Showing posts with label Jennifer Rahim. Show all posts
Showing posts with label Jennifer Rahim. Show all posts

May 2, 2012

Fatherhood in Caribbean Fiction




Figuring the Father in Contemporary Caribbean Fiction
by 
Jennifer Rahim


The figure of the father has long troubled the Caribbean’s imagination. This unease is perhaps most demonstrated in the fact that, across the disciplines, fatherhood has often been represented in various states of absentia: not so much completely missing, as relegated to the margins of literary and cultural studies. The region’s matriarchal construction has generally been given more attention, and understandably so. Edith Clarke’s foundational  1957 study,  My Mother Who Fathered Me, evokes this well-circulated feature of the Caribbean’s social landscape. Clarke’s title alludes to George Lamming’s novel,  In the Castle of My Skin  (1953), where the protagonist G. praises the almost hermaphroditic heroism of his mother: “My father who had only fathered the idea of me left me the sole liability of my mother who really fathered me” (11). From the beginning of the 1990s, a new cadre of novels from the Anglophone Caribbean that gives prominence to fathers and fatherhood suggests this trend has shifted. Some of these include Shani Mootoo’s Cereus Blooms at Night and  Valmiki’s Daughter, Nalo Hopkinson’s  Brown Girl in the Ring  and  Midnight Robber, Lawrence Scott’s Night Calypso, Merle Hodge’s For the Life of Laetitia, Jamaica Kincaid’s Mr. Potter, Martin Mordecai’s Blue Mountain Trouble and Patricia Powell’s The Fullness of Everything. 












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November 3, 2011

(For Anthony McNeill on All Saints' Day) by Jennifer Rahim



To tell you the truth, 
I’ve been thinking about Tony,
if he would permit that familiarity.
I met only his verse.
I’ve been thinking poetry –
it should  always be brave
or else it cannot speak, and his was,
the way true courage is:
an amity with what we fear –
not crude disclosure, that bogus bravado
of those too weak to suffer well.
No, courage is never that cheap.
It both upbraids and heals us –
makes the faithless see ghosts
in the face of what is real;
yet, waits like love while we lament
what we hope dead, only so we
may never have to be brave, –
if that means an apprenticeship
to the sufferer’s beat.
I’ve been thinking of you, Tony,
and the self your lines vested
in a shining that strikes blind
our well-managed lives,
sends us stumbling in-
sight – that was your calling
to redeem us with. Tony,
I have been looking, this day,
for your light among the saints.


© Jennifer Rahim, 2011 



Jennifer Rahim is Trinidadian. She is a Senior Lecturer in Literature in the Department of Liberal Arts at The University of the West Indies, St. Augustine. Her essays on Caribbean literature have appeared in MaComere, The Journal of West Indian Literature, Small Axe, Anthurium and BIM. She edited, with Barbara Lalla, Beyond Borders: Cross Culturalism and the Caribbean Canon (UWI Press 2009) and Created in the West Indies: Caribbean Perspectives on V.S. Naipaul (Ian Randle, 2010). Her poetry collections include: Between the Fence and the Forest (Peepal Tree Press, 2002), Approaching Sabbaths (Peepal Tree Press, 2009) and Redemption Rain (TSAR, 2011). She has one collection of short stories, Songster and Other Stories (Peepal Tree Press, 2007). Approaching Sabbaths was awarded a Casa de las Américas Prize in 2010. 

October 28, 2011

(for Anya) by Jennifer Rahim


To a stage that rivals any brand of farce, a light–
a young woman comes, a rainbow. No sign
taken for wonders hitched to dead pasts,
but witness of prophecy’s advent –Walcott’s
new Athens. Her field, a runway stylin’:
raiment as phenomenal as the language
islands stitched from worlds made seamless
as the weave of sea her hands command
into artefact . The eye astonished as at the dawning
of a star – the bright that explodes the possible,
even as we punish time for our failure to draw
nearer the distance for which Carter’s every-
child dreams: to live the will  to change tense– 
make miracle present, be blessing cup
that redeems the fault we all fit and silences
the mind’s bench of bats eager to tie millstones
about the necks of sunbeams. Anya,
architect of how we may wear our tomorrows, 
delight in this sad carnival of waste and mamaguy,
may your challenge be always what Thursdays
have come to mean, for us: our colours lifted up 
and the inexhaustible grace that is your name. 

© Jennifer Rahim, 2011




About Jennifer Rahim




Jennifer Rahim is Trinidadian. Her first collection of poems, Mothers Are Not the Only Linguists was published in 1992, followed by Between the Fence and the Forest (Peepal Tree, 2002). She also writes short fiction and criticism. She currently teaches at The Liberal Arts Department, The University of the West Indies, St Augustine, Trinidad.


