids of Mariella in Wilson Harris’ hinterland where, as they used to say in the 60s, ‘every thing is everythiinng’.

Chan strips away any tangible “local” or “landscape” identifiers. There’s an abstract anywhereness in his trimmed-down lines. Poems are filled with generic “fences”, “caves” “deserts”, “leaves”, “wind” and “ghosts”, so resolutely has the poet chosen to turn away from what is culturally discordant or ideologically confining outside his gate.

“Fences” and “caves” become metaphors for secretive habits, hidden biases and fears – colonial residue swimming like hookworm in the nation’s culture.

And yet, paradoxically, the image Chan chooses to define his existence is “the mud crab”, which makes him a sideways-moving creature or creation of Guyana. Not so much loving our mudland for its mud as accepting its reality. Since we did not inherit the mixed blessings of pristine-white, tourist-attracting beaches, he might be saying, we have only our hands, our imagination and our abundant green land.

For a mudcrab poet this could be a solitary, unpretty existence, “a loneliness of focus”; but that identity (with its “freedom from fetters”) once compelled him to get on with his task (“my real work of breathing”) as a citizen of a nation still slip-sliding on mudflats of coastal vanities.

At the same time Chan reveals a lofty but inclusive Guyanese way of “seeing”:

        “in your eyes, other of myself, you who would dodge

          the self that contains all,

         all on different stages of the fiction of the flesh,

         the flags of flesh we wave to one another, bridg-

         ing chasms between spills

         of identity, tags of separateness”      (from In a Crowd)

Here again, as in a previous collection, Fabula Rasa, Chan brings to the nation the hope of coalescing our multiculturally-sliced, rancorous inheritance. He senses a subterranean longing in the lives of Guyanese to break out of ethnic enclavement, to toss aside the “fictions” and “flags”, the “tags” and “masks”. He sees a people worn down by the armor of tribal loyalty (“the weight of our mud and junk and dust”); wanting only freedom & newness, a productive lightness of being.

Chan lived through the fearful grandiosity that ushered in and celebrated our Independence in the 60s and 70s; and as a result he invites us to pay attention to “the sheer everydayness of our miracles”; how we survived the social & economic malaise that followed (and continues); forging through the insistent leveling of socialism, our resilience of spirit (or memory) intact even when Guyanese relocate to Richmond Hill or Brooklyn, NY.

His poems are hewn out of a self-effacing temperament. Even the titles eschew the grand entrance. They prefer like flowers of conversation simply to open up: “NO GHOST, like the ghost of what might have been/ for it is a lonely monster.”

If you start wondering with feminist concern whether there’s space in this poet’s world for women, some poems are dedicated to women; and, interestingly, the poem, To My Wife of Twenty Five Years in a rare burst of feeling honours the one who has been “my one elbower and hand-holder; compass and carriage.”

Chan shows his appreciation for their island of love “at whose midnight door I’m but the rapping wind/ while its oven, bed, roof and raft you remain/ under all clouds.” [Which might seem a lot to ask of any woman these days, to be “oven, bed, roof and raft”; plus “compass and carriage.” But in any event]

The Gift of Screws is stuffed with many terse poems which might be considered words sprinkled like water on nothing of consequence; and some squirrel-wary poems, the lines dovetailing neatly after a twitchy peek at the world. Most seem written with furrowed brow, allowing little humour, too serious to be simply enjoyed. Some read like anti-poems with omitted punctuation and with word-spacing and lines that run preternaturally free of literary expectations.

The shortest poem contains seven words. It’s a quickie of a poem artfully laid out on the page for reading then catching your breath: “AFTERWARDS   As before:   sated    emptied    waiting    to    begin.”

So how does this all add up? Is Chan an idealist who turned in and moved away, lifting his art & his vision above the rise and rule of mediocrity? A solipsist always in retreat, too far, too long removed from home to matter? Is he – like B. Wordsworth in VSNaipaul’s Miguel Street – searching through postcolonial rubble for “the poem that will sing to all [Guyana] humanity”?

In this new collection Chan’s talent continues to unsettle and poke at those ethnic-safe habits of looking at ourselves. It is not the slighted talent of an immigrant poet drumming for respect on sidewalks in “multicultural” Canada. The Gift of Screws is Chan’s third book of poems. Volume for volume he is the most noncompliant poet to emerge from Guyana’s shores in recent decades.

If you put aside for a moment the sterling poetic claims of Wilson Harris the Obscure; if poetry in Guyana (the written, not the perishable, word) somehow survives the seasonal flood waters, the gangsterous forces bursting through our doors and piling up our ravaged souls, Chan will probably stand out as a bold, innovative voice. His poetry, clearing up the ethnic cloudiness in our vision, would help us see with unsquinting eyes again.

