pauldbwatkins Academic, Interview, Poetry

Harmonious Dissonance: in Conversation with George Elliott Clarke

To provide Malahat readers with a context in which to read and more deeply appreciate George Elliott Clarke’s “Othello: By Donation Alphonse François, Marquis de Sade,” a bravura long poem appearing in the magazine’s Summer 2016 issue, I explore with the poet his ambitions and the intent he enacts in the writing of such a profoundly engaging and provocative work. Last year I also recorded George reading a few poems when he visited Vancouver Island University last year, and The Malahat Review has published one of these recordings, “The Testament of Ulysses X.” You may read the full text of this poem or listen to George’s performance of it, recorded while he was the 2015 Ralph Gustafson Distinguished Poet at Vancouver Island University in Nanaimo.

George Elliott Clarke is currently  Canadian Parliamentary Poet Laureate. Towards the end of the interview I asked him, why does the world need poetry? To which he responded:

Hal David and Burt Bacharach: “What the World Needs Now is Love, Sweet Love”? That song comes to mind in thinking about why the world should need poetry. But I will also reiterate my sentiments in the Shad/Q interview: poetry exists in the rhythm of pulse and breath; it is “mind-forged” (Blake) language given vocal (originally) expression in tune with the pace of breath and the beat of the heart. The cadences are related to the sounds conjured by the arrangements of tongue, teeth, lips, and lungs. Poetry is organic technology, a physical art—as much as is dance, save that its calisthenics are performed by abstract characters or organically by the movement of the mouth.  In any event, it is the cheapest art and thus the most portable, for it can be memorized and taught to others. It is the first civilizing art, for it is the basis of scripture, whether inscribed or chanted. It conjoins imagination and emotion; so, for so long as human beings dream, recall, and/or have feelings, they/we will always invent poems.

Read the full interview, here.

In addition,

pauldbwatkins Academic, Event, Lecture

PRESS RELEASE: Celebrated ‘Africadian’ Poet George Elliott Clarke Reads at VIU Oct. 22

Toronto Poet Laureate, playwright, and literary critic George Elliott Clarke, VIU’s 2015 Gustafson Distinguished Poet, will deliver a free public lecture, On Entering the Echo Chamber of Epic: My “Canticles” Vs Pound’s Cantos, Thursday Oct. 22nd at 7pm in building 355 on the Nanaimo campus.  Clarke introduces his epic poem, “Canticles,” in response to Ezra Pound’s contentious Cantos, a 20th-century post/modern epic both vilified for its integration of fascist propaganda and heralded for its haunting lyricism. Pound, a classicist, nodded to T. S. Eliot’s “The Waste Land” and Stephen Vincent Benet’s “John Brown’s Body,” both of which skirted racist material yet refused to be contained, or restrained, by formalism.

Clarke will recite excerpts from his work-in-progress “Canticles,” which echoes slave and imperialist debates from Cleopatra to Celan. Clarke will also invoke contemporary poets Derek Walcott and NourbeSe Philip who invite harmonious, multiple, and multicultural voices in their revisions of Pound’s controversial masterpiece. Clarke champions writers of African descent and coined the term, “Africadian” to identify the Black culture of Atlantic Canada, a term he says is both “literal and liberal—I canonize songs and sonnets, histories and homilies.”

Clarke traces his own inspiration to “poet-politicos: jazz trumpeter Miles Davis, troubadour-bard Bob Dylan, libertine lyricist Irving Layton, guerrilla leader and poet Mao Zedong, reactionary modernist Ezra Pound, Black Power orator Malcolm X, and the Right Honourable Pierre Elliott Trudeau.” Clarke finds their “blunt talk, suave styles, acerbic independence, raunchy macho, feisty lyricism, singing heroic and a scarf-and-beret chivalry quite, well, liberating.”

Clarke’s colleague and VIU English professor Paul Watkins says, “For George, poetry is not only a printed form, but also an oral art. His boisterous readings present the listener with a gumbo-concoction of jazz rhythms, blues-infused gospel vernacular, and plenty of play upon the standards of the larger literary tradition. This is poetry presented with the ‘lightning of prophecy’.”

