For my mum, Lucille, whose mantra is ‘divine order.’
Picture of mum, taken when she was having me! At the time she sported this boys' cut (influenced by Miriam Makeba) and says this might be why I wear my hair short.
In the past year I’ve experienced the joy of properly ‘meeting’ my mother. I’ve been blessed with the opportunity to embrace her spirit and engage with some of her soul urges which are interwoven with mine. I’d like to share some of it because the other day a wonderful thing happened which for me shows that at 82, she is journeying to true ‘eldership’ and becoming the Mother she really is.
Mothers can sometimes be taken for granted, especially when they’re getting older and seemingly past it! Yet every day with my mum I see something previously unknown in her and a new speckle of growth in her understanding. I appreciate this time to be with her because it impacts my own journey. Our developing bond has not always been there. She left me when I was two and something in the care of her sister during the migration fever (as I call it) and for a long time I couldn’t reconcile the ‘abandonment.’ Several years ago, I forgave her in my way and accepted that she was doing what she felt at the time was right, like the many others infected with the same fever.
Like many of us my mum had religion imposed on her. Most of us don’t think of it as an imposition, but tend to take it for granted that it has always been our way of life, ‘traditional’ even and what’s accepted/expected of us as ‘good people’ to wholeheartedly embrace. So Mum was a ready recipient of Christianity. She didn’t question any of it because it simply WAS. I on the other hand always questioned everything that didn’t appear to make sense. Some of those questions I posed to her – like ‘why did God ask Abraham to kill his son?’ Initially she didn’t give me adequate answers, but to this one I think she eventually made the standard response that it was to do with ‘testing Abraham’s faith.’ This was ok, I could see the point but still begged for more answers. You see I wasn’t getting to the REAL question for which I was seeking answers - which was WHO IS GOD?
Eventually, when I was about 15 I told her I wasn’t going to THAT Church (All Saints – Church of England) around the corner any more. That took long because since my early childhood in Guyana I have struggled with being ‘churched.’ I enjoy the singing and clapping and the lively fellowshipping that happens in some churches, but often find them phoney. I always had the feeling of not quite fitting in – and perhaps I projected the feeling by my infrequent attendance so that those church folk found it difficult to extend the consistent ‘love’ the whole thing was supposed to be about! Anyway, the All Saints Church I used to go to under my mum’s orders was stuffy and dull. Mum rarely attended with me but used to send me with my face fixed for a feud on my own. Some argument led to the declaration that I wasn’t going back ever again. That was a liberating moment. You see, when I posed some of the questions about religion and Christianity to my mum I was looking for something I didn’t realise until recently – my mother’s own true faith/belief in it. Somehow that would convince me; make me want to be part of it. But my mum has this suspicious way of disguising herself; being one foot in and everything else out; of appearing to be one thing but being another; of trying to please others; of trying not to disquiet and upset the given order of things. Bizarrely every one of her children were blessed or baptized or ‘offered up’ to different Christian denominations: Catholic, Anglican, Seven Days, and me, Pentecostal.
Portrait of her grandmother, Lucille, by Leah Gordon
Her story began with her estrangement from her own mother (and twin sister) when she was 9. She was sent to the City (Georgetown, Guyana) to live with spinster cousins, old enough to be her mother(s). She experienced Cinderella’s fate and then some at the hands of these women - particularly a not so ‘dear aunt’ as she called one of them. It seems she loved school, but before going she had to do a whole heap of chores (as most ‘Caribbean’ children, especially during the 1940s/50s would have had to) before she was allowed to go. She often arrived late to school where she also received ‘lashes’ for it. She endured several blows to her head from all direction (parental and wards, school children and their parents), physical, mental and spiritual. These led to her falling asleep everywhere. She tells a story of nearly being run over because she fell asleep as she was walking down the road. In the midst of these torments she went to Church. It was an Anglican that ‘dear aunt’ used to send her to though she rarely went with her (the same vibration mum would later return to me). Though they sent her to the church, they didn’t allow her to receive confirmation when it was time - she seems to regret this. But she clung to the teachings of the church and now in her aging is brimming with the memories of the Anglican hymns she sang as a young girl. I introduced her to YouTube and sometimes she asks me to find one of them. I confess my total abhorrence of some of these songs because rather than giving praises (making a lovely loud noise) unto the Lord there’s this terrible wailing as though it hurts to praise their God. The other day she asked me to find one of these dreadful hymns. Again, the same horrendous wailing. She said, it’s the ‘key’ they’re singing it in. Exaggerating I said, they all sound like this. We found one YouTube entry that was just the words on screen for her to follow. And she sang and somehow that seemed to content her heart.
Throughout all this I’ve made it a kind of mission/experiment to introduce her to some of the ancestral forms of honouring spirit/ the Divine and God. I have had an ancestral shrine for some years which she has never criticised. Neither has she ever said anything about my Osun shrine. Our conversations about matters of spirit are rich and varied. She always reverts to the Christian Bible and Jesus and I always infuse the talk with the power of ancestors, the Orishas and what “God” means to her/me. We never argue about our differing views but complement each other’s understanding. It’s true I get frustrated and have in the past torn down her white Jesuses in an act expressing that what was hidden from the old should be revealed to the babes but we’re cool about this now! After all no matter how many outward impressions of white Jesus I tear down from the walls her consciousness is suffused with them. I have found little images of the same long blond hair, blue eyed guy in some of her prayer books and am a little embarrassed about how ironically I set on a ‘crusade’ to eradicate the affects.
Lighting a candle for the ancestors at nubia pamper day
Elder at an 'opening to spirit' ritual for Osun
Since becoming a ‘member’ of Unity school of Christianity she has always shared affirmations with me. For example, a favourite is ‘Divine Order is established and maintained in all my affairs.’ I honour these affirmations now and recognise them for their full worth. Though the Bible has been her guide, some forms of Christianity her staple means of expressing her faith, she recognises ‘spirituality’ as something different to the ‘doctrines’ (or full prescriptions) of a given religion. She acknowledges that much was beaten out of and indoctrinated into Africans. She used to organise thanksgiving services back in the day. I must have loved these occasions because I’ve carried them forward in my life (now with a twist that incorporates my sense of ‘spirituality’ and aspects of ancestral traditions). At her thanksgiving ceremonies, Christianity always plays its part. Passages from the Bible are used, a mix of denominational hymns are sung and usually prayers are directed to the Christian God. Some years ago she held one in Guyana to celebrate her 70th birthday. My cousin caught ‘comfa’ (went into trance, became spiritually possessed) which delighted my mum. Like me she treasures the power of the drum and knows that a drum work must be done at intervals in our lives (actually as often as one can afford – time and resource wise) to keep alive the traditions and spirit of our ancestors. This is the departure from the ‘Christian’ order of things. In the churches when members ‘catch spirit’ they declare it ‘the holy ghost’ but prior to the interventions by Europeans this ‘spirit’ was associated with ancestors and other cosmic forces that manifest to guide the way we live and bestow blessings on us (as individuals and our families/communities). Christianity, particularly in the Pentecostal and Baptist denominations allows members to ‘mask’ the connection with ancestral spirits or the individual’s spirit guide. The ‘holy ghost’ possesses everyone, sometimes in a mass frenzy of collective excitement and worship, back-dropped by a pastor’s prodding the ‘recipient’ of the ‘holy ghost’ to identify the spirit as ‘Jesus.’ It’s a readymade formula and way of worshippers ‘accepting’ and labelling their experiences. Any other label is ‘uncertain’ and could be the opposite of the ‘holy ghost’ – i.e. something ‘demonic’ or the ‘devil’ thereby warranting the need for ‘exorcism’ and the pledge to come under the Order of Jesus (and be thus ‘born again’).
At her cousin Pansy's funeral
Her 'thank you baam' at her 80th birthday
Embracing her granddaughter at her coming of age (18) ritual
If therefore my cousin was ever to ‘catch comfa’ (go into trance) at one of these Churches – either it would be defined as possession by the ‘holy spirit’ or something demonic. Outside of the Church, however, it might be seen as her ‘own spirit guide’ trying to communicate with her or an ancestor doing same. Naming the spirit as ‘Jesus’ avoids the apparent wilderness of spirituality, its independence from any religious prescriptions, forcing the individual to fear themselves (rather than knowing ‘self’), be terrified of their experiences, finding peculiar their private outbursts – sometimes speaking non-lexically (in ‘tongues’) during prayer or intuiting things others can’t see or understand, hearing ‘voices’ they think might lead them to ‘madness,’ and so on. All these experiences precede and preclude the existence of religious orders and their icons. Conveniently, religious observances and icons enable individuals experiencing these seemingly ‘strange’ manifestations to interpret them in their terms, and ultimately be relieved of them. They can now join hands with others who have never experienced these peculiar forms of ‘awakening to consciousness’ (one way to see the experiences) or apparent mental breakdowns (another way) that are consequent to these manifestations. The individual is now part of the church family, comforted by the knowledge that Jesus’ blood sanctifies all such phenomena. It might be worth saying here that when (African) spiritual practitioners speak of honouring ancestors we’re not only speaking of ancestors caught in the holocaust of enslavement, we mean far before that time and long time before the birth of Jesus. Also in Guyana, someone might become possessed by a ‘spirit’ manifesting the stereotypical ‘actions’ of someone from a different ethnic group, so that the ‘cosmic forces’ and spirits recognised in spiritual practice is not one dimensional. Importantly, every individual comes into the world with a unique relationship to these forces. The quest for self-knowledge and Truth expresses the need for the unfoldment of spiritual purpose, and the individual’s ultimate realignment with soul force and the Absolute Source (or All) we might more simply relate to as God.
Mum throws kola
All sides up and positive
Priestess Osunyemi pours libation
Mum reading her dedication
Youngest in our group lights the Kwanzaa candles
Flute and drum rousing spirits (brilliant drumming by Prince, flute/drum by Siayom)
I know I digressed a little. But it was relevant. My mum speaks of some experiences which she said she could not share with anyone. The reason is that ‘they’ (her elders) would either chastise or beat her when she tried to talk to them about it – saying ‘yoh too biggoman.’. Her dreams, her visions, her intuitive interactions with spirit forces were thereby relegated to ‘nonsense’ as opposed to being allowed to express her unique relationship with her spirit and soul force. Hence her readiness to ‘disguise’ her innermost observances. This has persisted throughout her life. So too have those dreams/dreaming and intuitive interactions and where she finds a ready listener or sympathiser she speaks freely about them. Where she feels threatened if she were to disclose what she intuits she is silent and agrees with the other. I have always known her to meditate – at first I really thought she’d fallen asleep but now I accept something really happens when she’s communing in stillness.
An Osun Priestess recently invited my mother, as an elder to attend a naming ceremony she was conducting for her granddaughter. My mum was glad to go as she had never been to one, neither had I. She was in her element. She even got up (despite the crippling pain of arthritis and having to brace on her stick) and danced as the spirit moved her. She observed the Priestess (Osunyemi) throwing kola for divination so that when a few weeks later it came to her turn to do this she knew what to do very well.