The Gift of Screws is an émigré’s gift to Guyana’s new “developed” age, that next step in human advancement when we decide – shedding generations of colonial mistrust – to resist the drag down of transatlantic memories, those observances that now would ship us back to separate faraway times; when instead we embrace our common bonds; dare to inhabit our worlds as new men and women.

Chan’s word to the powerholders: can’t fly on one wing, yo!

 

Book Reviewed Gift of Screws: Brian Chan: Peepal Tree Press, England, England: 99 pgs. 2008

Desperate Lives: Gyals & Gyurls in NYC

Calabash Parkway (2005) is the second novel by Guyanese author Brenda Chester DoHarris. Many readers might have heard of her first novel, The Coloured Girl in the Ring. Ms DoHarris has been its proud promoter and defender. That first book has been described as a coming of age novel set in Guyana of the 50s and 60s. The new book leaps forward to the 70s and 80s and could be described as a coming to America novel set in NYC.

Brenda Chester DoHarris is a professor of English at Bowie State University, Maryland, and a graduate of Columbia and Howard universities, receiving a PhD degree in English. Writing novels is a side profession she pursues with enormous conviction and hope.

Calabash Parkway is a labour-intense novel with a serious purpose and a studied appeal for feminist appreciation. It aims to pay tribute to Guyanese women; hardworking, still young, husband-looking women; with low wage-earning skills; “for whom love and romance were luxuries poor women could not afford”.

Back home they dream of escaping to America and later sending for their children. They meet men in New York city who understand these dreams, who make promises, but eventually betray them. Always ripe for disappointment & exploitation, they work illegally as housekeepers and store clerks, and link their love decisions to future US residency.

Throughout all the betrayal (the men in this novel are all shifty-hearted philanderers with few redeeming features) the women – raised in the 50s, you have to think, and taught the propriety of self-restraint – do not respond with palpable gestures of outrage (like, for instance, pouring cups of sorrel on the man’s good, good dress shirts).

The single act of retaliation is carried out by a black woman “with an uptown New York accent”, who shoots the Guyanese father of her child when it seems he’s getting ready to leave her.

Usually the women experience “nausea” and retreat to the bathroom to retch; but they carry inside them like a DNA code a quality that author DoHarris admires: “dogged insistence”; a silent-suffering, survivalist ethic.

The narrator is a graduate student pursuing studies at Columbia University. There she learnt to distance herself from “people trapped in the disposition of always framing the world in terms of the Western metropole.” In Calabash Parkway her mission is to work the opposite way, framing the world of her characters in memory-based, authentic Guyanese terms.

There are references, like markers of time passing, to Kitchener (singing “Drink a Rum an’ a Punch-a-Crème” at Christmas) and Johnny Braff (singing “It Burns Inside”); to Walter Rodney “the Guyanese scholar-politician”; the Belvedere hotel and “The Tides of Susanburg”; and “the soothing tropical breezes rustling through Le Repentir’s giant sentinel palms”. (This last, an example of Ms DoHarris’ lethargic word painting, offers some relief from her tendency to strait-jacket the behavior of her characters.)

There is, too, the familiar joke of foreigners who confuse Guyana with Guinea and Ghana; creole sayings like lacy embroidery stitching in and out the prose; and vivid descriptions of habits, places & rituals. All of which, aided by a glossary of 153 Guyanese colloquial terms, often give the narratives a paragraph-padded feel.

Even the female sensibility is recast in local imagery. A character, contemplating the law-breaking measures she must take to enter the United States illegally sees the situation as “a series of river rapids that she would be required to negotiate as she paddled her canoe upstream.” And DoHarris is very careful with ethnic vernacular. The East Indian women in her novel say, “Ow, gyal”; the Creole women say, “Hurry up, gyurl?”

There are touches of old century suggestiveness in DoHarris’ prose that fits neatly into her characters’ disposition. At high points of uncertainty her women are often “seized by a strong desire to”. Sexual intimacy is given a romantic old world (or soap opera new world) treatment: “That night in their nakedness, they discovered the delight of each other’s secret places…in the searing heat of their passion.”

A woman comes home to tell the husband she left in Guyana she’s found another man. He had found another woman while she was away. Some enchanted evening they exchange these bruising revelations, sitting on the seawall, “in the light of the full moon that hung over Demerara”.

The novel’s main character is an old friend of the narrator, not as educated, from Kitty village back in the 60s. When their paths cross again in 1979 on a subway train – “in the gritty, rumbling underbelly of metropolitan New York”; the professor/author slips often into passé sentences like that – the narrator is struck by “the destiny that drew us together again”. So much so, she discovers a new imperative: borrowing the tools of fiction she would document the sadness in the unsettled lives of “undocumented” women in New York city.

As with the novels of another writer/professor, David Dabydeen, readers must be patient with the author/narrator expositions on the characters’ culture, their roots, the socio-economic background – the framing of their idiosyncratic world, so that uninformed readers can get the big, widescreen picture.