Clarke has published: a 13 works of poetry including Whylah Falls (2002 Canada Reads contender), Execution Poems, winner of the Governor General’s Award for Poetry, and his latest Traverse; 4 plays, screenplays, or libretti One Heart Broken Into Song, Beatrice Chancy, Québécité, Trudeau; the novel George and Rue; and 4 anthologies of African-Canadian writing including Directions Home: Approaches to African-Canadian Literature. He has been the E.J. Pratt Professor of Canadian Literature at the University of Toronto for the last 12 years and holds 8 honorary doctorates from Royal Military College and Dalhousie, New Brunswick, Alberta, Waterloo, Windsor, Acadia, Saint Mary’s universities. He received the Martin Luther King Jr. Achievement Award, the Pierre Elliott Trudeau Fellows Prize, and Order of Nova Scotia and the Order of Canada.

After Clarke’s lecture, a catered reception, cash bar, and book signing will follow in Bldg 300’s Royal Arbutus Room. Several of Clarke’s books will be sold at the VIU Bookstore. Courtesy parking is available in Lot N, in front of building 355. Clarke will also perform with musician James Darling at the Corner Lounge Wednesday October 21st 7:30-8:30. These events are sponsored by VIU’s Faculty of Arts & Humanities, Writers on Campus, and the Canada Council for the Arts.

The Gustafson Distinguished Poetry Lecture was established in 1998 from the estate of the late, pre-eminent Canadian poet Ralph Gustafson and his wife, Betty. The Chair has been held by celebrated poets Don Domanski, Dionne Brand, Tom Wayman, Daphne Marlatt, Robert Bringhurst, Don MacKay, Jan Zwicky, Dennis Lee, Michael Crummey, and Katherena Vermette among others, most of whom have had their lectures published as chapbooks. An interview will also appear in Portal2016, VIU’s full-colour literary magazine, on stands in April.

For more info contact Chair of the Gustafson Committee Toni Smith at Toni.Smith@viu.ca or to buy a chapbook contact the series’ publisher Joy Gugeler at joy.gugeler@viu.ca. For more information about the lecturers visit http://www.mediastudies.viu.ca/gustafson/

See more at: http://www.mediastudies.viu.ca/gustafson/#sthash.Y6hAy6n0.dpuf

RED REVISED Gustafson Poet Poster PRINT[3]

clarke Poster-final copy

pauldbwatkins improvisation, Interview

Oral Histories Project

Since January 2012 I’ve curated an Oral Histories Special Project for the Improvisation, Community, and Social Practice Project.  The ICASP project plays a leading role in defining a new field of interdisciplinary inquiry in Improvisation Studies. The project’s core hypothesis is that musical improvisation is a crucial model for political, cultural, and ethical dialogue and action.

Oral Histories is a showcase of interviews, performances, and articles by and about improvising musicians, artists, writers, and scholars. This monthly feature offers an intimate look inside the minds and practices of some of the many dynamic, innovative people whose energy and ideas make improvisation studies such a vibrant field of inquiry. The Oral Histories project provides a space for improvising artists to be heard in their own words, often in dialogue with other improvisers, scholars, and practitioners. Back in 2012, I wrote a short reflective piece on the idea behind the project, musing on the relationship between orality and improvised musical practices. That short reflection can be found here.

The project has also been useful for my PhD thesis, Soundin’ Canaan: Music, Resistance, and Citizenship in African Canadian Poetry, since the thesis contains audio/visual interviews (many archived under the Oral Histories project) with several poets explored in the thesis (including M. NourbeSe Philip, George Elliott Clarke, Cecil Foster, d’bi.young, Wayde Compton, and others). Future Oral Histories will include the legendary South African pianist Abdullah Ibrahim, the late Amiri Baraka in conversation with William Parker, and more!