This holiday I held a kwanzaa thanksgiving ritual. I wanted to give thanks for so many things this year, but particularly the venture of publishing my books and website. I wanted others to partake in giving their thanks also. It was the first time I would try to change up the thanksgiving somewhat – mixing it with Kwanzaa and including Orishas, folk songs and drumming (we usually beat tamborines and shake maracas to the singing). In other words, as much as possible, substituting the outward Christian symbols for those reflecting aspects of my spirituality and understanding of ancestral traditions. We had a table set for Kwanzaa, laid with those symbols – a unity cup, the kinara candle holder with seven candles (3 red, 1 black, 3 green – embedding Garvey’s flag), fruits: mango, banana, dates, tamarind, kaki, custard apple, grapes and ground provisions, cassava, plantain (green and yellow), eddo, sweet potato, also some scotch bonnet peppers and ginger. There was also a thanksgiving table laden with more candles of different colours, glass of water, honey, cologne, flowers, fruits, seeds/grains, Indian sweets, homemade bread and Guyanese black cake, wines and rum. The candles on this table would ordinarily have particular meanings according to their colours, (spiritual purpose, prosperity, health and healing etc). This time I wanted them to represent Orishas (white for Obatala, green for Osain, black for Esu, red for Oya, yellow for Osun, blue for Yemaya, etc). Mum was cool with this as an adaptation to our usual thanksgiving.
Our Kwanzaa 2015 table
Thanksgiving table
After a powerful drumming introduction, calling the good spirits to come join our celebration, we poured libation. Sister Osunyemi threw the Kola for the purpose of divining that we would have a successful ritual, and that all our aspirations and prayers would be answered by the spirits. When she threw the kola, however, the response was not favourable. We couldn’t rejoice. We decided to throw them again. This time my mum would do it. She got into position, shook the nuts as she had seen Osun do, and threw the kola. We rejoiced for it was a perfect yes, all sides up, that our ritual would be a success. Osun said to her, “mum I was doing your work for you! This is the work you supposed to be doing.” How we clapped and laughed. We explained what the candles symbolised – whilst for mum the white one would be the ‘Christ light’ it would be that for me too but also Obatala and the energy of purity. And so it was we exchanged the meanings of the candles according to the way I would do it and how mum would. My mum opened with a tribute to me she’d written for me (in secret) showing off her ability to write prayerfully and produce her own affirmations. We used the unity cup symbolically for everyone to take turns to give thanks for the past year’s achievements, acknowledging its challenges and to express our hopes for 2015. After we each spoke, we shouted ‘Ase, Ase, Ase’ to give power to our expressions. For the first time I heard my mum saying ‘Ase.’ It was singled out, coming almost at the end of all the other ‘Ases’ as though I was meant to hear it. Where ordinarily she would pronounce ‘Amen’ she had switched, at least for this occasion to embracing ‘Ase.’ Yes, it’s true that she has learnt to disguise herself, fit into the moment and accept the given order but I’d like to see her willingness to embrace this African (Yoruba) cultural/spiritual symbol as transformative. By the same token for me it was no accident/coincidence that she chose to wear her blue and white dress, the colours associated with Yemaya, the Orisha - Mother of the Oceans (my dress expressed Osun, the river goddess – the two being sisters). You see in the quietness of our conversations she revealed this story to me:
Some time in her early 20s she had this vision/dream (I say vision because it sort of came to pass). She was being chased by her mother in law, she was running ‘breathless’ and couldn’t anymore. It was in Guyana, she ran through one of the local markets (Bourda), and encountered someone she knew and told them she was being chased. The lady told her that a policeman was approaching whom she could go and tell her problems to. The policeman was coming from the opposite side of a bridge she had to cross. They met up on the bridge. He showed her a lady who was in the water. He told her to throw a coin (collection) to the lady and tell her what her problems were. But she was so amazed by the lady, who was holding a beautiful bouquet of flowers in her hands as she was submerged in the water that mum couldn’t remember what the policeman said. She turned back and asked him what he had said, when she turned again to see the lady, she was no longer there.
A special kind of love and high vibration was experienced at our Kwanzaa thanksgiving
She later identified this water spirit as ‘our lady’ because she saw images of a similar lady around (her in laws were Catholic). She has several times seen the lady in visions; she mostly comes to give her some instruction when she needs guidance. For her this spirit is ‘our lady’ – for me it’s a water spirit and could in this sense be either mammy water or Yemaya. In any case it’s a matter of interpretation and emphasises a syncretic moment (fusing of different beliefs/practices as is Santeria and other African Caribbean practices). The more we have these conversations the more my mum begins to believe that there’s more to who she is than what was previously taught her. She ties her head always and seems no longer anxious about being thought of as an ‘obeah woman’ or Bin Laden’s mother as they jibbed with her when she was back home in Guyana. As Maya Angelou says in her book dedicated to the memory of her mother I say this to you mum and trust you will come to realise it for yourself ‘there has never been anyone greater than you’ you are a single, beautiful and unique expression of the infinite source from which we all emerge in material form. Thus for me you are your God. Or as you would say ‘the Father and you are one.’ Ase Ase Ase O!
Osun and Yemaya, orisha sisters are symbolic of the growing bond between myself and my mum
Way wive wordz provides moments of contemplation. These Warrior Shouts free the spirit from the dominance of ego consciousness. They activate intuition, breathing renewed energy into the soul force. Reactivating the soul's significance is a gateway to creativity and expansion; the eternal rhythm within everything. Introspection fulfills the soul's yearnings, connecting us to the path (or Way) of our becoming.
Saturday, 3 January 2015
Monday, 1 December 2014
Journey to being self-published and my top 5 motivators
Photo and book cover design by Scott Jason Smith
“If there’s a book you want to read that hasn’t been written yet then you must write it.” Toni Morrison
The Journey
The fantasy of being a 'discovered' writer by one of the mega publishing houses was long over. But it took a while to get over the seductive dream. I knew about self-publishing well over 10 years ago but thought it second rate – there was a stigma of self-published authors being considered “lepers of the literary world” as one article I read expressed. The desire to be “discovered” or “accepted” was simple – validation. To have your authorship validated by 'the professionals' meant everything. There is something cringingly narcissistic about having to shout to the world that you are “good” – that you can write. Also, the shouting suggests arrogance and discredits validation since it’s self-articulated. So I wallowed for years in the misery of failure and feeling unworthy.
Reflecting: Photo Ateinda Ausarntu (Ausarntu Dizyns)
I entered short stories and poems to competitions, submitted them to magazines, sent my first novella to publishers but there were always good reasons why they were politely turned down. Sometimes no reasons just no reply! I based my submissions on what I read in the various publications and dared imagine I was good enough. When the competition lists came out declaring the winners and their entries I told myself something unfair had taken place. My heart continued to wallow. I had the feeling that my writing didn’t 'fit' anywhere. I began to believe it was me, I wasn’t good after all.
Many of the self-published books I had previously seen looked terrible. I had a feeling mine would look the same. So I shunned the idea. Let me back up a bit. When I say “some of them looked terrible” I mean that their covers were hurriedly and poorly designed; either by the author or a 'friend.' Editing was atrocious, probably because the author did it themselves or got someone who wasn’t so committed or fully up to the task. The selected fonts sometimes seemed difficult to read – as though unnecessary flamboyance was behind the choice to use a weird looking one over a legible or traditionally used one.
How could I overcome my book falling into these traps?
Having now self-published two books, I can see how easily it is to fall comfortably into all those traps. Financial limitation is one of the reasons for this. For example, I couldn’t afford professional editors (I don’t count because it’s my work!) There are a number of editing and formatting errors in the text that despite several times editing and giving to trusted people to look at remain. I console myself by remembering that I have read several books by brilliant authors and well-known publishers with editing issues in them. We are human; the process is a human one – errors are inevitable and sometimes unavoidable. These are my first books, I will get better and I will one day have the financial means to get them properly edited and so on.
Lack of creativity and zealousness also accounts for some of the obvious self-published look. In our eagerness to see the final 'product' we can take unnecessary short cuts. When we decide on a cover image (we being the author) are we overlooking the fact that we are not the best person to make that decision – is there anyone in our sphere of influence we can call on to get honest views about the cover. The Awakening and other Poems has a flowery image – of me romantically inhaling the fragrance of pink frangipani. I decided to use this image because I liked it! It was taken on a trip to Barbados last year and I was happy that day and felt free. In my haste to get the poems published I chose this image and paid someone to design its cover. David Morrison, from Publish Nation wasn’t charging too much and would do the work quicker than friends or family I knew who were more than capable of doing same, if not better. But the waiting and expecting would drive me crazy! David came back with all the pink hazey bits which ordinarily I find ultra-cheesy. When I showed it to a few people you could see they were flinching from the luminous reflection of the image. After a while I decided I didn’t mind the design – the poems are supposed to show potential creative writing students that I have a publication to my name – therefore the aim was to fulfil a marketing gap. I needed to honestly ask myself if the cover was doing just that. I think it is but await time and analytics to tell!
That leads me to point out that a self-published author naturally finds themselves having to think like a publisher. The role of the publisher is to sell the author’s books – it’s a business, the book has to be marketable, because it’s a product that has to represent what consumers are looking for. When I spoke with the printers, they always referred to my book (Elijah, the novel) as a product. They liked the colours used for the cover and said this made for a good product. It might be difficult to think of the work in this clinical way, the arduous effort of creativity brought down to such technical terminology but there really is no choice. A book is an item produced for consumption. You read it’s back cover blurb, decide you like it, a decision based also on the appeal of the cover design, you place it into your shopping basket, virtual or real and purchase – as much as you would a good body lotion or cologne.
Trying to format the books was no joke!Creatspace will take you through this, but this joyful news came too late for our first run. But after a while I had to stop believing there was a secret conspiracy by big publishers to retain all the knowledge of this intricate procedure for themselves. I thought that publishers had all the keys to this magnificent world and somehow locked the lepers out! Truth is I really had to get a better angle on Word for Windows; get my head round Section Breaks and so on – my head is still not round these! I don’t have Mac or Adobe, which can offer some formatting and designing advantages so I made do with my blessed laptop, which has served me well. I enlisted Ateinda when I felt defeated and time was running out to help me understand what I was doing wrong. We spent ages one weekend, trying to insert/delete pages and numbers so that others would fall on the right side and therefore avoid the curse of leprosy.
Verso, Recto, ISBNS and Barcodes – getting to know what’s what.
I knew the page but had no idea it was called 'verso' and that its opposite was 'recto.' When the first proof of the poems came with the ISBN and Copyright information on the wrong side, the lesson was clear. Printers will print whatever you give them; they won’t always tell you that your formatting is busted. You have to know where things should go. If you want them to format anything, consider this is an extra service they’ll charge you for. Every step of the way Google was my virtual guide. Put your request in and amazingly, you’ll get the answer. Guidance also came in the form of some lessons on YouTube. I enhanced a particular wisdom during the process - the value of gratitude to the universe when synchronicity occurs. I thanked all those people who take time to post helpful tips for just about every conceivable problem. So the most basic user or experienced can learn something, add to their skills and begin to appreciate the worthiness of the journey.