As it moves along Calabash Parkway turns into a text that wants to be studied (through the lens of gender & culture), rather than a novel written for subway reader diversion. Among the Glossary notes, like a calling card to graduate students, DoHarris inserts an annotation about an East Indian character, Drupattie, and “the significance of Drupaudie in Hindu mythological lore”.

Ipod-toting younger readers swimming lazily through this DoHarris novel need to brace themselves for this kind of contextual undertow.

Against their wish, you suspect, her women are asked to lug a lot of extra baggage, for page after page, from village to city. They’re helped along by the narrator’s earnest voice-over, for Professor DoHarris feels a lot of “explaining” is necessary about their choices, their constantly victimized state. In a tough, masculinized world the narratives of struggling Guyanese women, their longing for security & family wholeness, are after all very serious business.

Contact with other ethnics in Calabash Parkway is marginal – such is the tunnel vision & urgency of Ms. DoHarris’ immigrant lives – but vitally important. When they do appear ethnics tend to show their cleavage: like the elderly Jewish couple, survivors of the Holocaust, kind and compassionate to Evadne, their Guyanese housekeeper; or the white middle-aged officer in Georgetown interviewing visa applicants with suspicious, “steely grey” eyes.

Near the end of the novel there’s a brief report – a remnant dropped in as if half-remembered – on the fate of the East Indian woman, Druppatie, who’s unlucky in cross-cultural love.

What happens to migrant women dreaming and working illegally in America will continue to stir interest among academics and novelists. Ms. DoHarris falls somewhere in between professions, leaning heavily – perhaps with little choice – on memory and second-hand reportage. Calabash Parkway offers little by way of new insights, new meanings, so grim are the narratives of what the author would have us imagine as the unrelentingly grim, romance-drenched lives of her chosen women.

Still – and despite the sentimental untidiness of its closing pages – Calabash Parkway should find a sisterhood of supportive readers. Its implanted pedagogical “themes” make a strong case for the respect and commitment its characters crave. (On the other hand, under the weight of its own affirmative goals, it might have sunk already into that ocean of the all too familiar, the nothing new.)

To all the love-scarred Guyanese women adrift out there – Agatha, Gwennie Brathwaite, Eunice, Doreen, Evadne, Evadne’s Nennen, Jennifer, Samantha, Drupattie – if you can find time to read it, this book’s for you, too.

Book Reviewed: Calabash Parkway: Brenda Chester DoHarris: Tantaria Press: Maryland, USA: 2005: 158 pages.

For the Old Guys, Old Ghosts

“We are never where we are, but somewhere else”

- Derek Walcott, “In Italy”

In Haiti these days, according to a recent report in the NYTimes, there is growing nostalgia for “the old ghosts”, Papa Doc and his son Jean-Claude Duvalier. This wish to return to the good old days is in response to mounting social problems which have turned the country into one of the poorest places in the world. In the old days there was a stronger economy, security (of a kind), lower food prices and, for the privileged, scholarships to study abroad.

It was also a time of pitiless oppression; but for those who miss “the old ghosts” there’s a convenient amnesia about that; and the torture of political prisoners in those prisons near the presidential palace.

This longing for harsh but quieter times, the column suggests, is fuelled by a “nostalgia for the strong hand”. A “voodoo master” hougan, it’s also reported, has returned from the US to restore the supplementary powers of the old religion. Peace at any cost would seem preferable to the disorder and despair that’s rife across the land.

“Looking back” for many Guyanese can assume bitter, uncompromising forms. Something about the way newspaper columns routinely demonise the years of “the strong hand” (Burnham) or pine for the integrity of “the good heart” (Jagan) reveals how deeply unforgiving and irreparable the fault lines of thinking (about colonial politics) still run.

Through the mind’s back windows (where we gaze and wonder what the future holds) many Guyanese – young, worried or ambitious – still prefer “looking out”; still dream of moving away, using metaphysical sea ports if necessary. Migration from our shores – with its feverish planning, its promise of “freedom” from those phantoms of terror at night, and the precariousness of wage-earning each day – has been described as “one of the healthiest” per capita in the world.

Once overseas – huddled for security, and content with “looking on” from the margins – there’s the compelling wish with the passing of years to “give back” to the old country. Gifts and sentiments are packed tight in barrels or remittances, poetry or social commentary. Recent fiction by some of our overseas-based authors could be read as “give back” memory-based narratives, intended for “those whom we first [knew and] loved”.

Godfrey Chin is not a literary man. His book, Nostalgias (2007), a sentiment-loosening compilation, is written with infectious enthusiasm mainly for Guyanese old-timers, settled or adrift in unfamiliar spaces; in Canada and the USA, or the UK.

