Trinidad Noir_The Classics

by Earl Lovelace

  Table of Contents

  ___________________

  Introduction by Earl Lovelace

  PART I: Leaving Colonialism

  La Divina Pastora

  by C.L.R. James

  North Trace

  (Originally published in 1927)

  The Cricket Match

  by Samuel Selvon

  London, UK

  (Originally published in 1957)

  Homestead

  by Eric Roach

  Mount Pleasant, Tobago

  (Originally published in 1953)

  Man-man

  by V.S. Naipaul

  Blue Basin

  (Originally published in 1959)

  The Valley of Cocoa

  by Michael Anthony

  Mayaro

  (Originally published in 1961)

  PART II: Facing Independence

  The Quiet Peasant

  by Harold Sonny Ladoo

  Tola

  (Originally published in 1973)

  The Schooner Flight

  by Derek Walcott

  Blanchisseuse

  (Originally published in 1979)

  Malgrétoute

  by Lawrence Scott

  Malgrétoute

  (Originally published in 1987)

  Assam’s Iron Chest

  by Willi Chen

  Mayaro

  (Originally published in 1988)

  Joebell and America

  by Earl Lovelace

  Cunaripo

  (Originally published in 1988)

  PART III: Looking In

  Hindsight

  by Robert Antoni

  San Fernando

  (Originally published in 1992)

  Uncle Zoltan

  by Ismith Khan

  Central Market, Port of Spain

  (Originally published in 1994)

  Town of Tears

  by Elizabeth Nunez

  Laventille

  (Originally published in 2000)

  The Vagrant at the Gate

  by Wayne Brown

  Woodbrook

  (Originally published in 2000)

  PART IV: Losing Control

  Songster

  by Jennifer Rahim

  North Coast

  (Originally published in 2002)

  The Party

  by Elizabeth Walcott-Hackshaw

  Santa Cruz Valley

  (Originally published in 2007)

  Ghost Story

  by Barbara Jenkins

  Cascade

  (Originally published in 2012)

  The Dragonfly’s Tale

  by Sharon Millar

  Northern Range

  (Originally published in 2013)

  The Bonnaire Silk Cotton Tree

  by Shani Mootoo

  Foothills, Northern Range

  (Originally published in 2015)

  Also Available: Trinidad Noir

  Also in the Akashic Noir Series

  Akashic Noir Series Awards & Recognition

  About Akashic Books

  Copyrights & Credits

  Introduction

  Rebellion and Mediation

  Our intention in Trinidad Noir: The Classics was first of all to highlight the work of writers from the twentieth century. Another initial intention was that we publish stand-alone short stories; this has not been faithfully adhered to, and there are two excerpts from longer works in the collection. Even the matter of who is a Trinidadian writer was up for debate, and while those presented in this volume are Trinidadian by birth, passport, or domicile, we seriously considered including others with less clear-cut credentials of citizenship.

  As it turns out, Trinidad Noir: The Classics is a subversive offering, challenging the very categories we thought we had established for our guidance, expressing in its very shaping the tug of our different interests, ways of seeing, where we felt ourselves located, and the slipperiness of the concepts we were trying to define. What is classic? Who is Trinidadian? What is Trinidad noir? (By way of context, the original Trinidad Noir volume published by Akashic Books in 2008 and coedited by Lisa Allen-Agostini and Jeanne Mason comprised brand-new stories written in the twenty-first century.)

  What we have done here is feature stories from writers who were largely part of the literary wave that swept in with Independence: V.S. Naipaul, Samuel Selvon, Harold Sonny Ladoo, Wayne Brown, Elizabeth Nunez, Robert Antoni, Lawrence Scott, Michael Anthony, Willi Chen, myself, and others. To these we have added C.L.R. James, the only presence from an earlier generation, as well as a new wave of younger writers, principally women. In addition we have included the poems “The Schooner Flight” from Derek Walcott—who is at least half Trinidadian—and “Homestead” from the too-long-ignored writer Eric Roach from our sister island of Tobago.