I used to be curious about ISBNs – what secret vault were these kept in? It took ages to purchase a batch – somehow finding the £135 to do so seemed impossible. I didn’t realise that some printers will do this for you, so you don’t have to be anxious about getting your own. I didn’t want the printers to have ownership of the work by providing the ISBN. That’s the deal with some of them; it’s their way to market themselves. Since I wanted Way Wive Wordz to be the publisher of the books, I had to purchase our own set from Nielsens. And barcodes – I learnt that these too aren’t a protected prize of the big publishers/outlets. I was slowly being handed some of those keys – in truth they’d been jingling above my head all my life. I didn’t hear the gentle jingles and didn’t see the light reflecting from them because I didn’t allow my senses to be rightfully exposed. That’s the consequence of wallowing.
“Divine Order” - the right printer at the right time
Initially I wanted to publish the novel with Lulu but realised that their sizes for novels were not what I wanted. I had given the manuscript to Publish Nation to organise this, then had to pull the plug last minute and find another printer with only weeks left to the launch. After finding a printer from a quick internet search – these wonderfully friendly sounding blokes at CPI - we realised the formatting was all over the place – some are still not resolved but we decided to go for it because we’d reached that point of near break and the launch was imminent. All that pressure now seems last century but at the time I wondered if I should give back the keys. I didn’t because that would be foolishness – and because I trusted that we had found in CPI the right printers – they were just great. I began to appreciate the “back end” of the publishing process.
Top 5 motivators
1) Self-belief – pursuing creative potential
At some point in the journey I discovered Derek Murphy of Creativindie and thanked the Orisha someone like him is out there, respecting and urging creatives to be their best and earn what they deserve. I subscribed to his blog and rarely do I confess to being a 'fan' of anything or anyone but something about Derek (perhaps it’s his seeming integrity and definite generosity) spoke to me at the time I most needed it. If you go on his website, this is his tag: “lessons in publishing, art and design, selling stuff and building a prosperous creative empire.” YES! That is exactly what I needed/need. This reaching voice or mind was somehow well mapped with my ideas for Way Wive Wordz. When I received his Newsletters I thanked him for the vibrations of his words. I literally sent him reply emails! He probably believes I’m a stalker now, but I don’t mind. The discovery empowered me to more confidently own the idea I had about being a “spiritual creative” and believe much more in myself.
2) The Artist’s Way – taking some steps back to move forward
Before discovering Creativindie, about a year ago my cousin introduced me to Julia Cameron’s The Artist’s Way. I did the remote/book course and absolutely loved it! I realised that I’d been hiding, preventing myself from going for it, because somewhere inside me lurked the gremlins of failure, fear and an art teacher’s mantra that told me when I was about 15 that I wasn’t good enough. Not only the art teacher – but the industry professionals, the competition judges, the magazine editors who didn’t select my work – they all confirmed this teacher’s judgement. The Artist’s Way helped me seek out and destroy “the enemy within” and the “crazymakers” (those people – haters of a sort – who negatively impact your life by making you jump/skip/bounce to their tunes instead of harnessing your own). The course also taught me to identify the “ally within,” to appreciate those lessons in Truth and “affirmations” my mum had long been drilling in me. I realised that two of my “allies” were English literature teachers. Mrs Lewellyn, from my High School was a Miss Marple-like robust woman who seemed to like me. Her English class was the only one I took seriously and during which I relished putting my hands up attempting to spell everything. She believed in me in a way she didn’t have to voice. And Patricia Murray, my supervisor at London Met who taught interesting modules on Caribbean literature (or other literatures in English), one on magical realism and Postcolonial studies. I respected her a lot. She encouraged and supported, her flexibility meant I could do some of the things my way. I consider her a mentor still. She believed I could write, and because I knew she was good at what she did, I trusted that and it kept me going those silent and sometimes lonely months leading up to publishing.
Phoenix High School Students and volunteers (Photo James Barnor)
Jan Parnell, Director of post at Phoenix High and Mr James Barnor
Jerome and Jamaal, JUnity
Siayome Karuma, brilliant drumming
3) Bogle L’Ouverture, legacies and reaching for the baton
The decision to self-publish came as a consequence of recognising that I really had no excuse. If Jessica and Eric Huntley, Margaret Busby, John Le Rose (and Sarah White, through New Beacon) among others could publish at a time when Africans weren’t expected to participate in this industry, what’s my excuse now? They faced extreme obstacles (not least lack of financial resources) and persevered because there was an urgency and need to produce works for Black people particularly in the UK that would strengthen their cultural identity, promote self-awareness, self-determination and express their aspirations. No one else was interested in raising the consciousness and producing culturally rich “products” for the consumption of African people in this country. I could feel myself believing I could do it. When Jessica Huntley passed away last year the compulsion grew – her spirit remained throughout the entire process; rising me from sleep early mornings encouraging me to push through, ask questions, be fearless and forward thinking. When Maya Angelou passed away earlier this year this compulsion took on fierce wings. I knew that if I didn’t take up the baton I’d have to live with that sinking feeling of having missed an opportunity to win the race. There are two poems in the Awakening, ‘Don’t tell me no goodbye’ and ‘More Markable Things’ respectively dedicated to Jessica Huntley and Maya Angelou whom I consider “spiritual anchors” of productivity and creativity now residing in the ancestral realm.
4) The Honest Guys and the Power of Meditation
It’s not easy to shut everything out and get into the 'self' that needs to be productive. I had to do something drastic – forget the ad hoc self-centering. Do it properly. I continued to engage with the ‘outside world’ as needs must – but kept it minimal. I wanted to meditate much more, and be better at it. I didn’t have funds or much time to go to the many meditation classes, yoga retreats and so on I wanted to. I came across the Honest Guys on YouTube – they have these little uplifters I became a addicted to! Each morning, and at night I played something that set me up for the day or quietened me down at night. This gave me clarity. A cluttered mind impacts the spirit and is a blight to creativity and productivity. The Honest Guys’ “morning uplift” gave me the motivation to “dream big” and believe “I mattered.” One of their meditations reacquainted me with “Shelly” the neglected child, I neglected! I revisited who she was – her sensitivities, and serious, unsmiling, face. I looked in her staring eyes and realised that they were engaging uniquely with the world. I reflected on the innocent, free spirited dreams she must have had before getting all grown – and forgetting. I began to greet her each morning.
"Shelly" and Michelle Yaa Asantewa - connecting
Photo Michael Beckford
5) Rewards reward rewards – the enterprise of positive thinking
I made effective use of the clarity I received from meditation. I made necessary decisions, began to cut back on stupidness – time wasting and wasters. I stopped taking myself for granted! I let go of everything physical and spiritual that I felt impeded me in this life and past (plural). I accepted myself – all the dimensions and aspects. I forgave myself. All the foolishness, indecisions and failures to launch. I recognised that I didn’t crave fame; but considered that fortune could have a positive impact and that it meant more than ‘physical material substance’ as was the case with King Solomon’s request for wisdom. I stopped thinking negatively and feeling limited. I developed a mantra of my own – to “dream big and ask.” I observed that if I found something and was grateful for it – and heartfully thanked the universe – there was a high chance I’d find something else to be thankful for. This attitude was expansive. It is not possible to dip into the ocean and consume all its water. In everything I began to see unlimited possibility, and know that I deserved some of the water for I was prepared to go to the depths and arise to heights. If this meant venturing in my own boat in the exciting world of self-publishing I would band my belly and boldly embrace the waves.
Taking the stage – the spirited vibes at the launch
Jan Parnell, Director of post 16 and Progression at Phoenix High School once inspired me by asking if I’d had any of my work published. About a year later that’s exactly what I was doing for myself and feeling proud to do so. It’s the right time because the self-publishing taint has pretty much gone. Self-published authors are not “lepers “and have never been. There are services and programmes readily available to help us become better at the task of creating marketable 'products' and own our creativity. However, we have to accept that the quality of writing still has to “measure up” so we have to set our own high standards, generate excellent content. Some of us will hit the right buttons and make millions from this growth industry. Many of us will at least be grateful that we tried. Still some will eventually master the craft of marketing and distribution that will really be the test of our successes or failures.
A 6th form centre was exactly the place to hold the launch. Some wonderful students at the aptly named “Phoenix” School volunteered to help on the night. Hosted by Rahima Begum, the Executive Head Teacher Ambassador and member of the Youth Parliament, the event was predominantly led by young people. We had a stunning line up of performers. The occasion was opened with drumming by Siayome Karuma accompanied by flautist Keith Waite and pouring of libation by Priestess Osunyemi. The libation honoured ancestors as well as those young people who’d lost their lives through violence. We dedicated the event to James Andrew Godfrey Smartt (Jags) who was killed in Streatham Ice-rink by another youth in 2007. The day of the launch, 20th November, he would have been celebrating his 24th birthday.
There was an impressive turn out despite the tart weather and behind-gods back location of the school. Among the mix of adults and youth, were three special octagenarians – Lucille Davis, my mum, Eric Huntley and James Barnor. Natalie David’s soothing rendition of “At last” warmed us up and marked the flavour of achievements. Danny Thompson raised the tempo still with his powerful piece – ‘Understand Young Man’ urging African youths to ‘recognise’ the folly of postcode wars and the way the ‘system’ benefitted from their lack of self-awareness. The crowd swayed and were clearly charmed by the wonderfully talented J-Unity, a “young unique duo” who appeared last year on Britain’s got talent. They sang two tracks from their forthcoming EP – both big tunes to watch out for when it lands.
I was impressed by the two young ladies, Leonna Grant and Amira Ibrahim who read poems from the collection. As for the three young men, Guled Mohamed, Mohyahdin Shiddo and Ahaziah Jackson-Denis who volunteered to read/act out the dialogue from a scene in Elijah, they were brilliant. I dreamt of this and simply asked the question, the reality measured up beautifully.
As I read a last selected passage from Elijah I held back tears because I felt sad about what was happening to him in that ‘scene.’ He had been arrested and was being mechanically turned over by a system and society that had no regard for the circumstances of his life, let alone his rehabilitation. On reflection the sadness also has something to do with me having to let him and it (the novel) go. It’s exposure. This reminds me of a time I heard Toni Morrison reading. A friend asked if we could take a picture of her – “as long as it doesn’t flash” she said. “It won’t” my friend lied. The camera flashed, Toni frowned. It’s not always possible to get a good picture without using the flash. If one wants to take the stage they must be prepared for the exposure and all the discomfort this comes with.
J-unity living up to their talent
Scott Jason Smith, Librarian at Phoenix High, and Elijah Cover illustrator, with Rahima, event Host and Executive Head Teacher Ambassador
Hail to the future - I fearlessly go forth to meet my good
I want to keep hold of my balance, continue developing the craft of writing, getting better at it. And now with the publishing angle, doing this to a level I can be proud of. For now I must accept all the congratulations because with the excellent support of guides in both physical and spiritual realms I achieved a triple launch. I developed the Way Wive Wordz website - do take a browse - (all self-published authors are encouraged to have an “author website” and there are no shortages of people who will develop these for you, if you have the funds to pay them; pay them you must because they will deserve every penny if they do it to your satisfaction; and of course the two publications which are first of many, if the Orisha and ancestors continue to bless me. The prettiest pink flowers gifted to me, the sumptuous refreshments collectively provided, the energy of the guests, the warmth of the Phoenix flame, the queues to purchase the books, the quill pen I used to sign them all made me happy to take the stage and be glad to do it my way and finally sigh!