Her poems have appeared in several Caribbean and international journals and anthologies. Some of these include The Caribbean Writer, Small Axe, The Trinidad and Tobago Review, The Graham House Review, Mangrove, The Malahat Review, Crossing Water, Creation Fire, The Sisters of Caliban, Crab Orchard Review and Atlanta Review. Short stories have appeared in The New Voices, The Caribbean Writer, and Caribbean Voices I.



Awards include The Gulf Insurance Writers Scholarship (1996) to attend the Caribbean Writers Summer Institute, Univ. of Miami; The New Voices Award of Merit (1993) for outstanding contributions to The New Voices journal; The Writers Union of Trinidad and Tobago Writer of the Year Award (1992) for the publication, Mothers Are Not The Only Linguists.

August 31, 2011

"Pelicans at Evening" by Jennifer Rahim

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Pelicans at Evening


(for Pat Bishop)

Pelicans,
as many as seven,
steadfast as pointers
press heaven,
push east along Toco’s
unquiet run of coast.

News comes here
unhurried
as the beat
of ample wings
holds the eye true
 to evening’s fall.

Now, –

when an ocean’s peace
is gathered into beaks
that could deliver
the miracle of a child,

I hear you are gone.

And what is this word
bequeathed us
as you pass into earth ? –

Our souls full yet
with every
 bold
and fragile
note
you shepherded to birth –
not one
orphaned
or unformed sound
left  unhoused.



So Miss B., 
what is this nothing
as you go your way
to Mucurapo?

What parting gift –
your baton’s final call? ‒
Our tongues stilled,
grief left broke,
for your wanting
no more
than servant’s pay,
wanting too
a sunflower’s witness
at the close
of your giving days.

In this crude season
of curfew 
from ourselves,
your cowbell’s
chosen metre
is perfect song, you
knowing  well
silence earned strikes
the purest note,
speaks clearest,
being free
of all regard ,
being free blesses
with its own question.
           
So, Sister Pat,
is it that you saved
your best wine
for last?

Your passing’s ripe Art –

this holy hush
as that arcane flock journeys
routinely home.



About Pat Bishop
Pat Bishop, a business executive, painter, musician, historian, media commentator, choreographer and fashion designer, was also a renowned ethnomusicologist who, according to Dr. Selwyn Cudjoe, “sang with the Esso Tripoli in 1967; arranged music for Fonclaire, Birdsong, Skiffle Bunch and Desperadoes Steel Orchestra among other groups; conducted Trinidad All Stars, Phase II, Renegades and other steelbands; performed with Desperadoes at Carnegie Hall, New York, Brooklyn Academy of Music and the Philadelphia Academy of Music.” She also directed music for the Morne Diablo Folk Performing Company, worked with Daisy Voisin’s La Divina Pastora Parang Group and directed the Lydian Singers for the past eleven years.
She lectured History at the U.W.I. St. Augustine and Mona campuses as well as the history of art and design at the Jamaican School of the Art between 1970 and 1972

Source: http://www.trinidadandtobagonews.com/blog/?p=5560

Image Source: http://www.ncctt.org/home/news/164-steelband-panorama-judges-seminar-in-the-works.html



About Jennifer Rahim


Jennifer Rahim is a Senior Lecturer in Literature in the Department of Liberal Arts, The University of the West Indies, St. Augustine, Trinidad and Tobago. She is a critic, poet and short story writer. Her articles on Caribbean literature have appeared in MaComere, The Journal of West Indian Literature, Small Axe and Anthurium. She edited with Barbara Lalla a collection of Cultural Studies essays entitled, Beyond Borders: Cross Culturalism and the Caribbean Canon (UWI Press 2009).

Her creative publications include three poetry collections: Mothers Are Not the Only Linguists (1992) and Between the Fence and the Forest (2002) and Approaching Sabbaths (2009). She has one collection of short stories, Songster and Other Stories (2007). Approaching Sabbaths was awarded the 2010 Casa de las Américas Prize for best book in the category Caribbean Literature in English or Creole and has been shortlisted for the Guyana Prize for Literature.




February 26, 2011

New Book: Redemption Rain by Jennifer Rahim


Redemption Rain invites the reader into its profound epiphanies through patient revisitation and introspection. Rahim’s voice weaves the explosive power of her lively Trinidadian Creole with the searching intensity of one given to appreciating memory’s redemptive light. A book about the necessary and the unexpected, about costly arrival in the sacred spaces of realization and recognition.