  The result is a publication of many moods and themes that despite these compromises and perhaps because of them ends up being profoundly Trinidadian. The stories range from Robert Antoni’s wildly comic “Hindsight” to the macabre landscape of Elizabeth Nunez’s “Town of Tears.” C.L.R. James’s application of the myth of La Divina Pastora to the liberation of women can be contrasted with Shani Mootoo’s lighthearted play on folklore in “The Bonnaire Silk Cotton Tree”; Michael Anthony’s optimistic innocence in “The Valley of Cocoa” can be set against Lawrence Scott’s “Malgrétoute”; and Ismith Khan’s Uncle Zoltan, an intriguing con man, can be easily compared to the stoic character and the somber world of Harold Sonny Ladoo’s quiet peasant, who in digging for water in the parched land is in fact digging his own grave.

  These stories are all set in what looks like the last days of the colonial world. And while they are not all focused on crime (a common element of the noir genre), they direct attention to the violence of a society that has not quite settled accounts with the casualties of enslavement and indentureship.

  One of the ways in which our literature has sought to restore to humanness those persons disadvantaged by colonial arrangements has been to highlight the heroic individual of the underclass. Joebell in my own story in this volume, who embarks on a quixotic journey to escape to America, is one such character. He shares the stage with a varied cast of other characters: V.S. Naipaul’s Man-man; Algernon, the alert smart-man in Samuel Selvon’s “The Cricket Match,” endeavoring to fit himself into the flattering stereotype of the West Indian in colonial London; Ismith Khan’s Uncle Zoltan, playing the same cool card of deception again and again; Assam, the Chinese shopkeeper in Willi Chen’s story, outsmarting not only thieves but also the government; Wayne Brown’s protagonist in “The Vagrant at the Gate”; and Ghost, the persuasive thief in Barbara Jenkins’s “Ghost Story.” None of these lead characters come across as obvious heroes; most evoke at least a degree of amusement, some pity, or, like Anansi the trickster, challenge us to understanding by showing us ourselves. Ghost, in Barbara Jenkins’s story, is intriguing; although he moves like a ghost, he is still visible. We can still talk to him, whether in reprimand or consultation. We can pardon his violations of our space and his appropriation of our property because we know him.

  In the rural seaside community where Jennifer Rahim’s “Songster” is set, neighbors are still in touch with the good, the bad, and the ugly of their community. But when we come to the contemporary world portrayed in the stories of Elizabeth Nunez, Sharon Millar, and Elizabeth Walcott-Hackshaw, characters like Ghost have disappeared. The relationship with those at the margins of respectable society has shifted and crime becomes a dominant part of the landscape. Even so, these writers have not accepted the world as a place of violence, cruelty, and cynicism—as the noir genre might suggest. Instead, their characters view cri
me with genuine alarm and fear, as at an invasion they are powerless to repel. Indeed, crime is not a genre of fiction; it is a force that maims and kills and kidnaps. And while those who tell the stories are often onlookers rather than direct victims, what they feel is the enclosing darkness, physical and emotional, captured so well in “The Party” by Elizabeth Walcott-Hackshaw, whose protagonist is trapped in a world in which she must soldier on, keeping up appearances in a life endorsed by her actions but not embraced by her heart.

  Trinidad itself is a relatively new society, one of the latest colonial settlements in the West Indies. What is remarkable about this place is that it contains influences from all parts of the globe: the Amerindian, the European, the African, the mulatto, the Indian, the Chinese, the Middle Eastern, and more—in all their fascinating combinations. At the same time, it is also a society established in colonial inequality and injustice, against which affected communities have continued to rebel.

  Where this country is different even from its Caribbean sisters is the degree to which it has developed its folk arts—its carnival, its steel band, its music—as forms of both rebellion and mediation. These forms have not only continued to entertain us; they ritualize rebellion, speak out against oppression, and affirm the personhood of the downpressed. This rebellion is not evident with the same intensity as it used to be. Independence and political partisanship and the growing distance of the middle class from the folk, among other developments, have seen a fluctuation in the ideals of rebellion. Yet what is incontestable is that these arts have established and maintained a safe space for conflict to be resolved or at least expressed, not in a vacuum but in the face of a status quo utilizing its muscle and myths to maintain a narrative that upholds its interests.