Danny Thompson rousing audience with his "Understand Young Man" piece
Natalie David soothes with "At Last!"
SHOUT OUT
CREATIVE WRITING COURSE STARTS JANUARY 31st 2015 (CHECK DETAILS HERE)
“If there’s a book you want to read that hasn’t been written yet then you must write it.” Toni Morrison
The Journey
The fantasy of being a 'discovered' writer by one of the mega publishing houses was long over. But it took a while to get over the seductive dream. I knew about self-publishing well over 10 years ago but thought it second rate – there was a stigma of self-published authors being considered “lepers of the literary world” as one article I read expressed. The desire to be “discovered” or “accepted” was simple – validation. To have your authorship validated by 'the professionals' meant everything. There is something cringingly narcissistic about having to shout to the world that you are “good” – that you can write. Also, the shouting suggests arrogance and discredits validation since it’s self-articulated. So I wallowed for years in the misery of failure and feeling unworthy.
Reflecting: Photo Ateinda Ausarntu (Ausarntu Dizyns)
I entered short stories and poems to competitions, submitted them to magazines, sent my first novella to publishers but there were always good reasons why they were politely turned down. Sometimes no reasons just no reply! I based my submissions on what I read in the various publications and dared imagine I was good enough. When the competition lists came out declaring the winners and their entries I told myself something unfair had taken place. My heart continued to wallow. I had the feeling that my writing didn’t 'fit' anywhere. I began to believe it was me, I wasn’t good after all.
Many of the self-published books I had previously seen looked terrible. I had a feeling mine would look the same. So I shunned the idea. Let me back up a bit. When I say “some of them looked terrible” I mean that their covers were hurriedly and poorly designed; either by the author or a 'friend.' Editing was atrocious, probably because the author did it themselves or got someone who wasn’t so committed or fully up to the task. The selected fonts sometimes seemed difficult to read – as though unnecessary flamboyance was behind the choice to use a weird looking one over a legible or traditionally used one.
How could I overcome my book falling into these traps?
Having now self-published two books, I can see how easily it is to fall comfortably into all those traps. Financial limitation is one of the reasons for this. For example, I couldn’t afford professional editors (I don’t count because it’s my work!) There are a number of editing and formatting errors in the text that despite several times editing and giving to trusted people to look at remain. I console myself by remembering that I have read several books by brilliant authors and well-known publishers with editing issues in them. We are human; the process is a human one – errors are inevitable and sometimes unavoidable. These are my first books, I will get better and I will one day have the financial means to get them properly edited and so on.
Lack of creativity and zealousness also accounts for some of the obvious self-published look. In our eagerness to see the final 'product' we can take unnecessary short cuts. When we decide on a cover image (we being the author) are we overlooking the fact that we are not the best person to make that decision – is there anyone in our sphere of influence we can call on to get honest views about the cover. The Awakening and other Poems has a flowery image – of me romantically inhaling the fragrance of pink frangipani. I decided to use this image because I liked it! It was taken on a trip to Barbados last year and I was happy that day and felt free. In my haste to get the poems published I chose this image and paid someone to design its cover. David Morrison, from Publish Nation wasn’t charging too much and would do the work quicker than friends or family I knew who were more than capable of doing same, if not better. But the waiting and expecting would drive me crazy! David came back with all the pink hazey bits which ordinarily I find ultra-cheesy. When I showed it to a few people you could see they were flinching from the luminous reflection of the image. After a while I decided I didn’t mind the design – the poems are supposed to show potential creative writing students that I have a publication to my name – therefore the aim was to fulfil a marketing gap. I needed to honestly ask myself if the cover was doing just that. I think it is but await time and analytics to tell!
That leads me to point out that a self-published author naturally finds themselves having to think like a publisher. The role of the publisher is to sell the author’s books – it’s a business, the book has to be marketable, because it’s a product that has to represent what consumers are looking for. When I spoke with the printers, they always referred to my book (Elijah, the novel) as a product. They liked the colours used for the cover and said this made for a good product. It might be difficult to think of the work in this clinical way, the arduous effort of creativity brought down to such technical terminology but there really is no choice. A book is an item produced for consumption. You read it’s back cover blurb, decide you like it, a decision based also on the appeal of the cover design, you place it into your shopping basket, virtual or real and purchase – as much as you would a good body lotion or cologne.
Trying to format the books was no joke!Creatspace will take you through this, but this joyful news came too late for our first run. But after a while I had to stop believing there was a secret conspiracy by big publishers to retain all the knowledge of this intricate procedure for themselves. I thought that publishers had all the keys to this magnificent world and somehow locked the lepers out! Truth is I really had to get a better angle on Word for Windows; get my head round Section Breaks and so on – my head is still not round these! I don’t have Mac or Adobe, which can offer some formatting and designing advantages so I made do with my blessed laptop, which has served me well. I enlisted Ateinda when I felt defeated and time was running out to help me understand what I was doing wrong. We spent ages one weekend, trying to insert/delete pages and numbers so that others would fall on the right side and therefore avoid the curse of leprosy.
Verso, Recto, ISBNS and Barcodes – getting to know what’s what.
I knew the page but had no idea it was called 'verso' and that its opposite was 'recto.' When the first proof of the poems came with the ISBN and Copyright information on the wrong side, the lesson was clear. Printers will print whatever you give them; they won’t always tell you that your formatting is busted. You have to know where things should go. If you want them to format anything, consider this is an extra service they’ll charge you for. Every step of the way Google was my virtual guide. Put your request in and amazingly, you’ll get the answer. Guidance also came in the form of some lessons on YouTube. I enhanced a particular wisdom during the process - the value of gratitude to the universe when synchronicity occurs. I thanked all those people who take time to post helpful tips for just about every conceivable problem. So the most basic user or experienced can learn something, add to their skills and begin to appreciate the worthiness of the journey.
I used to be curious about ISBNs – what secret vault were these kept in? It took ages to purchase a batch – somehow finding the £135 to do so seemed impossible. I didn’t realise that some printers will do this for you, so you don’t have to be anxious about getting your own. I didn’t want the printers to have ownership of the work by providing the ISBN. That’s the deal with some of them; it’s their way to market themselves. Since I wanted Way Wive Wordz to be the publisher of the books, I had to purchase our own set from Nielsens. And barcodes – I learnt that these too aren’t a protected prize of the big publishers/outlets. I was slowly being handed some of those keys – in truth they’d been jingling above my head all my life. I didn’t hear the gentle jingles and didn’t see the light reflecting from them because I didn’t allow my senses to be rightfully exposed. That’s the consequence of wallowing.
“Divine Order” - the right printer at the right time
Initially I wanted to publish the novel with Lulu but realised that their sizes for novels were not what I wanted. I had given the manuscript to Publish Nation to organise this, then had to pull the plug last minute and find another printer with only weeks left to the launch. After finding a printer from a quick internet search – these wonderfully friendly sounding blokes at CPI - we realised the formatting was all over the place – some are still not resolved but we decided to go for it because we’d reached that point of near break and the launch was imminent. All that pressure now seems last century but at the time I wondered if I should give back the keys. I didn’t because that would be foolishness – and because I trusted that we had found in CPI the right printers – they were just great. I began to appreciate the “back end” of the publishing process.
Top 5 motivators
1) Self-belief – pursuing creative potential
At some point in the journey I discovered Derek Murphy of Creativindie and thanked the Orisha someone like him is out there, respecting and urging creatives to be their best and earn what they deserve. I subscribed to his blog and rarely do I confess to being a 'fan' of anything or anyone but something about Derek (perhaps it’s his seeming integrity and definite generosity) spoke to me at the time I most needed it. If you go on his website, this is his tag: “lessons in publishing, art and design, selling stuff and building a prosperous creative empire.” YES! That is exactly what I needed/need. This reaching voice or mind was somehow well mapped with my ideas for Way Wive Wordz. When I received his Newsletters I thanked him for the vibrations of his words. I literally sent him reply emails! He probably believes I’m a stalker now, but I don’t mind. The discovery empowered me to more confidently own the idea I had about being a “spiritual creative” and believe much more in myself.
2) The Artist’s Way – taking some steps back to move forward
Before discovering Creativindie, about a year ago my cousin introduced me to Julia Cameron’s The Artist’s Way. I did the remote/book course and absolutely loved it! I realised that I’d been hiding, preventing myself from going for it, because somewhere inside me lurked the gremlins of failure, fear and an art teacher’s mantra that told me when I was about 15 that I wasn’t good enough. Not only the art teacher – but the industry professionals, the competition judges, the magazine editors who didn’t select my work – they all confirmed this teacher’s judgement. The Artist’s Way helped me seek out and destroy “the enemy within” and the “crazymakers” (those people – haters of a sort – who negatively impact your life by making you jump/skip/bounce to their tunes instead of harnessing your own). The course also taught me to identify the “ally within,” to appreciate those lessons in Truth and “affirmations” my mum had long been drilling in me. I realised that two of my “allies” were English literature teachers. Mrs Lewellyn, from my High School was a Miss Marple-like robust woman who seemed to like me. Her English class was the only one I took seriously and during which I relished putting my hands up attempting to spell everything. She believed in me in a way she didn’t have to voice. And Patricia Murray, my supervisor at London Met who taught interesting modules on Caribbean literature (or other literatures in English), one on magical realism and Postcolonial studies. I respected her a lot. She encouraged and supported, her flexibility meant I could do some of the things my way. I consider her a mentor still. She believed I could write, and because I knew she was good at what she did, I trusted that and it kept me going those silent and sometimes lonely months leading up to publishing.
Phoenix High School Students and volunteers (Photo James Barnor)
Jan Parnell, Director of post at Phoenix High and Mr James Barnor
Jerome and Jamaal, JUnity
Siayome Karuma, brilliant drumming
3) Bogle L’Ouverture, legacies and reaching for the baton
The decision to self-publish came as a consequence of recognising that I really had no excuse. If Jessica and Eric Huntley, Margaret Busby, John Le Rose (and Sarah White, through New Beacon) among others could publish at a time when Africans weren’t expected to participate in this industry, what’s my excuse now? They faced extreme obstacles (not least lack of financial resources) and persevered because there was an urgency and need to produce works for Black people particularly in the UK that would strengthen their cultural identity, promote self-awareness, self-determination and express their aspirations. No one else was interested in raising the consciousness and producing culturally rich “products” for the consumption of African people in this country. I could feel myself believing I could do it. When Jessica Huntley passed away last year the compulsion grew – her spirit remained throughout the entire process; rising me from sleep early mornings encouraging me to push through, ask questions, be fearless and forward thinking. When Maya Angelou passed away earlier this year this compulsion took on fierce wings. I knew that if I didn’t take up the baton I’d have to live with that sinking feeling of having missed an opportunity to win the race. There are two poems in the Awakening, ‘Don’t tell me no goodbye’ and ‘More Markable Things’ respectively dedicated to Jessica Huntley and Maya Angelou whom I consider “spiritual anchors” of productivity and creativity now residing in the ancestral realm.