The book is chock full of tiny descriptions, most of it familiar stuff; and it’s fizzy with name dropping – names of people, names of places, names of nicknames, of foods, rituals, discos, songs, cultural totems, social events, street characters, sports personalities.

There’s so much naming, what some might recall as the coastal-choked, youth-wasted days – trapped in “an infinity of endeavour”, as Derek Walcott might say – are sorted and wrapped like confectionery for the reader. If, by chance, you grew up outside Georgetown – across wide rivers in places with no electricity – you might, with some justification, feel marginalized and faceless.

Housing the nation’s historical memories has always been a thorny issue. Decades of indifference and neglect had resulted in crumbling and serious loss at the old Archives. An article recently In Stabroek News questioned the seriousness and intent of the resource managers in the shiny new building on Homestretch Avenue. It wondered quite rightly if they were up to the task, or mere occupants of another grand illusion.

It expressed the hope that facilities for a sound archive there would be used to capture “for posterity” the voices of our past leaders, their pronouncements at important milestones in the nation’s history.

Sound archives might also preserve the days when radio funneled the world into our lives. Beside the radio voices making history, one could hear again the voices of ordinary folk talking about their lives, the radio programs and the music they listened to. Chin’s Nostalgias reminds us how bare our sound archive shelves might be when it comes to music.

Unlike, say, Jamaica where one reggae song could link emotions & lives to specific decades of homegrown creativity, our music reservoirs for the most part were filled from dawn to midnight with imported sound: Mohammed Rafi (syrupy but ethnic-soothing) at sunrise; through an assortment of island or (US) pop, or Country & Western, and dreary servings of Euro-Sunday sounds; to Jim Reeves (deep-voiced and syrupy) at sunset.

Beside the sound archive, one imagines a gallery of visuals. A call has gone out for Guyanese to send home photo memorabilia of the old days which could be studied for clues to how people coped every day with colonial life. In Chin’s Nostalgias, among the pics of family and city life, there are two photos worth a thousand and one words.

One of the Botanic Gardens in the 50s, back when it was proudly maintained, when its Edenic, ordered beauty was a powerful attraction for Guianese on Sundays, a place for the spirit to getaway from the dusty yard and “the smell of history”. And a photo of the old Queens College assembly hall, with orderly rows of students, reminding one of the disciplined learning & distinctions that once defined that institution. (The Latin teacher who’d quote Epictetus, “Only the educated are free.”)

Chin’s Nostalgias is a generous-hearted effort at “preserving golden memories”. He knows the date and the hour when the paradise that was his Guiana fell to ruin. On February 16, 1962, he writes, during the anti-Jagan Govt riots, “Around three p.m., the police at Brickdam went on strike, refusing to patrol the streets without firearms, and in that instant law and order broke down, and, in my opinion, “Choke and Rob” entered the pages of Guyana’s history.”

“In the next 25-30 years,” he continues confidently, “300,000 would flee their homeland.”

Chin can be forgiven his flyover views. “Carpe diem!” he says, had been his guiding motto in those colonial years. True to his word, Nostalgias is a stirring metemgee of day-seasoning, with humour and spice and all things nice. Nothing too “deep” or too disturbing to spoil reader pleasure. (There’s a moving tribute to Dr. Walter Chin – “a devoted patriot…a legend in his time” – which might set some readers off in search of at least a passing reference to Dr. Walter Rodney).

Nor is it too probing. An observation of the “right-angled streets” in Georgetown could have prompted some thoughtful reference to the grid-like road system designed & laid down by the Dutch. And while as a boy or young man growing up in the colony Chin might have been unaware of the imperial “strong hand” arranging (or moulding) Guiana’s choices from overseas, as an old man “looking back” that sliver of forgetfulness might strike some readers as a little odd.

Memory – the opiate of the transplanted masses, you could say; or their educated reps – remains the most swollen part of our nation’s intelligence. With our future still in the hands of international funding forces, you could enter, through columns in G/town’s press, retro rooms that encourage readers of Stabroek News, for instance, to think about the travel observations of Schomburgk, explorer of Guiana’s interior; or those anniversary messages in the Guyana Chronicle that feed the faithful by, for instance, hailing Dr. Cheddi Jagan as more virtuous and heroic than anyone before and after Independence.

You could follow along as some pot-stirring writer takes you back to his favorite cauldron of upheaval & loss – the slave rebellions, the anti-colonial 50s, the Burnham 80s. Either way, while the truth & its complexity stays submerged for now, argument and counter-argument about victories & villains in Guyana’s past will not leave you feeling like a fatherless child.

Given Chin’s sunny disposition it would be mean-spirited to rain on his Nostalgias – unedited and snippety as they look on the page. Like 45 or 78 rpm vinyls his old days collection seems very important and precious to him. They provide the only clues to how Chin himself is doing these days, so many years & miles away.