Praise for Redemption Rain

Jennifer Rahim is a poet whose work allows us to feel the vastness and reach of the Caribbean... Her authority is rooted in her attentiveness, and her good mannerly humour emphasizes the unflinching honesty with which she engages the toughness and vulnerability of the world. — Earl Lovelace, author of Is Just a Movie. Here ... is a poetry that speaks directly to our sense of human belonging, our recognition of smallness within vastness, our experiential encounters with love and loss. — S Rose-Ann Walker, The University of Trinidad and Tobago 
Jennifer Rahim is a critic, poet, and short-story writer. Her creative publications include three volumes of poetry, Mothers Are Not the Only Linguists (1992), Between the Fence and the Forest (2002) and Approaching Sabbaths (2009), and a collection of short stories, Songster and Other Stories (2007). Approaching Sabbaths was awarded the 2010 Casa de las Américas Prize for best book in the category Caribbean Literature in English or Creole. She is also a co-editor of two collections of essays, Beyond Borders: Cross Culturalism and the Caribbean Canon (UWI Press 2009) and Created in the West Indies: Caribbean Perspectives on VS Naipaul (Ian Randle, 2010). She is a senior lecturer in literature at the University of the West Indies, St Augustine, Trinidad and Tobago.

Redemption Rain will be available
April 30, 2011
Pre-order from bookstores or the TSAR website
www.tsarbooks.com