  As the situation becomes more complex and information more crucial, our literature is best placed to challenge or to consolidate these myths. Individually, we are left to decide on whose behalf our writing will be employed. In this situation, the struggle has been within the arts themselves—whether they see themselves as an extension of rebellion or art as entertainment. Although late on the scene and without the widespread appeal of the native and folk arts, our literature can lay claim to being part of these arts of rebellion, upholding and making visible the dismissed and ignored, lifting the marginalized into personhood, persuading us that a new world is required, and establishing this island as a place in which it can be imagined and created.

  It is against this background that this fantastic anthology expresses and grapples with the questions of who we are, what is classic, who is Trinidadian, and what is noir.

  Earl Lovelace

  Port of Spain, Trinidad

  February 2017

  PART I

  Leaving Colonialism

  La Divina Pastora

  by C.L.R. James

  North Trace

  (Originally published in 1927)

  Of my own belief in this story I shall say nothing. What I have done is to put it down as far as possible just as it was told to me, in my own style, but with no addition to or subtraction from the essential facts.

  Anita Perez lived with her mother at Bande l’Est Road, just at the corner where North Trace joins the Main Road. She had one earthly aim. She considered it her duty to be married as quickly as possible, first because in that retired spot it marked the sweet perfection of a woman’s existence, and secondly, because feminine youth and beauty, if they exist, fade early in the hard work on the cocoa plantations. Every morning of the week, Sunday excepted, she banded down her hair, and donned a skirt which reached to her knees, not with any pretensions to fashion but so that from seven till five she might pick cocoa, or cut cocoa, or dry cocoa or in some other way assist in the working of Mr. Kayle Smith’s cocoa estate. She did this for thirty cents a day, and did it uncomplainingly, because her mother and father had done it before her, and had thriven on it. On Sundays she dressed herself in one of her few dresses, put on a little gold chain, her only ornament, and went to Mass. She had no thought of woman’s rights, nor any Ibsenic theories of morality. All she knew was that it was her duty to get married, when, if she was lucky, this hard life in the cocoa would cease.

  Every night for the past two years Sebastian Montagnio came down from his four-roomed mansion, half a mile up the trace, and spent about an hour, sometimes much more, with the Perez family. Always, he sat on a bench by the door, rolling cheap cigarettes and half-hiding himself in smoke. He was not fair to outward view but yet Anita loved him. Frequently half an hour would elapse without a word from either, she knitting or sewing steadily, Sebastian watching her contentedly and Mrs. Perez sitting on the ground just outside the door, smoking one of Sebastian’s cigarettes and carrying on a ceaseless monologue in the local patois. Always when Sebastian left, the good woman rated Anita for not being kinder to him. Sebastian owned a few acres of cocoa and a large provision garden, and Mrs. Perez had an idea that Anita’s marriage would mean relief from the cocoa-work, not only for Anita but also for her.

  Anita herself said nothing. She was not the talking kind. At much expense and trouble, Sebastian sent her a greeting card each Christmas. On them were beautiful words which Anita spelt through so often that she got to know them by heart. Otherwise, nothing passed between the two. That he loved no one else she was sure. It was a great consolation; but did he love her? Or was it only because his home was dull and lonely, and theirs was just at the corner that he came down every night?

  As the months slipped by, Anita anxiously watched her naturally pale face in the broken mirror. It was haggard and drawn with watching and waiting for Sebastian to speak. She was not young and her manner was not attractive. The gossiping neighbours looked upon her as Sebastian’s property. Even in the cocoa-house dances (Sebastian never went because he did not dance) she was left to herself most of the time. And then, she loved him.

  It came about that Anita’s aunt, who lived at Siparia, paid her a surprise visit one Sunday. She had not visited North Trace for years, and might never come back again. Consequently there were many things to be talked about. Also the good lady wanted to know what Anita was doing for herself.