All told, Nostalgias offers a cozy, cheerful message to older Guyanese in the diaspora (their reading habits intact), who never quite severed ties; who on snowbound days might welcome the company of ghosts; or conversations in any form that brings them full circle to their halcyon growing-up years.

The message is this: the rootless life is not your fate; you can go home again. Climb out that basement, dust off the old identity. As it grows late in your remaining afternoons, you can reconnect your beginnings and end. No “give back” patriotism required. In this book you could skip pages, and still enjoy the flight.

Yes, comrades, through the mulch of time, gather ye rosebuds.

Book Reviewed: Nostalgias: Godfrey Chin: CKP Publishing: Florida, USA: 2007, 259 pages.

Poem by Brian Chan

To A Trapped Lioness

Even in his sleep beside you,

your mate you can hear pacing his

rage-carpeted cage of snoring

vanity whose bars and sharp blades

of light stabbing through them are all

equally his own mind trying

to erase, and not, its tyranny

over his every breath and stamp.

Beware of feeding him your blood

and milk of your still-flowing breast.

Such food both pacifies and fills

him with despair as it keeps him

every day waking to become

his fear that his cage will, and not,

fade. Let pride to its need of love learn

to kneel, or gnaw itself to death.

From Gift of Screws © Brian Chan

Anatomy of a Marriage (1920s Georgetown)

A newspaper columnist in British Guiana writing a Sunday column (February 1922) makes the following statement: “Georgetonians are of two kinds: those who live in Queenstown and their unfortunate neighbours who inhabit the remaining part of our garden city.” That newspaper columnist is a fictional character and the statement sets the stage for Roy Heath’s first novel From the Heat of the Day (1979).

The Queenstown part of the city was apparently not fully developed at the time. From a home on Anira Street you could hear the “incessant roaring of the waves at floodtide” coming all the way from the seawall. Heath describes the area as “the unblemished district with its tall houses and blossoms on year end, and painted palings like flattened spears embracing yards darkened by thick branches of fruit trees.”

Residents hired gardeners to tend all those blossoms. New Garden Street was remarkable for its fine houses with large gardens in front of them, “in which flourished roses and dahlias, their stalks maintained by a staff to which they were tied.” A pipeline sewage system was set up in the early twenties foreseeing dignity and plumbing for the fortunate (and the end to posies under the bed). Who could resist the dream of moving to Queenstown upon hearing of this?

The aesthetic order of the city has crumbled over decades; parcels of dilapidation and vacant grassy lots remain. New fire-proof structures tower over old eyesores, and new residents moving in have established a kind of equal opportunity ethos. On Peter Rose Street jostling with once elegant homes there’s an Auto business, cars or vans packed tightly in a paved yard, with streamers flapping in the wind across the road. Of interest, too, is a mosque and a house turned into an office for taxi service; and a fruit vendor’s shack set up at the entrance of an Oronoque Street home.

You could argue these are buoyant signs of post-Independence development in the city; a messy kind of free for all residential zoning that disdains old vestiges of colonial respectability, even as a new moneyed and political class finds greener pastures elsewhere, with finer prospects of manicured grass on which to build.

Today minivans take short cuts through Queenstown’s narrow, quiet streets, honking in anticipation at evening strollers. And Bastiani (“the undertaker” in Heath’s novel) has long gone, as is the smell of horse manure from the shed housing his funeral carriages; his Forshaw Street business has been replaced by a more upbeat entrepreneur selling bridal accessories.

But colonial Queenstown was where Roy Heath moved his 1920s characters, Armstrong & his wife Gladys, in From the Heat of the Day; the old Queenstown with alleyways well-maintained by “men spraying the gutter-water with cisterns of oil”. Heath examines what happens when their marriage falls apart in the Forshaw Street property they occupy.

The flush of romance in the marriage wears off after two years and two children. As early as page 20, an inexplicable “rift” develops. Gladys Armstrong, a woman of healthy appetite, faithful and pledged “to breed and obey”, cannot understand what she’s doing wrong. Suddenly she must cope with “a wave of irritability that seemed to have no cause” sweeping over her husband.

Armstrong is doing very well; he gains promotion to Post Master at a Georgetown post office; but he wraps himself in uncompromising “silences” and her attempts at conversation are cut short by reminders, for instance, that he is “reading”. A third child on the way brings some respite, but the child doesn’t survive and the marriage continues to falter.

Beneath the first emotional awkwardness that blossomed into love, Heath suggests their marital union was seasoned in sexual desire. Gladys Armstrong recalls “the sweetness of copulation which became for her the heart of their marriage”. What she finds unbearable is the coldness of her bed at night.

Heath offers her no religious faith as solace; she doesn’t consider returning to her father’s home; she chooses the long-suffering wait for her husband’s isolation to end, absorbing his “outbursts” and deflecting his irritability.