4) The Honest Guys and the Power of Meditation
It’s not easy to shut everything out and get into the 'self' that needs to be productive. I had to do something drastic – forget the ad hoc self-centering. Do it properly. I continued to engage with the ‘outside world’ as needs must – but kept it minimal. I wanted to meditate much more, and be better at it. I didn’t have funds or much time to go to the many meditation classes, yoga retreats and so on I wanted to. I came across the Honest Guys on YouTube – they have these little uplifters I became a addicted to! Each morning, and at night I played something that set me up for the day or quietened me down at night. This gave me clarity. A cluttered mind impacts the spirit and is a blight to creativity and productivity. The Honest Guys’ “morning uplift” gave me the motivation to “dream big” and believe “I mattered.” One of their meditations reacquainted me with “Shelly” the neglected child, I neglected! I revisited who she was – her sensitivities, and serious, unsmiling, face. I looked in her staring eyes and realised that they were engaging uniquely with the world. I reflected on the innocent, free spirited dreams she must have had before getting all grown – and forgetting. I began to greet her each morning.
"Shelly" and Michelle Yaa Asantewa - connecting
Photo Michael Beckford
5) Rewards reward rewards – the enterprise of positive thinking
I made effective use of the clarity I received from meditation. I made necessary decisions, began to cut back on stupidness – time wasting and wasters. I stopped taking myself for granted! I let go of everything physical and spiritual that I felt impeded me in this life and past (plural). I accepted myself – all the dimensions and aspects. I forgave myself. All the foolishness, indecisions and failures to launch. I recognised that I didn’t crave fame; but considered that fortune could have a positive impact and that it meant more than ‘physical material substance’ as was the case with King Solomon’s request for wisdom. I stopped thinking negatively and feeling limited. I developed a mantra of my own – to “dream big and ask.” I observed that if I found something and was grateful for it – and heartfully thanked the universe – there was a high chance I’d find something else to be thankful for. This attitude was expansive. It is not possible to dip into the ocean and consume all its water. In everything I began to see unlimited possibility, and know that I deserved some of the water for I was prepared to go to the depths and arise to heights. If this meant venturing in my own boat in the exciting world of self-publishing I would band my belly and boldly embrace the waves.
Taking the stage – the spirited vibes at the launch
Jan Parnell, Director of post 16 and Progression at Phoenix High School once inspired me by asking if I’d had any of my work published. About a year later that’s exactly what I was doing for myself and feeling proud to do so. It’s the right time because the self-publishing taint has pretty much gone. Self-published authors are not “lepers “and have never been. There are services and programmes readily available to help us become better at the task of creating marketable 'products' and own our creativity. However, we have to accept that the quality of writing still has to “measure up” so we have to set our own high standards, generate excellent content. Some of us will hit the right buttons and make millions from this growth industry. Many of us will at least be grateful that we tried. Still some will eventually master the craft of marketing and distribution that will really be the test of our successes or failures.
A 6th form centre was exactly the place to hold the launch. Some wonderful students at the aptly named “Phoenix” School volunteered to help on the night. Hosted by Rahima Begum, the Executive Head Teacher Ambassador and member of the Youth Parliament, the event was predominantly led by young people. We had a stunning line up of performers. The occasion was opened with drumming by Siayome Karuma accompanied by flautist Keith Waite and pouring of libation by Priestess Osunyemi. The libation honoured ancestors as well as those young people who’d lost their lives through violence. We dedicated the event to James Andrew Godfrey Smartt (Jags) who was killed in Streatham Ice-rink by another youth in 2007. The day of the launch, 20th November, he would have been celebrating his 24th birthday.
There was an impressive turn out despite the tart weather and behind-gods back location of the school. Among the mix of adults and youth, were three special octagenarians – Lucille Davis, my mum, Eric Huntley and James Barnor. Natalie David’s soothing rendition of “At last” warmed us up and marked the flavour of achievements. Danny Thompson raised the tempo still with his powerful piece – ‘Understand Young Man’ urging African youths to ‘recognise’ the folly of postcode wars and the way the ‘system’ benefitted from their lack of self-awareness. The crowd swayed and were clearly charmed by the wonderfully talented J-Unity, a “young unique duo” who appeared last year on Britain’s got talent. They sang two tracks from their forthcoming EP – both big tunes to watch out for when it lands.
I was impressed by the two young ladies, Leonna Grant and Amira Ibrahim who read poems from the collection. As for the three young men, Guled Mohamed, Mohyahdin Shiddo and Ahaziah Jackson-Denis who volunteered to read/act out the dialogue from a scene in Elijah, they were brilliant. I dreamt of this and simply asked the question, the reality measured up beautifully.
As I read a last selected passage from Elijah I held back tears because I felt sad about what was happening to him in that ‘scene.’ He had been arrested and was being mechanically turned over by a system and society that had no regard for the circumstances of his life, let alone his rehabilitation. On reflection the sadness also has something to do with me having to let him and it (the novel) go. It’s exposure. This reminds me of a time I heard Toni Morrison reading. A friend asked if we could take a picture of her – “as long as it doesn’t flash” she said. “It won’t” my friend lied. The camera flashed, Toni frowned. It’s not always possible to get a good picture without using the flash. If one wants to take the stage they must be prepared for the exposure and all the discomfort this comes with.
J-unity living up to their talent
Scott Jason Smith, Librarian at Phoenix High, and Elijah Cover illustrator, with Rahima, event Host and Executive Head Teacher Ambassador
Hail to the future - I fearlessly go forth to meet my good
I want to keep hold of my balance, continue developing the craft of writing, getting better at it. And now with the publishing angle, doing this to a level I can be proud of. For now I must accept all the congratulations because with the excellent support of guides in both physical and spiritual realms I achieved a triple launch. I developed the Way Wive Wordz website - do take a browse - (all self-published authors are encouraged to have an “author website” and there are no shortages of people who will develop these for you, if you have the funds to pay them; pay them you must because they will deserve every penny if they do it to your satisfaction; and of course the two publications which are first of many, if the Orisha and ancestors continue to bless me. The prettiest pink flowers gifted to me, the sumptuous refreshments collectively provided, the energy of the guests, the warmth of the Phoenix flame, the queues to purchase the books, the quill pen I used to sign them all made me happy to take the stage and be glad to do it my way and finally sigh!
Danny Thompson rousing audience with his "Understand Young Man" piece
Natalie David soothes with "At Last!"
SHOUT OUT
CREATIVE WRITING COURSE STARTS JANUARY 31st 2015 (CHECK DETAILS HERE)
Tuesday, 11 November 2014
The Good Old Days Part 111
Continued from last post...
http://goodmorningdays.blogspot.co.uk/
Enoch Powell had (before I was born) consigned me to a destiny of creating terror and violence; prophesising my vile, bloody impact on the imperceptible tranquillity that was English society. But I didn’t know that I was this vile, this evil creature he had thrust into the minds (imagination doesn’t work!) of his followers (the bold ones and the others). I was too busy dealing with the emotional trauma of being in and adjusting to this new hostile environment, one that questioned the very point of my existence. I was unaware that I was considered the cause of its hostility towards me. A bizarre notion – that I should be the instigator of my own oppression. Those born into this hostility might have a different sensibility about belonging, feeling part of England. I know only that I had no perception of racism until I came here. I learnt how to read its signs. And they were everywhere. I learnt that I was a ‘problem.’ I suspected myself – that my attitude needed checking – all the time – it was me, always me who was the problem. What else could I do but try to prove how much of a problem I was. Someone decided that’s what I was and will always be. And I wanted evidence.
Now, our mothers and fathers were used to repair post war Britain; they stooped to do the menial jobs the poorest English person refused to do. By the time I arrived here those poor English people had cottoned on; they checked their exercise of pride; decided to muck in; after all those Caribbeans were buying houses, travelling back home– how? The exercise of pride switched; we – the now over 30s and 40s were not prepared to stoop anymore. Why should we? We wanted in – wanted a bigger piece of the English pie (we knew there was no gold). Some compromises had to be made to sample it – compromises some of our brothers were not prepared to make; some of them loafed their way to jail, others played the entrepreneur, the loot of which is yet elusive, the big boys always seem to have the trumps. Compromising meant that you just couldn’t quite be – couldn’t fully express yourself without seeming like ‘the problem’. It was hard to get over your vexation (that insidious knowing that you weren’t wanted, that you would never belong whether you were born here or not); so you carried the thing with you like a genie that every so often popped the hell out. You knew you weren’t going to be promoted, no matter how hard you worked – and you – some of you – worked hard, so you never went for the promotion; a hapless white colleague went for it instead. What was the point? You were trying to control the ‘genie’ – the ‘attitude’ – if only to keep your job. So you bore a smile; played the (‘I’m not black really or not really black’) game.
The 1980s was the era of the ‘buppy’ – those black people who managed to get a foot in what Thatcher wanted us all to have, upward mobility; a juicy, if tenuous stake in capitalism. Some of us stuck with the dole, though, because it was easier than having to play that other game – the pie could only be shared to so many before it ran out. Bags of weed were purchased with the dole – it just wasn’t enough to do anything else with; to put down for a deposit on a house say! Besides, some of us thought it was money owed to us; some sorry compensation that we deserved for being treated as if we were the scourge of humanity. Others studied everything we could, receiving certificate after certificate, diplomas for this and that and still no advancement in our jobs – we still didn’t have the guts to go for that promotion when it came. And while we were busy studying our white peers worked (you know - those you went to school with that weren’t as bright as you or perhaps just a little brighter); they got that job you went for with your ill-fitting face and attitude, knowing you were a ‘problem.’ That’s the ‘good old days’. What has any of this got to do with our children? Our ‘good old days’ have left some scars. The reality is that we were experiencing our own disillusionment in our ‘good old days’.
Powell spawned the gargoyle Griffin who perpetuates the puke that I and my children are an ‘alien threat’. The indoctrinating language of terrorism is used with subtle variations to define us and our children. So now that the goldless streets are repaired; the menial jobs taken care of, not only by the poor English who are now willing to muck in but also by their hard working European brothers and sisters - what need has this society for us and our children? The sense of feeling, of knowing that you are surplus, (a category you share with white working class children whose parents didn’t indulge the pride check), that before you were born it was prophesised that you were going to be ‘a problem’ can compel you to presenting the evidence.
My mum tells me she loves often now. If I’m honest I think I needed to hear it more when I was in my moment of experiencing – when I was being told at every turn that I was a problem. But I understand that she too was in her moment of experiencing and struggling to find her footing; you just had to assume the love was there. When you suspect yourself of being a problem, you turn in – too young to do the introspection – but you implode. You agree that the enemy is you. Everyone says so. And you want them to know how right they are; it’s true. You do what you can to present them with the evidence. You become bigger and badder than the prophecy.