  “And when will you be married, ma chère?” she asked, secure in the possession of three children and a husband. Anita, aching for a confidante, poured forth her simple troubles into the married lady’s sympathetic ear. Mrs. Perez expatiated on Sebastian’s wordly goods. Mrs. Reis, you remember, came from Siparia. “Pack your clothes at once, girl,” she said, “you will have to miss this week in the cocoa. But don’t mind, I know someone who can help you. And that is La Divina.”

  Of La Divina Pastora, the Siparia saint, many things can be written but here only this much need be said. It is a small image of some two feet in height which stands in the Roman Catholic Church at Siparia. To it go pilgrims from all parts of the island, at all times of the year: this one with an incurable malady, that one with a long succession of business misfortunes, the other with a private grudge against some fellow creature to be satisfied, some out of mere curiosity. Once a year there used to be a special festival, the Siparia fête, when, besides the worshippers, many hundreds of sight-seers and gamblers gathered at the little village, and for a week there were wild Bacchanalian carouses going on side by side with the religious celebrations. This has been modified but still the pilgrims go. To many, the saint is nothing more than a symbol of the divine. To more—like the Perez family—it possesses limitless powers of its own to help the importunate. From both parties it receives presents of all descriptions, money frequently, but ofttimes a gift from the suppliant—a gold ring, perhaps, or a brooch, or some other article of jewellery. Anita had no money; her aunt had to pay her passage. But she carried the little gold chain with her, the maiden’s mite, for it was all that she had. It was not fête time, and quietly and by herself, with the quiet hum of the little country village in her ears, Anita placed the chain around the neck of the Saint and prayed—prayed for what perhaps every woman except Eve has praye
d for, the love of the man she loved.

  That Sunday night when Sebastian reached Madam Perez’s house, the even tenor of his way sustained a rude shock. Anita was not there, she had gone to Siparia and was not coming back till next Sunday, by the last train. Wouldn’t he come in and sit down? Sebastian came in and sat down on his old seat, near the door. Mrs. Perez sat outside commenting on the high price of shop goods generally, especially tobacco. But Sebastian did not answer; he was experiencing new sensations. He missed Anita’s quiet face, her steady nimble fingers, her glance at him and then away, whenever he spoke. He felt ill at ease, somehow disturbed, troubled, and it is probable that he recognised the cause of his trouble. For when Anita landed at Princes’ Town the next Sunday, Tony the cabman came up to her and said: “Sebastian told me to bring you up alone, Anita.” And he had to say it again before she could understand. During the six-mile drive, Anita sat in a corner of the cab, awed and expectant. Faith she had, but for this she was not prepared. It was too sudden, as if the Saint had had nothing to do with it.

  They met Sebastian walking slowly down the road to meet them. For an hour he had been standing by her house, and as soon as the first cab passed, started, in his impatience to meet her on the way. The cab stopped and he was courageous enough to help her down. The cabman jumped down to light one of his lamps and the two stood waiting hand in hand. As he drove off Sebastian turned to her. “Nita,” he said shortening her name for the first time, “I missed you, Nita. God how I missed you!”

  Anita was happy, very happy indeed. In her new-found happiness she came near to forgetting the Saint, whose answer had come so quickly. Sebastian himself was very little changed. Still he came every night, still Mrs. Perez smoked his cigarettes, ruminating now on her blissful future. But things were different. So different in fact that Sebastian proposed taking her to the little cocoa-house dance which was to come off in a day or two. It was the first time that they were going out together since that Sunday. Everybody who did not know before would know now, when they saw Sebastian taking her to a dance, a thing he had never done before. So she dressed herself up with great care in the blue muslin dress, and what with happiness and excitement looked more beautiful than she had ever seen herself. Then, as she cast another look in the mirror she missed something. “How I wish,” she said with a genuine note of regret in her voice, “how I wish I had my little gold chain.” Here, her mother, determined not to jeopardise her future, called sharply to her, and she came out, radiant.