Armstrong is himself somewhat mystified at the downturn of his marriage. He considers procuring a mistress, but Heath gives him a “conscience” that reproaches him for contemplating this move. He blames his wife’s “passivity”; he notices “her thighs becoming thick, and her breasts flabby”. He is sufficiently intelligent to reflect on what’s taking place, but libidinal priorities overwhelm his thinking. Most nights he stumbles home sullen and inebriated, sometimes slipping into the servant’s room; the barely literate girl is too powerless to fend him off.

He turns to houses of prostitution, pouring out his soul to a young woman (being careful to gloss over details); her response is so “insensitive” he leaves the room. A good friend with similar marriage woes offers sympathy and conversation. Key to his stimulus plan for his faltering Georgetown marriage is a younger woman “kept” miles away in the village of Plaisance. (He visits her every Sunday, defying social conventions, always fearful he might lose his job if the arrangement is found out.).

Armstrong’s conversations with himself stir a hive of self-pity and class anxiety. He had plucked Gladys from a well-to-do, genteel household respected for its piano playing, embroidery and sketching. He could have done a lot worse; he could have settled for a woman from his village in Agricola, “one of them big-batty women with powerful build who kian’ tell a piano from a violin.”

A dramatic layer is added to the novel through inquisitive visits paid by Armstrong’s sister in law. Armstrong’s own sister distracts him with argument over family inheritance after their father dies. These developments deepen Armstrong’s introspection. He begins to think he might have married above his station; he suspects he’s being constantly “judged” by his wife’s family, viewed as “an intruder”, a man lacking in adequate “background”.

To compound his dilemma, the colony is plunged into economic turmoil. The collapse of the sugar market starts the spread of fear among workers. There’s talk of “retrenchment” (a word as frightening then as “recession” today) among Civil Service employees, and though Armstrong hangs on his job security eventually falls victim to budget cuts.

Gladys responds with determined, belt-tightening courage; the servant girl is let go. Gladys holds fast to her vows of love and till-death, cutting back on personal nutrition, hoping her sacrifices would jolt Armstrong out of self-absorption.

Just when you wonder how much longer she can sustain her struggle with the inexplicable, she fades away. Heath’s prose seizes the moment to go maudlin & manipulative; paragraphs depict scenes of the husband’s grieving disbelief: “Armstrong drew up a chair and sat by the door of the room in which his wife lay.” Suddenly, thinking she might still be alive, he rushes off to find a doctor to confirm again her death. Images of remorse pile up: “the tears trickled through his fingers, down his chin to fall on to his shirt.” And after the funeral, “desolation in his heart”.

Heath is not a stern moralist, but the school-teacher side of him sometimes nudges the storyteller to dispense “lessons”, like first steps to mature thinking; or set up characters for reader sympathy or reproach. Some hearts will ache with Gladys’; Armstrong’s behavior might repulse or dismay.

Still, with subtle tracking and shading of his characters’ emotional shifts, Heath hints at encouraging news inside this extraordinary marriage. Stoically coping but privately wailing, Gladys’ commitment to her vows strikes the reader as fierce but not entirely thoughtless. And Armstrong comes across as a selfish though not callously uncaring individual, a notch or two above other men in the colony who cease quickly to care.

Heath suggests that marital relations in those constricted days were often no more than self-serving arrangements that followed a pattern of fated & faithless expectations. As Gladys mused: “Things were just so. There was a sky and an earth; there was the wind and the sun; and there was marriage.”

A comforting context could be found in the old assertion that the marriage vow in 20s Guiana – a fragile thing celebrated in logies and villages in an expense of ritual & spirits – did not always sublimate the pain & rage (and sense of fleeting mortality) left over from harsh colonial regimens. In the circumstances women dared to dream of happiness; men bared swords and plundered; the libido ruled. Children like molasses from sweet cane were often the byproducts of unbridled passion – and lucky souls if cherished in extended-family folk ways.

The modern reader might wish for deeper psychological insights. Heath prefers simply to present (what we can take as) the conventional 1920s understanding of how marriages unravelled: irritability, silence, drinking, outbursts; starved goodness, the cold bed; long-suffering female bewilderment, the male impulse to roam outside the roost.

From the Heat of the Day is the first in a trilogy of novels. Old Georgetown neighborhoods are fully realized in Heath’s not electrifying but affectionately accurate prose. Readers can follow the tribulations of the Armstrong children and their guilt-troubled father in One Generation and Genetha. (The last paragraph sees Armstrong – “overcome by great calm” – all set to make a remarkable recovery from family misery, and promising the reader some family continuity.)

Heath’s 1920s Guiana is in essence an imagined world but, like the still standing structures from the old Queenstown, many of the issues explored in From the Heat of the Day resonate today if you pay attention to distress signals that sometimes breach marriage walls; or listen to male talk about copulation.