View Past Oral Histories below:

2014

 2013

 2012

Featured photo of Paul Watkins in conversation with d’bi.young.

pauldbwatkins Poetry

Soundin’ Canaan (poem, draft)

“In the whole world no poor devil is lynched, no wretched is tortured, in whom I too am not degraded and murdered.”
-Aimé Cesairé

“So what If I write a poem like a song.”
-Lillian Allen

Columbus was no intrepid hero,
He was more an insipid & syphilic-vaquero hearding the “indios” like cargo
& John Hawkins was no Stephen Hawkins or Richard Dawkins,
He was the English-dastard & coward who brought the fist slave ship to the “New World.”
They merely discovered the already discovered.
Hypocrites like John Hammond claiming he discovered Bessie Smith,
Counterfeit prophets racketeering off the backs of blacks, Chinese, Natives, navies, human life for profit.

A collective amnesia still persists: some 20 million Africans loaded on ships, mothers torn from babies,
whipped & sold into slavery. Some Canadians are still unaware that slavery existed in this country.
Slavery, à la Canadian style.
Listen: hear a history of violence, textured & composite.
Listen: hear a literature of Black Canadians— oral, written, & infinitely rich.
Listen: hear whistle blow, porter train riff.
Listen: hear makeshift improvisers providing a needed spiritual lift.

Mattieu da Costa, circa 1605, first African guide & translator to set foot in Canada,
Olivier Le Jeune, taken from Madagascar, first recorded slave purchased at age 8 in Quebec, New France, before it was Canada.
A hundred years later, after she learnt her slave mistress was gonna sell her, Marie-Josèphe Angélique burned down Montreal: they tortured her, hung her, tossed her to the fire, her scattered ashes to the wind, a feminist rebel before radical feminism was drawn.
We must not forget Josiah Henson who helped form the Canaan of Dawn, he inspired Stowe’s Uncle Tom’s Cabin.
We must not forget Harriet Tubman, dubbed “Black Moses,” she led escaped slaves on the underground railroad to its terminus in Chatham.
We must remember John Brown & Osborne Anderson, who accompanied Brown on his raid on Harper’s Ferry; Anderson fled & wrote a pamphlet, history demanded it.
Had help from Mary Ann Shadd, full time editor & first woman publisher of a newspaper in Canada, her history we inherit.
Along with Thomas Peters who helped lead some 1200 blacks from Canada back to Sierra Leone Africa in 1792, a black loyalist & a Yoruba too, he wore a poly-identity become it was cool.
We must remember the great Rufus Rockhead, bootlegger, former porter, who opened the jazz club Rockhead’s Paradise in 1928 in St. Antoine, Montreal.
We must remember John Arthur Robinson who helped form the Order of Sleeping Car Porters &
George V. Garraway who became the first conductor on the Canadian Railway.
We must remember Joe Fortes who taught children to swim while patrolling the beach at English Bay,
there’s a restaurant & a library named after him today.
& Leonard A. Braithwaite, first elected Black Canadian to the Ontario Legislature.
& Stanley Grizzle too, former porter & Canada’s first Black Citizen Judge, civis litigator!
—these are to name, mostly by name, but at least to start to name, some of the historic figures that are part of Canadian history.

Is it true, we be a people without a literature?
Were all of Canada’s early “white” writers performing in blackface?
Murphy’s Black Candle clearly states that racial mixing is a fear in losing the docility of the social body,
the female body, the cult of true womanhood replaced by the cult of the drug.
The fear of the white passive female body becoming possessed.
The body as text, the black pen as sex.
& Haliburton’s Sam Slick was sure some son-of-a-racist-prick.
But this history ain’t just bullshit, we inherit it.

The Canada of many Canaanadas for many Canadians.
In 1834 the mere touching of Canadian soil made the runaway slave free.
The continued exodus & disappearing of borders.
Canada: the North Star, “heaven,” the Underground Railroad starting in the south & heading North to Canaan land, simply follow the Drinking Gourd.
Survivors of the crossing who found Philistines replacing the Egyptians.
The volatility of human borders, escaping fugitive slave law
& hoping to find freedom under the lion’s paw,
forming the Canadian Canaans:
Wilberforce, Dawn, The Refugee Home Society, & Elgin
Escapin’ plantation cottin’ pickin only to find a more subtle racism,
which kept people on the go, poly-identities in motion before postmodernism called it so.
Like Boston King moving from America to Nova Scotia to Sierra Leone then England & back to Sierra Leone; did he ever really feel at home?
Hear Nina Simone singing, “Ain’t got No…”
To be in another place, not here.
Fiction “here” is the transcription of history, reworking tradition,
As Mandela said, “History isn’t born it’s made.”
History: a kind of philosophical lab.
A tidalectical wave crashing back & forth,
into the torn & new of this host country.