We want our children to live, to survive their moment of experiencing despite its bleakness. So we might ask ourselves some hard questions. Have we transferred our own disillusionment and sense of being, feeling unwanted to our children? That feeling can make us aggressive, unloving and frightened – a terrifying emotional cocktail that we might not even be aware of exhibiting. Questions abound. Do we listen to our children? Do we know how to respect them? Do know that should respect them – that their respect of us might have to be earned? Or are we as ‘old school as our parents’ - exercising the harshest disciplines that’s insidiously remnant of the slave whip? Do we always think we’re right, our children wrong? Have we forgotten the negotiations we had to make in our time to survive the hostilities we faced? Are we honest and open with our children (you will know the boundaries)? Do we tell them how brilliant they are? How much we love them? That love thing cannot be overstated. The fullest expression of it to our children can only manifest if we fully express it to ourselves – when we have properly accepted who we are – a place we reach through introspection. Fact is we might know more about how not to express love than anything else. We might know the hardcore version – sisters might express the supermatriachal one; brothers might still be wondering what the hell it means to express love (who showed/taught you how to do this?).
Do we take our children out (when was the last time, to see a movie – the pirate DVD’s not the same thing - to the park, to a shopping centre, to other family members – to the library)? Are we interested in them and their interests? Do we know who their friends are? Have we invited those friends round (or is your house out of bounds to your child’s friends)? Do we know where they are (they might pretend they’re some place their not, but do you know where that place is – at least)? If they find themselves incarcerated, do we throw hands up and leave them there? If we can see, somehow intuit something’s wrong – do we let it go because we’re too wrapped up with our own issues to bother? A wicked question I feel pressed to ask – of mothers, do you put your child first – always – before the new man (or any, even their father)? Of fathers – have you properly considered the enormity of your responsibility as a father – and if so, can you handle it – this goes for the biological father and the stepfather? Or are you, mothers, fathers living still in the clasp of your own disillusionment; failing to do the thorough introspection would assist your own movement from cygnet to swan? How prepared are we to go all the way with our children, to be there for them and bring them back when they’ve stepped off? And endlessly the list of abounding questions goes on.
Society has accountability for the disillusionment our children are experiencing, of that there’s no doubt. Society will spit them out; make them feel unwanted and valueless. But we have to take up arms against a society that tells them this. We have to recreate their worlds, give them fresh, new sensibilities. They have been saddled with the burden of being a surplus problem. So we have to adopt a warrior stance to help them survive; to be on their side and defend them. We strike back with love every time they flare up. We let them cry. We show them we can cry with them. We tell them we will try to understand. And we must mean it. We do some introspecting because they need us now – they need us to be their friend because they identify themselves as the enemy. And I don’t mean the kind of ‘friend’ they ‘roll with.’ This friend is shelter, comfort, support, love, understanding, trust and consistency. If you assign the label ‘generation of vipers’ to young people, they will strike because that’s what vipers do. It’s impossible to love a viper. How can a viper love itself when it knows it’s a viper? Our challenge (that’s what warriors face) is to direct them towards mastering their swan wings. This is possible only if we haven’t subscribed to society’s labelling them as ‘a problem’ long before they were conceived. One of the most beautiful things the heart can behold is a loving pair of swans gracefully gliding alongside or behind or in front of their playful cygnets.
http://goodmorningdays.blogspot.co.uk/
Enoch Powell had (before I was born) consigned me to a destiny of creating terror and violence; prophesising my vile, bloody impact on the imperceptible tranquillity that was English society. But I didn’t know that I was this vile, this evil creature he had thrust into the minds (imagination doesn’t work!) of his followers (the bold ones and the others). I was too busy dealing with the emotional trauma of being in and adjusting to this new hostile environment, one that questioned the very point of my existence. I was unaware that I was considered the cause of its hostility towards me. A bizarre notion – that I should be the instigator of my own oppression. Those born into this hostility might have a different sensibility about belonging, feeling part of England. I know only that I had no perception of racism until I came here. I learnt how to read its signs. And they were everywhere. I learnt that I was a ‘problem.’ I suspected myself – that my attitude needed checking – all the time – it was me, always me who was the problem. What else could I do but try to prove how much of a problem I was. Someone decided that’s what I was and will always be. And I wanted evidence.
Now, our mothers and fathers were used to repair post war Britain; they stooped to do the menial jobs the poorest English person refused to do. By the time I arrived here those poor English people had cottoned on; they checked their exercise of pride; decided to muck in; after all those Caribbeans were buying houses, travelling back home– how? The exercise of pride switched; we – the now over 30s and 40s were not prepared to stoop anymore. Why should we? We wanted in – wanted a bigger piece of the English pie (we knew there was no gold). Some compromises had to be made to sample it – compromises some of our brothers were not prepared to make; some of them loafed their way to jail, others played the entrepreneur, the loot of which is yet elusive, the big boys always seem to have the trumps. Compromising meant that you just couldn’t quite be – couldn’t fully express yourself without seeming like ‘the problem’. It was hard to get over your vexation (that insidious knowing that you weren’t wanted, that you would never belong whether you were born here or not); so you carried the thing with you like a genie that every so often popped the hell out. You knew you weren’t going to be promoted, no matter how hard you worked – and you – some of you – worked hard, so you never went for the promotion; a hapless white colleague went for it instead. What was the point? You were trying to control the ‘genie’ – the ‘attitude’ – if only to keep your job. So you bore a smile; played the (‘I’m not black really or not really black’) game.
The 1980s was the era of the ‘buppy’ – those black people who managed to get a foot in what Thatcher wanted us all to have, upward mobility; a juicy, if tenuous stake in capitalism. Some of us stuck with the dole, though, because it was easier than having to play that other game – the pie could only be shared to so many before it ran out. Bags of weed were purchased with the dole – it just wasn’t enough to do anything else with; to put down for a deposit on a house say! Besides, some of us thought it was money owed to us; some sorry compensation that we deserved for being treated as if we were the scourge of humanity. Others studied everything we could, receiving certificate after certificate, diplomas for this and that and still no advancement in our jobs – we still didn’t have the guts to go for that promotion when it came. And while we were busy studying our white peers worked (you know - those you went to school with that weren’t as bright as you or perhaps just a little brighter); they got that job you went for with your ill-fitting face and attitude, knowing you were a ‘problem.’ That’s the ‘good old days’. What has any of this got to do with our children? Our ‘good old days’ have left some scars. The reality is that we were experiencing our own disillusionment in our ‘good old days’.
Powell spawned the gargoyle Griffin who perpetuates the puke that I and my children are an ‘alien threat’. The indoctrinating language of terrorism is used with subtle variations to define us and our children. So now that the goldless streets are repaired; the menial jobs taken care of, not only by the poor English who are now willing to muck in but also by their hard working European brothers and sisters - what need has this society for us and our children? The sense of feeling, of knowing that you are surplus, (a category you share with white working class children whose parents didn’t indulge the pride check), that before you were born it was prophesised that you were going to be ‘a problem’ can compel you to presenting the evidence.
My mum tells me she loves often now. If I’m honest I think I needed to hear it more when I was in my moment of experiencing – when I was being told at every turn that I was a problem. But I understand that she too was in her moment of experiencing and struggling to find her footing; you just had to assume the love was there. When you suspect yourself of being a problem, you turn in – too young to do the introspection – but you implode. You agree that the enemy is you. Everyone says so. And you want them to know how right they are; it’s true. You do what you can to present them with the evidence. You become bigger and badder than the prophecy.
We want our children to live, to survive their moment of experiencing despite its bleakness. So we might ask ourselves some hard questions. Have we transferred our own disillusionment and sense of being, feeling unwanted to our children? That feeling can make us aggressive, unloving and frightened – a terrifying emotional cocktail that we might not even be aware of exhibiting. Questions abound. Do we listen to our children? Do we know how to respect them? Do know that should respect them – that their respect of us might have to be earned? Or are we as ‘old school as our parents’ - exercising the harshest disciplines that’s insidiously remnant of the slave whip? Do we always think we’re right, our children wrong? Have we forgotten the negotiations we had to make in our time to survive the hostilities we faced? Are we honest and open with our children (you will know the boundaries)? Do we tell them how brilliant they are? How much we love them? That love thing cannot be overstated. The fullest expression of it to our children can only manifest if we fully express it to ourselves – when we have properly accepted who we are – a place we reach through introspection. Fact is we might know more about how not to express love than anything else. We might know the hardcore version – sisters might express the supermatriachal one; brothers might still be wondering what the hell it means to express love (who showed/taught you how to do this?).
Do we take our children out (when was the last time, to see a movie – the pirate DVD’s not the same thing - to the park, to a shopping centre, to other family members – to the library)? Are we interested in them and their interests? Do we know who their friends are? Have we invited those friends round (or is your house out of bounds to your child’s friends)? Do we know where they are (they might pretend they’re some place their not, but do you know where that place is – at least)? If they find themselves incarcerated, do we throw hands up and leave them there? If we can see, somehow intuit something’s wrong – do we let it go because we’re too wrapped up with our own issues to bother? A wicked question I feel pressed to ask – of mothers, do you put your child first – always – before the new man (or any, even their father)? Of fathers – have you properly considered the enormity of your responsibility as a father – and if so, can you handle it – this goes for the biological father and the stepfather? Or are you, mothers, fathers living still in the clasp of your own disillusionment; failing to do the thorough introspection would assist your own movement from cygnet to swan? How prepared are we to go all the way with our children, to be there for them and bring them back when they’ve stepped off? And endlessly the list of abounding questions goes on.
Society has accountability for the disillusionment our children are experiencing, of that there’s no doubt. Society will spit them out; make them feel unwanted and valueless. But we have to take up arms against a society that tells them this. We have to recreate their worlds, give them fresh, new sensibilities. They have been saddled with the burden of being a surplus problem. So we have to adopt a warrior stance to help them survive; to be on their side and defend them. We strike back with love every time they flare up. We let them cry. We show them we can cry with them. We tell them we will try to understand. And we must mean it. We do some introspecting because they need us now – they need us to be their friend because they identify themselves as the enemy. And I don’t mean the kind of ‘friend’ they ‘roll with.’ This friend is shelter, comfort, support, love, understanding, trust and consistency. If you assign the label ‘generation of vipers’ to young people, they will strike because that’s what vipers do. It’s impossible to love a viper. How can a viper love itself when it knows it’s a viper? Our challenge (that’s what warriors face) is to direct them towards mastering their swan wings. This is possible only if we haven’t subscribed to society’s labelling them as ‘a problem’ long before they were conceived. One of the most beautiful things the heart can behold is a loving pair of swans gracefully gliding alongside or behind or in front of their playful cygnets.
Tuesday, 21 October 2014
The Good Old Days Part II
This post is continued from last week.
...Questions abound. And introspection, if pursued might provide answers about how and why ‘he turned out like that?’ And more importantly did he do it all by himself?
Clearly these questions should be posed to the society in which our children are born. But this does not change the fact that they are our children; the over 30s and 40s among us – these children in the moment of experiencing are our children. So have we looked, retrospectively, at our time and sought answers there? Have we looked deeply, honestly within ourselves and acknowledged, however difficult, whether we might have played any part in the disillusionment our children are experiencing within their moment? If we haven’t, we are not as willing to hear our children are crying, perhaps we’re not ready to understand why.