Book Reviewed: From the Heat of the Day (“The Armstrong Trilogy”): Persea Books, New York, 1994, 150 pgs.

Useful Retro Specs

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 into manhood. Readers hoping for insights into how his writing career began may be disappointed (unless a sequel, subtitled “London Memoirs”, is in preparation).

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 houses) in Agricola village, Bagotstown, Queenstown.

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

You could create a profile of Heath as a man of mixed-race origins, bred and nurtured 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 is reference to the pervasive American presence at the 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”; but what stands out in his memory at that time is “a reduction of daily funeral processions” which he links to a sustained DDT campaign to rid the colony of malaria.

Heath’s fiction conveys none of that anguish of being transplanted and culturally denuded. His feeling 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.

Shadows revisits his growth to young manhood and the swarming influence of family and relatives in those early years. Pivotal to his growth were a multi-talented uncle, a G/town school friend, several self-made men he encountered who took pride in their knowledge. Plus the streets he walked, the neighborhoods he lived in and the ethnic-varied behaviors 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, independent 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 has become: 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 a complacent tone about the Roy Heath narrative that suggests this: for all his achievements (novelist, teacher, poet, fluent in French and German, barrister-at-law) he may have decided to pitch his tent in a clearing closer to the forest; choosing difficult but reachable goals over trailblazing aspirations; and settling as a writer for an elegantly dressed 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 possibility of a writer’s vocation emerge? How did he, a man from the colonies, fire up those engines, sustain the focus to produce eight respectfully received works of fiction?

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 genuine observations of his colonial neighbourhoods and in the reading habits he acquired in England. Heath worked within himself, it seems, maintaining a low visibility among other (Caribbean) writers as if writing was not a profession to which he naturally “belonged”; and showing little interest in academic patronage.

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 quiet hardships and indignity 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.

Georgetown then was a society of blossoming prejudice, race jostling with race but finding 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”. Heath suggests that the Guyanese generosity of spirit (often described as “Guyanese hospitality”) might serve to camouflage a vulnerability too easily exploited by more ruthless Guyanese. One whiff of that vulnerability could flare the nostrils of the brute.

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 new “searching” generations. They could look into his memories and discover residues of colonial fractures and behaviours still active in our nation’s culture; traces of the old fears (disease & destitution), the old response to tribal violence (platitudes & a pity that quickly hardens to posture); the old ambivalence about “belonging”; and – when the spirit senses prison or desert in the air – recourse to flight & reinvention.

As our troubled nation unwittingly rolls back its future to the colonial years when a one-eyed, intransigent directorate had to face up to incendiary and sometimes unspeakable acts of challenge, one hopes Shadows Round the Moon remains available on Georgetown bookshelves and on internet websites, alongside the CDs, the videos and the wishy produce of folk nostalgia now selling like hotcakes and boil channa.

Book Reviewed: Shadows Round The Moon: Roy Heath: Flamingo: London, 1990, 254 pages.

The Hangmaiden’s Tale

Yet another plantation novel has come among us. David Dabydeen’s indentured labourers in The Counting House (2005) must make room for Karen King-Aribisala’s emancipated slaves in The Hangman’s Game (2007) in what would seem to be an academic penchant – delving into libraries, researching our history and reanimating incidents and people through fiction.

King-Aribisala (“All my writings are dedicated to God.”) was born in Guyana and is now an English Professor at the University of Lagos.

The journey motif is integral to this kind of novel. This time in place of the middle passage or the kali-pani or the overcrowded barracoons, an airline flight takes the central character from Guyana to Murtala Muhammed Airport in Lagos. Her mission is simple: “I want to find myself”. More persuasively, she wants “to understand the reasons behind ancestral slavery”.

In this day and age you’d think there’d be abundant literature in libraries to satisfy this wanting. Unhappily Guyana at that point in its development seemed lacking in secondary sources. The central character had read a Guyanese-published history of the Reverend John Smith and the Demerara slaves (“That had made me mad. It was so unjust.”) A study grant took her to England but uncovered little of significance. A trans-Atlantic journey to the source nation seemed the only solution.

The moment in history that fascinates the narrator is the last slave insurrection in Demerara in 1823. “Whites were murdered in their beds and as they walked. Slaves were executed. Blood ran. The militia was brought in to restore order and a curfew imposed on the colony. But it was the last slave revolt. The emancipation of slaves became a reality. I am that reality.” So much action packed into one historical moment was apparently too rich for the narrator’s blood. And (post-Burnham) Georgetown as a defining context was doing little to expand her reality.

To make the central character more interesting King-Aribisala converts her into a writer. In the writer’s head there’s a cast of characters; her subject is the 1823 slave revolt; a title, “Three Blind Mice”, is set. But the narrator/writer can’t get the book started. The trip to Nigeria, she hopes, would unblock energies, inject lofty aim in the narrative and release the characters.