Mr. D, in Susanna Moodie’s Roughing It in The Bush notoriously states “there are no ghosts in Canada” because “the country is too new for ghosts.”
But if you put your ear to a tree, or stand still in one place, you’ll realize this land is “hauntological.”
The silences echo with the whispers of ghosts in the corridors of history.
Fighting for survival since arrival is enough to make anyone suicidal.
& where is here really? Here is simply here for those who ended up here, or for those who’ve always been here. To first Nations people the question is absurd.
It’s apparent we exclude all others when we construct a garrison.
Especially when that construction is at the expense of a community.
“We” tore down Africville & bulldozed Hogan’s Alley to make room for a highway.
& they call it urban renewal, more like “Negro” removal.

My education was one of white-faced white-studies effacing my white face with white paint.
If I encountered a black text it was usually as subtext, prefix, or preface to the rest.
As critics we need to flip the script proper with a provisional manuscript
& avoid creating bordered realities like the Gaza strip,
or the whole world really, when you get down to it.

Rather, DJ take us into an “indexical present.”
The DJ as cultural archivist & resistive resident,
Moving the fader, back & forth between diverse cultural realities,
Using beats, rhymes, & counter rhythms like swords.
Poetry working & un/working on the edge,
Like Rakim said: “Standing on shaky grounds too close to the edge,
Let’s see if I know the ledge.”

An edging towards the Just Society.
A tapestry entwined within Trudeau’s notions of a pluralistic & polyethnic society.
For multiculturalism is an exercise in blackness: an acculturation of forms, a creative destruction of old selves into new states.

Canada is an archipelago of blackness:
For whiteness is death & only when we let go of our possessive investment in it, can we truly unravel the shells holding in the outer limits of our outer selves.
Discover: the heteroglot, the polyglot, the polyphonic improvised being who is always a listening being.
Are you listening Canada? Where is H/ear? Or, Where are you from?

Canada can never claim to be a homogenous culture.
So paint phonemes on canvas, over this Canaan land, soundin’ Canada,
Chant, grunt, shout, & sing a callaloo of aquarelles, a gumbo-concoction with rhythms
that be boppin’ & hip-hopin’ on the Canadian kazoo, & find:
George Elliott Clarke sounding Miles Davis with a blues-beaucoup in Blue.
Wayde Compton entwininging Grandmaster Flash in his legba-trickster brew.
Dionne Brand phrasing Coltrane with a jazz text sonically riffing through.
M. NourbeSe Philip turning the echoes of Zong into song with poetry guiding her through.
K’naan taking us through Babylon wavin’ a flag with the force of a million literary reviews.
& these are to name but a few of the artists
improvising consciousnesses in the liminality of contact zones.

Hear: the spirituals & blues augmenting a salacious truth that speaks Canada with a cool icy-blue.
Hear: jazz, the flattened 5th of devil’s music, blowing freely in Canada too.
Hear: funk, r&b, & rock syncopating the electric past into the reclamation of bodies.
Everybody, hear the dub of the duppy, mystics using a West Indian aesthetic to heal the present.
Hear: Hip Hop urban youths speakin’ beats & rhymes—& more than just music—the movement.
Hear: DJs recontextualizing all material, for sonic frequencies are not a fixed phenomenon.

Legein: the layering out, gathering, collecting, reading, the “mix” of the mixedness of all things.
Improvisation: the open-ended possibility for polyglossic polyventiality, for survival.
Speak as a prophet or profess like a professor: it does mean after all, “To declare openly.”
Laurier, MacKenzie King, & Harper aren’t my prime ministers.
Administer a protesting crescendo with a glissando like Oscar Peterson on the piano,
pushing the keys with love.

Sing Canaan, chant it, shout it, play it, pluck it, howl it, honk it, scream it, into pure utterance & possibility—
freely imagine what a truly Just Society could sound like & be.