This is not to say that the society should be let off without a probe. If we’re talking about the 1970s, 1980s what was happening in those ‘good old days’ of ours? I was not born here, I arrived in 1980. Enoch Powell had (before I was born) consigned me to a destiny of creating terror and violence; prophesising my vile, bloody impact on the imperceptible tranquillity that was English society. But I didn’t know that I was this vile, this evil creature he had thrust into the minds (imagination doesn’t work!) of his followers (the bold ones and the others). I was too busy dealing with the emotional trauma of being in and adjusting to this new hostile environment, one that questioned the very point of my existence. I was unaware that I was considered the cause of its hostility towards me. A bizarre notion – that I should be the instigator of my own oppression. Those born into this hostility might have a different sensibility about belonging, feeling part of England. I know only that I had no perception of racism until I came here. I learnt how to read its signs. And they were everywhere. I learnt that I was a ‘problem.’ I suspected myself – that my attitude needed checking – all the time – it was me, always me who was the problem. What else could I do but try to prove how much of a problem I was. Someone decided that’s what I was and will always be. And I wanted evidence.
Now, our mothers and fathers were used to repair post war Britain; they stooped to do the menial jobs the poorest English person refused to do. By the time I arrived here those poor English people had cottoned on; they checked their exercise of pride; decided to muck in; after all those Caribbeans were buying houses, travelling back home– how? The exercise of pride switched; we – the now over 30s and 40s were not prepared to stoop anymore. Why should we? We wanted in – wanted a bigger piece of the English pie (we knew there was no gold). Some compromises had to be made to sample it – compromises some of our brothers were not prepared to make; some of them loafed their way to jail, others played the entrepreneur, the loot of which is yet elusive, the big boys always seem to have the trumps. Compromising meant that you just couldn’t quite be – couldn’t fully express yourself without seeming like ‘the problem’. It was hard to get over your vexation (that insidious knowing that you weren’t wanted, that you would never belong whether you were born here or not); so you carried the thing with you like a genie that every so often popped the hell out. You knew you weren’t going to be promoted, no matter how hard you worked – and you – some of you – worked hard, so you never went for the promotion; a hapless white colleague went for it instead. What was the point? You were trying to control the ‘genie’ – the ‘attitude’ – if only to keep your job. So you bore a smile; played the (‘I’m not black really or not really black’) game.
The 1980s was the era of the ‘buppy’ – those black people who managed to get a foot in what Thatcher wanted us all to have, upward mobility; a juicy, if tenuous stake in capitalism. Some of us stuck with the dole, though, because it was easier than having to play that other game – the pie could only be shared to so many before it ran out. Bags of weed were purchased with the dole – it just wasn’t enough to do anything else with; to put down for a deposit on a house say! Besides, some of us thought it was money owed to us; some sorry compensation that we deserved for being treated as if we were the scourge of humanity. Others studied everything we could, receiving certificate after certificate, diplomas for this and that and still no advancement in our jobs – we still didn’t have the guts to go for that promotion when it came. And while we were busy studying our white peers worked (you know - those you went to school with that weren’t as bright as you or perhaps just a little brighter); they got that job you went for with your ill-fitting face and attitude, knowing you were a ‘problem.’ That’s the ‘good old days’. What has any of this got to do with our children? Our ‘good old days’ have left some scars. The reality is that we were experiencing our own disillusionment in our ‘good old days’.
Powell spawned the gargoyle Griffin who perpetuates the puke that I and my children are an ‘alien threat’. The indoctrinating language of terrorism is used with subtle variations to define us and our children. So now that the goldless streets are repaired; the menial jobs taken care of, not only by the poor English who are now willing to muck in but also by their hard working European brothers and sisters - what need has this society for us and our children? The sense of feeling, of knowing that you are surplus, (a category you share with white working class children whose parents didn’t indulge the pride check), that before you were born it was prophesised that you were going to be ‘a problem’ can compel you to presenting the evidence.
My mum tells me she loves often now. If I’m honest I think I needed to hear it more when I was in my moment of experiencing – when I was being told at every turn that I was a problem. But I understand that she too was in her moment of experiencing and struggling to find her footing; you just had to assume the love was there. When you suspect yourself of being a problem, you turn in – too young to do the introspection – but you implode. You agree that the enemy is you. Everyone says so. And you want them to know how right they are; it’s true. You do what you can to present them with the evidence. You become bigger and badder than the prophecy.
...Questions abound. And introspection, if pursued might provide answers about how and why ‘he turned out like that?’ And more importantly did he do it all by himself?
Clearly these questions should be posed to the society in which our children are born. But this does not change the fact that they are our children; the over 30s and 40s among us – these children in the moment of experiencing are our children. So have we looked, retrospectively, at our time and sought answers there? Have we looked deeply, honestly within ourselves and acknowledged, however difficult, whether we might have played any part in the disillusionment our children are experiencing within their moment? If we haven’t, we are not as willing to hear our children are crying, perhaps we’re not ready to understand why.
This is not to say that the society should be let off without a probe. If we’re talking about the 1970s, 1980s what was happening in those ‘good old days’ of ours? I was not born here, I arrived in 1980. Enoch Powell had (before I was born) consigned me to a destiny of creating terror and violence; prophesising my vile, bloody impact on the imperceptible tranquillity that was English society. But I didn’t know that I was this vile, this evil creature he had thrust into the minds (imagination doesn’t work!) of his followers (the bold ones and the others). I was too busy dealing with the emotional trauma of being in and adjusting to this new hostile environment, one that questioned the very point of my existence. I was unaware that I was considered the cause of its hostility towards me. A bizarre notion – that I should be the instigator of my own oppression. Those born into this hostility might have a different sensibility about belonging, feeling part of England. I know only that I had no perception of racism until I came here. I learnt how to read its signs. And they were everywhere. I learnt that I was a ‘problem.’ I suspected myself – that my attitude needed checking – all the time – it was me, always me who was the problem. What else could I do but try to prove how much of a problem I was. Someone decided that’s what I was and will always be. And I wanted evidence.
Now, our mothers and fathers were used to repair post war Britain; they stooped to do the menial jobs the poorest English person refused to do. By the time I arrived here those poor English people had cottoned on; they checked their exercise of pride; decided to muck in; after all those Caribbeans were buying houses, travelling back home– how? The exercise of pride switched; we – the now over 30s and 40s were not prepared to stoop anymore. Why should we? We wanted in – wanted a bigger piece of the English pie (we knew there was no gold). Some compromises had to be made to sample it – compromises some of our brothers were not prepared to make; some of them loafed their way to jail, others played the entrepreneur, the loot of which is yet elusive, the big boys always seem to have the trumps. Compromising meant that you just couldn’t quite be – couldn’t fully express yourself without seeming like ‘the problem’. It was hard to get over your vexation (that insidious knowing that you weren’t wanted, that you would never belong whether you were born here or not); so you carried the thing with you like a genie that every so often popped the hell out. You knew you weren’t going to be promoted, no matter how hard you worked – and you – some of you – worked hard, so you never went for the promotion; a hapless white colleague went for it instead. What was the point? You were trying to control the ‘genie’ – the ‘attitude’ – if only to keep your job. So you bore a smile; played the (‘I’m not black really or not really black’) game.
The 1980s was the era of the ‘buppy’ – those black people who managed to get a foot in what Thatcher wanted us all to have, upward mobility; a juicy, if tenuous stake in capitalism. Some of us stuck with the dole, though, because it was easier than having to play that other game – the pie could only be shared to so many before it ran out. Bags of weed were purchased with the dole – it just wasn’t enough to do anything else with; to put down for a deposit on a house say! Besides, some of us thought it was money owed to us; some sorry compensation that we deserved for being treated as if we were the scourge of humanity. Others studied everything we could, receiving certificate after certificate, diplomas for this and that and still no advancement in our jobs – we still didn’t have the guts to go for that promotion when it came. And while we were busy studying our white peers worked (you know - those you went to school with that weren’t as bright as you or perhaps just a little brighter); they got that job you went for with your ill-fitting face and attitude, knowing you were a ‘problem.’ That’s the ‘good old days’. What has any of this got to do with our children? Our ‘good old days’ have left some scars. The reality is that we were experiencing our own disillusionment in our ‘good old days’.
Powell spawned the gargoyle Griffin who perpetuates the puke that I and my children are an ‘alien threat’. The indoctrinating language of terrorism is used with subtle variations to define us and our children. So now that the goldless streets are repaired; the menial jobs taken care of, not only by the poor English who are now willing to muck in but also by their hard working European brothers and sisters - what need has this society for us and our children? The sense of feeling, of knowing that you are surplus, (a category you share with white working class children whose parents didn’t indulge the pride check), that before you were born it was prophesised that you were going to be ‘a problem’ can compel you to presenting the evidence.
My mum tells me she loves often now. If I’m honest I think I needed to hear it more when I was in my moment of experiencing – when I was being told at every turn that I was a problem. But I understand that she too was in her moment of experiencing and struggling to find her footing; you just had to assume the love was there. When you suspect yourself of being a problem, you turn in – too young to do the introspection – but you implode. You agree that the enemy is you. Everyone says so. And you want them to know how right they are; it’s true. You do what you can to present them with the evidence. You become bigger and badder than the prophecy.
Wednesday, 8 October 2014
The good old days - Part I
This is a repost - slightly edited. I wrote it whilst I was working on my novel Elijah, which I’m launching in November this year. The circumstances haven’t changed too much, in the sense that there still is a sense of despair for young people. A couple of them have moved on, are working, have struggled through their degrees and now have expectations about their futures. Still more are waiting in the shadows, afraid, needing guidance.
As I write, Tracey Ford, whom I dedicated the original Shout to, and the only reader who forwarded a comment, is a finalist for the “Inspiration Woman of the Year Award” - winner to be announced on Thursday 9th October. Tracey, of JAGS Foundation, a charity named after her son who was murdered by another Youth, has transformed the lives of young people through her commitment to raising awareness about the devastation caused by youth on youth crime.
The post was long, so I’ll serialise it – and circulate in 3 parts.
Cover image of Elijah, by Scott Jason Smith
For all those cygnets struggling to become swans
and Tracey Ford, rather than a cygnet’s or swan’s,
your son will ever have angel wings
At what age can we speak realistically or even euphemistically about the ‘good old days’? We over 30s and 40s have decades behind us that make retrospection possible. But what about a 20, 17 or 10 year-old – are such portals available to them? I don’t think so; though arguably the 20 year-old is advancing thus. They are within their moment of experiencing what should become their ‘good old days’. But so are we. We are also within their moment of experiencing. The decades behind us do not only offer retrospection but also the maturity that enables introspection.
Introspection is an honest, deep ‘examination of our thoughts and feelings’ – a serious (hence ‘examination’) looking within; and not only of our ‘thoughts and feelings’ but also our actions. This looking in for most of us is the most painful and ugly thing we can do, for which reason it’s often avoided.
In this Shout I want to consider the cries of disillusionment from our children– or our cygnets, as I like to call them, struggling to earn their swan wings. Why do they cry? Why do they feel, as my 20 year old niece recently told me, that ‘there’s no point’ to their life when this is their moment of experiencing their good old days? Are we hearing them? Are we even listening? Or are we, as my 17 year-old nephew told me, from a generation that can’t understand them? I’m hoping that by giving some thought to the kinds of struggles our children are facing we might realise that despite their feelings of disillusionment this can be their good old days if we’re willing to extend our ears, hearts and hands to help them master their swan wings. This is why that honest examination of our own thoughts is crucial. Avoiding introspection can leave unattended those issues that hinder spiritual maturity. And how can we help our children master their swan wings when we have not found ways to perfect our graceful gliding against the torrents of our own lives.