After hurried pre-ambling pages The Hangman’s Game takes off and elevates itself to higher ambition: it will be “a drama of Nigeria/ Demerara histories”. Characters from the Guyana past – a Governor Murrain, a runaway named Quamina, a fat slave woman named Auntie Lou, a Captain Mc Turkeyen, assorted “buckras” – take to the stage in 1823, even as our narrator/writer gets acquainted with Nigeria (by pure coincidence going through a “brutal” military coup) in the 1990s.

The narratives are told in alternating chapters. At some point they’re expected to merge into one sulphurous glow of a long traveled for “fusion”. But King-Aribisala’s prose has a first-time earnest grind about it. David Dabydeen working in similar plantation territory revitalized his Indian labourers in orhnis of mellifluous sentences. King-Aribisala displays neither his poetic gifts, nor his flair for designing scenes that shimmer within enriched contextual commentary.

In The Hangman’s Game Quamina (“He had been a good husband. Unlike so many he did not sleep with other women. His real woman was the desire for freedom.”) runs away for the second time only to be captured in this overwrought line: “Quamina gasped at the length-stretchedness of the land, the openness of the sky.” You imagine him swearing and waving his machete in fury at the author for ensnaring him that way.

He is rewarded later with sentences of clean, cinematic slave action: “He turned around just in time to see a white youth drawing a sword. He threw his machete aiming at the man’s chest and the youth fell with the blade still in him. He cried for mercy and Quamina extracted his weapon and stood watching the blood spread over the man’s shirt.”

Other characters on the Demerara side struggle to intrigue us anew. You hear them speak a kind of functional playhouse talk; you see them in hitherto unrecorded positions (Governor Murrain, assisted by the fat slave woman, Auntie Lou, strips and relieves himself in a posy – “a chamber pot made of fine white porcelain” – before going to bed). King-Aribisala has evidently done her research and you turn the page thinking, yeah, she’s probably got that right; colonizer and colonized probably said this or did that to each other.

Contemporary Nigeria suffers from the author’s peripheral insight & experience. Characters and situations seem developed from a sojourner’s notebook. There’s scene at a graveside where a friend (“a traitor to the Republic”) is buried under the menacing eye of a Nigerian soldier. And several scenes in a hospital where the narrator is having a baby and holds “searching”, sometimes irritable conversations with a Nigerian nurse.

At one point, amazingly for new arrivals, the narrator’s husband garners an invitation to a dinner party at Nigeria’s Presidential mansion (“I must do my hair and nails and my make-up,” the pregnant-housewife narrator says. “I haven’t anything to wear except my one and only going-out dress, black and voluminous. I shall look like a huge black tome.”)

Midway through the novel spasms of disarray, which could easily be mistaken for “complexity”, threaten to undermine its structure. Errant musings, fragments, sketchy scenes & conversations, one white page with seven words (“Turn the page. / I turn the page.”) and a smug evangelic lyricism creep into the narratives. Not sure where to turn in a Nigeria her characters don’t fully inhabit King-Aribisala throws a spotlight on political tensions in the city.

Her narrator is invited again to a President Mansion dinner; there she listens to a speech and squirms in moral discomfort. Her husband who is involved in a Christian Outreach program is approached by Nigerian coup plotters. There are roadblocks and rifle-poking soldiers and crowds converging on Tafewa Balewa Square. Edgy but safe on the outskirts, and attentive to news reports, the narrator/author struggles to stay focused on her fictive project as players from the Demerara drama begin to insinuate themselves into the Nigeria theatre.

There may be some extractable meaning in all this – that intended “fusion of histories”, like a bridge over troubled nations – but King-Aribisala’s prose, trodding hoof by pained hoof, squishes too much knowable sentiment out of all the upturned humanity. Holding on to frayed narrative ends (or wondering what eventually happens to our fortunate travelers) could tax the patience of some readers.

For the Guyanese reader enchanted with fictions of cultural separation & spiritual hungers, or just wanting to escape a Demerara of untouchable new governors and anarchic roadways, A Hangman’s Game might serve well their getaway needs. (On the back cover author George Lamming considers this novel “a superb work of fiction kept alive page after page by this writer’s subtle and sophisticated historical imagination”.)

Ms Karen King-Aribisala, it appears, has written a second book, mixing poetry and prose, in which she “transposes” Chaucer’s “Canterbury Tales” to modern-day Nigeria. Not many Demerara readers may have heard of it. Her fascination with great authors and great moments in history seems far and away, beyond any residual interest she might have in Guyana. And that’s freedom for you, comrades.

Gather ye rosebuds.

Book Reviewed: The Hangman’s Game: Karen King-Aribisala: Peepal Tree Press: England, 2007, 191 pages. (w.w.)