—

This poem is in draft stage and covers some of the theory and history surrounding my thesis project, Soundin' Canaan: Music, Resistance, and Citizenship in African Canadian Poetry. The featured image is of Harriet Tubman (far left) with family and friends. I'll be reading part of this poem and discussing my work more generally on Monday, March 10th from 12:30pm - 1:00pm on From The Second Story, a radio program on the University of Guelph's CFRU (93.3 FM).
pauldbwatkins Literature, Poetry

Soundin’ Canaan in 3 Minutes

Next week I am competing in an event where you have to deliver your thesis in 3 minutes with no more than one basic slide. This is quite a daunting task, and given that my 300+ page thesis (in a draft version currently) covers so much, and given that I don’t really have time to discuss any of the specific poetry in detail, I thought I’d primarily touch on some of the larger themes around music and citizenship. I often get asked, so what’s the gist of your thesis? In 3 minutes it sounds  roughly like this:

I will briefly outline how music and citizenship relate to my thesis project, Soundin’ Canaan: Music, Resistance, and Citizenship in African Canadian Poetry, which is about historical recovery and imagining Canada’s future. Like the image of a needle touching down on the historical record, the past tells us much about where we can go, for as Amiri Baraka states, “The future is always here in the past.” Most Canadians don’t even know slavery existed in Canada, and few are aware of the historical black communities in Canada such as Hogan’s Alley in Vancouver and Africville in Nova Soctia, which thanks to the work of the poets in this thesis hasn’t gone unnoticed: Canada Post, as part of Black history month (2014) commemorated Hogan’s Alley and Africville on a stamp. Soundin’ Canaan (Canada was often referred to as Canaan in spirituals during the black migration to Canada), draws from a cross-fertilization of communicative techniques to examine how citizenship is reexamined by African Canadian poets’ resistive soundings.

Centered on the poetry of M. NourbeSe Philip, George Elliott Clarke, Wayde Compton, Dionne Brand, and rapper K’naan, my dissertation builds on the work of scholars who have admirably mapped and written about African Canadian literature. Uniquely it examines how many African Canadian poets draw from African American and pan-African musical forms (including blues, jazz, hip-hop, reggae, dub, and so on) in order to remap the concept of identity and citizenship. Soundin’ Canaan, addresses the politics and ethics of Canadian multicultural policy and citizenship—focusing on intersections between music and text as a border-crossing praxis. I ask: what does Canadian citizenship sound like, particularly as voiced by African Canadian poets interested in a fluid citizenship that moves, like music, between local and global spaces?

Idealistically, citizenship—like music—is not confined to any single space. While in prison, Nelson Mandela listened to Marvin Gaye’s “What’s Going On,” an act Paul Gilroy describes as “The global dimension of diaspora dialogue [made] momentarily visible.” Essentially, music travels across borders, and through such sonic imagining, the value of a global (yet still often regional) citizenship is avowed. My methodology itself is closest to the practice of DJing, which provides a malleable guide to my murky topology: DJs mix multiple records by using various constituent elements of rhythm, timbre, texture, and overall sonic experience. In essence, I ask what happens when you put a mixer and crossfader between several diverse cultural realities?

By looking at citizenship through the lens of music as an often dissonant site (or text) of struggle and identity formation, Soundin’ Canaan demonstrates how music in African Canadian poetry is not solely aesthetic, but a form of social, ethical, and political expression. What happens when those not normally seen as citizens with full rights—the disposable—are brought more into the picture and seen as co-performers of the Canadian remix project? No longer for the elite alone, citizenship is to be universally confirmed for all Canadians.

Canada signified as Canaan represents faith and contradiction for the poets explored in this thesis. Isolation can only create more of the same, and so multiculturalism, reimagings of citizenship and Martin Luther King, Jr. and Pierre Elliott Trudeau’s notions of The Just Society present an opportunity to moderate disorder and fragmentation by embracing difference through fraternity. Much of this thesis is an idealization of what Canadian multiculturalism can aspire to be: a gesturing towards a more equal and free society for all its members.