September 3, 2010

"Earthquake 2010" by Jennifer Rahim


Earthquake 2010
Tues. Jan  12th : 2.30p.m.
Before the earthquake rocked
Port-au-Prince with more fury
than an autonomic bomb,
BW 610 from Port-of-Spain
was safely on the ground
and my sole shake down
was from an immigration officer,
young, hardened by his job,
who asked me twice
if I had anything
that was not in Canada before.
Each time I answered,
“No, sir” to a question
that struck me as an anachronism
in an age of travel
and oddly strung for a country
that flags its cosmopolitanism
like a religion.
He was bent on a confession
so on the third round
I thought hard of the contents
in my single roll-on,
then admitted, like a revelation:
“one coconut fudge, two
toolums and a sugar cake,
pink,” and added, “I mean candy,”
sensing the qualifier
was necessary.
Winter entered his eyes
at my declaration.
They were sweets of home,
a small comfort I allowed myself,
but an entire history
that travelled with me;
one I shared with the Guyanese woman
in trendy metropolitan wear
who sat taciturnly in 12C
guarding a phantom ascendancy,
and the elderly Trinidadian man
a few rows forward
in a grey Fedora
and black leather coat
he never removed,
already feeling the cold;
a history that gave me
an Islamic name the officer
pronounced with the long e
and looked quizzically
from my face to my I.D. –
9/11 reruns terrorizing
his hidden screen.
When tectonic plates,
began secretly negotiating
their catastrophic shift,
the officer was asking,
“How much did you pay
for your sweets, miss?”
I said, after a pause, “Three dollars”
and to defuse what I caught
of his doubt injected,
“That is Canadian.”
He stamped me in, then,
with no further question
understanding fully
that his currency
would be worth much more
than that of islands, places
where the sugar in my sweets
made rum, hot countries
where people could escape
to roast their limbs on beaches,
like the barbeques
of pillaging buccaneers,
only browning themselves,
for their own tropic feast
like commercial cannibals.
He needed nothing more
so like a believer the dogma
of his salvation
he accepted the money
of the place I was from
should be worth
much less than his own
and could crumble and fall
like the frail shanties
of Port-au-Prince. Cathedral,
Presidential Palace and all –
rent like a judgement –.
Everywhere: rubble, white dust –
like an upturned sepulchre.
3.35p.m.
A grave:
it was the image that came
when I tugged my luggage
off the Airport Rocket,
journeying the cheapest way,
and paying three Canadian,
the price of my candy,
to get first to Kipling,
the western end of the subway
that recalled the injurious poet
whose verses pined for Home,
a West of light and faith,
being sentenced to a hellish India
in the season of good cheer.
Heaven, believe me, is a location.
So coming from my south
(with the undeclared slices
of my mother’s black cake,
that had never been in Canada before,
safely stowed away in Brazilian leather,
a bargain from a Rastaman
on Fredrick Street who called to me
on Christmas Eve, “Sis, a small sale
please to buy something nice
for the youth man,”)
when  I saw the powdered tiles
of Kipling,  the thought  rained on me:
ash, the traffic of winter.
The merger was unexpected,
sudden, that exiled adjective
of good writing,
but native to my climate
with its hasty sunsets
and abrupt downpours,
temperaments I had marked,
undisturbed, as signs of home
until the lady who stood next to me
under the eaves of Kentucky.
We both had no umberallas,
both stranded I thought
before she uttered, “That is signs.
“Not a warning and look, rain.”
then gave me a flyer advertising
a crusade in Couva.
I watched her walk on water
across Broadway, a new
believer exorcised of an old faith
that made no provision for hell.
Now she was haunted by readiness,
anticipating an end that will come
as suddenly as  August rain.
3.45p.m.
The earthquake was a nightmare
tossing in Haiti’s consciousness,
when my train sped, resolutely,
to Castle Frank and the woman
I first saw on the Rocket
filed past
in search of a seat,
though the carriage
was half-empty.
She dragged her duffle bag
behind her like a corpse. –
I remembered, she was last
to board the bus
and had said something, softly,  
in her Créole to the driver
who didn’t or couldn’t answer,
but waved her further in
with defensive impatience.
I saw her that second time
on the train whose final stop
was Kennedy;
I saw her lumbering
in the direction of its thrust,
like someone climbing a hill.
4.50 p.m.
It must have struck
as I boarded the No.65 to Parliament.
I entered behind
two knapsack toting teenagers
plugged into their I-pods
nodding their heads
to private rhythms
with the zoned-out look
of deliberate disconnect.
I too put on the wide-angled gaze
of public commuters
as the bus rattled along a street
named after its buildings
in the third year
of Toussaint’s rebellion:
the time of a different split,
for Canada –.We suffer
our differences,
unequally.
So as I walked east
towards the Distillery, in six below,
with my embark rumbling
in my wake like a wounded love,
taking the cold
after a brief respite
from staying with the bus
as it swung west on Front
then doubled back
along the Esplanade’s decent poverty,
I thought only of the jadda
fenced by thin plastic bags.
Distrusting the automated street stops,
she had made a ritual of half-
standing at intervals, bowing
forward to see ahead of her,
afraid of missing her stop, –
the soiled fringes of her dress
far more streetwise.
At Parliament and Queen,
she stood, frozen, a stranger
to what should have been familiar.
5.26 p.m.
When, at last, I switched on
the blessed the heat,
then the TV and heard:
“My God, the world is coming
to an end,” and saw the cloud
envelop Port-au-Prince,
the jadda’s rehearsed plea,
“Please, let me off!”
her panic bypassing the bell,
resounded like an aftershock.
200,000 dead.
and a pastor with the faithless
tongue of new grief lamented,
“Haiti is a cemetery.”
Horrible, in any language,
sounds the same.
Yes, there is a world
that must end,  and Haiti
our first light is now
its grim apocalypse
as Obama’s slick neighbourliness
descends like a vulture
on its long-injured soil
where an unholy advent
slouches forth to reincarnate itself,
its agenda secreted
in the stench of death
and provoked desperation
as pregnant carriers arrive
like Trojan horses with arms
empty of real need.
This is not a time
for sleep. Not now,
when the evil Toussaint fought
and fights, yet, resurrects its head
like Revelation’s cosmic beast
with might to sweep
the very stars from heaven.
This is the time
Carter portended, when dreams
must birth, again, revolution,
for Haiti,
misused child
of our freedom, lies helpless
at the very door
of the dragon’s jaws
and her betrayal
is already our condemnation.
Hell, believe me,
is also a position.
That’s why Robertson,
that deluded evangelist,
could preach the devil freed,
then cursed Haiti,
as though the will to liberty
must seek absolution
from what withholds
its freedom.
Wednesday 13th: 11.21a.m.
Trinidad called to say
that in St Augustine,
where the literati gathered
to honour Walcott,
Rudder’s penitent prayer,
Haiti I’m sorry,
opened the proceedings,
pleading for all our abuses
to your earth,
demanding reparation
for your losses
from a Caribbean
that moves on
the strength of your steel.
Even here, Haiti,
I see the kaleidoscope
of your make-shift tents stretched
like a crude quilt of solidarity
that shames us, silences
our insipid religion
and hand-out politicking.
I see each hoisted square,
an SOS to winged ancestors
who stormed you free
of Napoleon’s twisted heaven.
They will not, now,
deny you  presence.
You are the best in us
we, too,  must save
lest we all die
bankrupt of spirit
while the spangled stars
rule our fate.
If poetry means anything,
let this be a mouth charged
like Jeremiah’s call to build
with much more resolve
the temple we too dimly
dream.





from the manuscript "REDEMPTION RAIN
A version "Earthquake 2010" was originally published in BIM.

About the Author

Jennifer Rahim is a Senior Lecturer in Literature in the Department of Liberal Arts, The University of the West Indies, St. Augustine, Trinidad and Tobago. She is a critic, poet and short story writer. Her articles on Caribbean literature have appeared in MaComere, The Journal of West Indian Literature, Small Axe and Anthurium. She edited with Barbara Lalla a collection of Cultural Studies essays entitled, Beyond Borders: Cross Culturalism and the Caribbean Canon (UWI Press 2009).



Her creative publications include three poetry collections: Mothers Are Not the Only Linguists (1992) and Between the Fence and the Forest (2002) and Approaching Sabbaths (2009). She has one collection of short stories, Songster and Other Stories (2007). Approaching Sabbaths was awarded the 2010 Casa de las Américas Prize for best book in the category Caribbean Literature in English or Creole.