It may not only be a ‘black problem’ but it sometimes feels like it is. Every knife or gun killing is despicable. I am certain most African people have some direct or indirect association with a child who has been the victim of a “knife crime.” “Knife crime” – a term spouted in the news so often, like that other “terrorism” (and the ‘war on it’ – in Afghanistan, in Iraq where lives are being senselessly destroyed every day) that we’ve become desensitised to the absolute and particular trauma each one holds for the families involved. When we see in real time or in a movie someone being shot or otherwise killed, this comes to us as entertainment. Deaths caused by disasters like Haiti are compellingly tragic; we’re truly moved; no longer desensitised – at least momentarily. After the opening disaster scene of Haiti – we return to our numbness, watching the news, hearing that another child has been killed, we ‘tut’ and that’s mostly all we seem able to do. But what if that child is yours or someone you know? What if the child who killed the child is yours or someone you know? Questions abound. Anger and frustration too; a part of you dies. You know that you did the best by and for your child – whether victim or perpetrator; you’ve supported them and loved them. You know too that your child was good, so why?
No matter how many ways you ask yourself the questions there will never be an answer that explains to you why your child died before you. Whether you support your child, are the best parent/s you can be to them; whether they are good or not, they are living within their moment. And their moment, however much or little it’s spread in the news is one where a life seems valueless; taking it easy. My 17 year old nephew – brilliant, loving, positive (one of those dream children) has repeatedly neared death (and only until writing it, have I admitted that it’s this rather than the ‘bullying’ it might otherwise appear to be) from boys and boy gangs who see him as some kind of easy target. A target of what? Of bottling, knifing, exercise of power and, disgustingly the Ninetendo game style ease of taking another’s life. The martial arts lessons have not prevented the attacks. Although he’s more confident, his smiles mask the very thing he tells me I cannot understand –‘it’s not like your time, aunty.’ I try to reason with him, that I do understand; that in my time we had fights but...” As long as I have to add the ‘but’ his point is better made.
What makes him this target? Nothing perhaps; or something – maybe it’s his aura or his positivity? Maybe it’s the way he will say, when you least expect it, ‘love you aunty?’ I can’t say for sure. I feel, however, that enmeshed in his moment of experiencing is the persistent edge of a knife against which he lives. His parents – the most supportive I’ve known – recently bought a knife vest for him because he insists that he must be free to travel wherever he wants without them driving him to and fro. It was a compromise – he didn’t want either – because his parents are also living his experience. His mother prayed, when he was born with a heart defect that threatened his life that he should live; bargained that she would be good if God kept him alive. She continues praying, because he yet does not have his swan wings. And until these extremely dire years of his experiencing are spent, when he has retrospective distance she will be solidly supportive, just there to return back the words of love he needs to hear to know that his world is not as bleak as it seems.
James Andre Godfrey Smartt (JAGS), murdered inside Streatham Ice rink in 2007
Tracey Ford, founder JAGS Foundation
Another nephew, a good boy too - he was one of those round babies born with a big, cheery smile and evident love for life; a young Christian, who loved to write and draw. In his moment of experiencing those traits seemed impossible to sustain. Other things were demanded of him. He stopped the smiles. Not immediately, not obviously, he also wore a mask. But if you were reading him with your heart; if your ears were really opened to what he was saying or not saying you could perhaps intuit his good old days turning into a dodge and haggling for his life. Young Offender’s Prison only confirmed that he was part of his moment, properly living within it. After that ghastly term, the knife that missed his kidneys sharpened his credibility within his gang. They had become his new family, providing him with something we didn’t seem to know how desperately he needed. No amount of imploring could force his introspection (‘why are you doing this to yourself?’) because the retrospective portal is not yet available to him; he’s still within his moment. There is an enemy within his time but he doesn’t know who or what it is. Therefore it – the enemy - might as well be his life; the enemy might as well be himself. ‘This is how it is now, aunty...it’s nothing,’ he told me when I cried, ‘but you nearly lost your life.’ ‘It’s nothing,’ he said without an ounce of emotion. What bitter pill? I had watched his mother in agony- those 18 years ago – bringing him into the world. Her agony soon turned to elation when he made it; we were so happy that this blessed boy was my mother’s first grandson. Questions abound. And introspection, if pursued might lend answers about how and why ‘he turned out like that?’ And more importantly did he do it all by himself?
TO BE CONTINUED...
Check out extended TRAILER for the Novel Elijah and The Awakening & Other Poems
As I write, Tracey Ford, whom I dedicated the original Shout to, and the only reader who forwarded a comment, is a finalist for the “Inspiration Woman of the Year Award” - winner to be announced on Thursday 9th October. Tracey, of JAGS Foundation, a charity named after her son who was murdered by another Youth, has transformed the lives of young people through her commitment to raising awareness about the devastation caused by youth on youth crime.
The post was long, so I’ll serialise it – and circulate in 3 parts.
Cover image of Elijah, by Scott Jason Smith
For all those cygnets struggling to become swans
and Tracey Ford, rather than a cygnet’s or swan’s,
your son will ever have angel wings
At what age can we speak realistically or even euphemistically about the ‘good old days’? We over 30s and 40s have decades behind us that make retrospection possible. But what about a 20, 17 or 10 year-old – are such portals available to them? I don’t think so; though arguably the 20 year-old is advancing thus. They are within their moment of experiencing what should become their ‘good old days’. But so are we. We are also within their moment of experiencing. The decades behind us do not only offer retrospection but also the maturity that enables introspection.
Introspection is an honest, deep ‘examination of our thoughts and feelings’ – a serious (hence ‘examination’) looking within; and not only of our ‘thoughts and feelings’ but also our actions. This looking in for most of us is the most painful and ugly thing we can do, for which reason it’s often avoided.
In this Shout I want to consider the cries of disillusionment from our children– or our cygnets, as I like to call them, struggling to earn their swan wings. Why do they cry? Why do they feel, as my 20 year old niece recently told me, that ‘there’s no point’ to their life when this is their moment of experiencing their good old days? Are we hearing them? Are we even listening? Or are we, as my 17 year-old nephew told me, from a generation that can’t understand them? I’m hoping that by giving some thought to the kinds of struggles our children are facing we might realise that despite their feelings of disillusionment this can be their good old days if we’re willing to extend our ears, hearts and hands to help them master their swan wings. This is why that honest examination of our own thoughts is crucial. Avoiding introspection can leave unattended those issues that hinder spiritual maturity. And how can we help our children master their swan wings when we have not found ways to perfect our graceful gliding against the torrents of our own lives.
It may not only be a ‘black problem’ but it sometimes feels like it is. Every knife or gun killing is despicable. I am certain most African people have some direct or indirect association with a child who has been the victim of a “knife crime.” “Knife crime” – a term spouted in the news so often, like that other “terrorism” (and the ‘war on it’ – in Afghanistan, in Iraq where lives are being senselessly destroyed every day) that we’ve become desensitised to the absolute and particular trauma each one holds for the families involved. When we see in real time or in a movie someone being shot or otherwise killed, this comes to us as entertainment. Deaths caused by disasters like Haiti are compellingly tragic; we’re truly moved; no longer desensitised – at least momentarily. After the opening disaster scene of Haiti – we return to our numbness, watching the news, hearing that another child has been killed, we ‘tut’ and that’s mostly all we seem able to do. But what if that child is yours or someone you know? What if the child who killed the child is yours or someone you know? Questions abound. Anger and frustration too; a part of you dies. You know that you did the best by and for your child – whether victim or perpetrator; you’ve supported them and loved them. You know too that your child was good, so why?
No matter how many ways you ask yourself the questions there will never be an answer that explains to you why your child died before you. Whether you support your child, are the best parent/s you can be to them; whether they are good or not, they are living within their moment. And their moment, however much or little it’s spread in the news is one where a life seems valueless; taking it easy. My 17 year old nephew – brilliant, loving, positive (one of those dream children) has repeatedly neared death (and only until writing it, have I admitted that it’s this rather than the ‘bullying’ it might otherwise appear to be) from boys and boy gangs who see him as some kind of easy target. A target of what? Of bottling, knifing, exercise of power and, disgustingly the Ninetendo game style ease of taking another’s life. The martial arts lessons have not prevented the attacks. Although he’s more confident, his smiles mask the very thing he tells me I cannot understand –‘it’s not like your time, aunty.’ I try to reason with him, that I do understand; that in my time we had fights but...” As long as I have to add the ‘but’ his point is better made.
What makes him this target? Nothing perhaps; or something – maybe it’s his aura or his positivity? Maybe it’s the way he will say, when you least expect it, ‘love you aunty?’ I can’t say for sure. I feel, however, that enmeshed in his moment of experiencing is the persistent edge of a knife against which he lives. His parents – the most supportive I’ve known – recently bought a knife vest for him because he insists that he must be free to travel wherever he wants without them driving him to and fro. It was a compromise – he didn’t want either – because his parents are also living his experience. His mother prayed, when he was born with a heart defect that threatened his life that he should live; bargained that she would be good if God kept him alive. She continues praying, because he yet does not have his swan wings. And until these extremely dire years of his experiencing are spent, when he has retrospective distance she will be solidly supportive, just there to return back the words of love he needs to hear to know that his world is not as bleak as it seems.
James Andre Godfrey Smartt (JAGS), murdered inside Streatham Ice rink in 2007
Tracey Ford, founder JAGS Foundation
Another nephew, a good boy too - he was one of those round babies born with a big, cheery smile and evident love for life; a young Christian, who loved to write and draw. In his moment of experiencing those traits seemed impossible to sustain. Other things were demanded of him. He stopped the smiles. Not immediately, not obviously, he also wore a mask. But if you were reading him with your heart; if your ears were really opened to what he was saying or not saying you could perhaps intuit his good old days turning into a dodge and haggling for his life. Young Offender’s Prison only confirmed that he was part of his moment, properly living within it. After that ghastly term, the knife that missed his kidneys sharpened his credibility within his gang. They had become his new family, providing him with something we didn’t seem to know how desperately he needed. No amount of imploring could force his introspection (‘why are you doing this to yourself?’) because the retrospective portal is not yet available to him; he’s still within his moment. There is an enemy within his time but he doesn’t know who or what it is. Therefore it – the enemy - might as well be his life; the enemy might as well be himself. ‘This is how it is now, aunty...it’s nothing,’ he told me when I cried, ‘but you nearly lost your life.’ ‘It’s nothing,’ he said without an ounce of emotion. What bitter pill? I had watched his mother in agony- those 18 years ago – bringing him into the world. Her agony soon turned to elation when he made it; we were so happy that this blessed boy was my mother’s first grandson. Questions abound. And introspection, if pursued might lend answers about how and why ‘he turned out like that?’ And more importantly did he do it all by himself?
TO BE CONTINUED...
Check out extended TRAILER for the Novel Elijah and The Awakening & Other Poems
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