After
work on Tuesday morning I went home for a few hours, took a siesta for an hour
and a half and then headed for class. I didn’t have to use my bike flashers all
the way downtown and I could still see pink on the horizon as I was locking my
bike in front of University College at 17:30.
I
used my laptop to finish my journal entry for the previous day, and then I ate
five cheese sticks and continued making hand written notes for my essay. When
Zack arrived, remembering him mentioning that he’d visited Turkey, I asked if
he’d ever come across an area called “Halfeti’ but he hadn’t. I wondered if
he’d learned any Kurdish. He explained that he’d hardly talked to anyone when
he was there because it was Ramadan and he didn’t want to piss anybody off.
George arrived as Zack as I told Zack that I’d seen a YouTube video of a guy
getting punched out by someone for smoking a cigarette during Ramadan. George
suggested jokingly that it must have been the brand. Zack joined in that one
wouldn’t want to be caught smoking Marlboros in Camel country.
George
called out to everyone, “Welcome to Valentines Day!” and then commented that
spring was just around the corner. He recounted for us how on the Thursday
before he had participated in two literary events: one on ethics and Leonard
Cohen and another a celebration of the life of the late Austin Clarke. He noted
that it turns out coincidentally that both Cohen and Clarke were born in 1934.
George
gave us his itinerary for the next little while: that he would be flying to
various engagements in different parts of Nova Scotia and back and forth to
Ottawa for other events, including an Ottawa poetry slam. I asked if he would
be a contestant or a judge and the slam and he said that of course he would be
a judge since he wouldn’t dare to compete with slam poets because they are just
too good.
Our
book of study for this class was Wayde Compton’s “Performance Bond”. Compton’s
approach to writing poetry is intellectual and encyclopedic, with a focus on
the ABCs of ABCs. That is the documentation of the realities, the history and
identity of Afro British Columbians. He is currently a professor of creative
writing at Simon Fraser University. His first book of poetry was called “49th
Parallel Song”. In “Performance Bond”, in addition to his own work, Compton
adds other people’s texts about their histories as Afro British Columbians
because they help to justify his on presence. In addition to being a teacher
and a writer, Compton is also a club DJ. The book blends his poetry in print
with an added CD so we can hear him performing some of the material.
The
title of “Performance Bond” comes from the judicial phrase “Appearance Bond”
that someone signs to prove that they are responsible enough not to have to
remain in police custody by promising to pay a certain amount of money if they
do not show up in court. It is deliberate that the word “bond” has various
other meanings such as to be shackled, one’s word being one’s bond and high
quality writing or printing paper. Everything in the book has double and triple
meanings. A case in point was “Stations”, the first poem from the book that we
looked at. Stations can refer to Stations of the Cross and there are different
ways of using the word “cross”. Compton himself is a cross breed but “cross”
may also refer to crossing over. Stations could also refer to stations on the
Underground Railroad.
George
told us that Compton’s birth mother was White and his birth father was Black,
but they put him up for adoption. However, the couple that adopted and raised
him were of the exact same racial mix as his birth parents. So his two sets of
parents mirrored one another. The mirror appears a lot in Compton’s poetry,
indicating likenesses, representation and appearance. The word “surface” is
also repeated a lot in this book.
George
took a moment to announce that he has recently become a proud landowner in Nova
Scotia. He told us that he needs peasants to work his three-quarters of an acre
lot and so he would consider applications first from his students.
Compton
is very hip, avant-garde, political and interested in exploring and
experimenting with racial codings and the melding of language with objects,
sounds, music and places.
“Performance
Bond” is dedicated to Rosemary Brown and Ted Joans, both of whom died in 2003.
Brown was a British Columbin community activist, the first Black woman to be
elected to a Canadian provincial legislature and the first woman to ever run
for leadership of the NDP. Joans was a Beat writer, jazz poet and surrealist
whose work was a precursor to the spoken word movement, though he did not like
the competitive aspect of slam poetry.
George
announced that on March 9 he would be recording a song in Ottawa. Knowing that
he has declared emphatically in the past that he can’t sing, I asked him if he
would be singing. He laughed dismissively and affirmed that he would be
reading.
Some
of Compton’s poems look at borders and so George talked a bit about the fact
that Canada is more edgy about borders in many ways than the United States. We
have a very selective immigration policy. We targeted Chinese immigrants
because we wanted them to build our railroad; we let in Eastern Europeans in
the early 20th Century because it was determined that they would be
a good fit to contribute to our agricultural production in the prairies; and
now we have special categories for immigrants who can start businessesbecause
we are elitists.
Canada
has had anti Jewish, anti Asian and anti Black laws. British Columbia passed
laws to impede Asians from voting in 1872 because some communities had a
Chinese majority. Between 1999 and 2001 a group of Chinese were trying to reach
the west coast in leaky boats. The Canadian Navy was sent to intercept them.
Out of a few hundred, only a handful of children got to stay. In 1987 South
Asians came ashore. Again the navy was called and Parliament was even recalled.
“Declaration
of the Halfrican Nation” was first published in 1996.
Somehow
the subject of wormwood and absinthe came up. I missed the thread that led to
it. George pointed out that it's dangerous but widely available in Quebec.
In
the recent refugee crisis, Canada has accepted 56,000 last year while United
States has only let in 5,000 even though it’s partially the fault of the United
States that the crisis occurred in the first place. It’s an inconvenient truth.
The
poem begins with the word “hazel” written as if it were a person’s name but
with a small “h”. It refers to the colour. In between as an identity. Passing
for Black or White. The line “What is Britannia to me?” is a reference to the
line “What is Africa to me?” from “Heritage Poem” by Countee Cullen.
What
does it mean to be a “British” Columbian? We forget that the Canadian constitution
of 1867 says that we have to advance the interests of the British Empire.
There
is a reference to Frantz Fanon’s ghost. Fanon wrote “Black Skin, White Masks”
about how Blacks have to behave as if they are White in order to function is
the White world.
Of
how to make hazel definitive, George suggests that all mixed race people should
be included as Metis, since Metis means “mixed”.
I
pointed out that in several places in the poem Compton forces the reader to
experience halfness by splitting up words at the end of a line so they have to
be finished on the next. I also indicated that he peppers the piece with words
that mean “half” in various contexts such as: semi; co; side and entre. Then I
shared the results of some research that I’d done on the black rose, through
which I found that the blackest rose in the world is in a place in Turkey
called “Halfeti”, the name of which was originally in Kurdish, “Xelfeti” and
which was made from a combination of the names of two lovers: “Xel” and “Feti”.
Their legend seems to be an ancient Romeo and Juliette story about a couple
that because their families could only be united in death.
We
looked at a poem that begins with the line, “Lyrical / Prosaic”. The first half
consists of various similar opposite sets of words, then changes to a list of
words and mean “mixed” and ends with the line, “Those who have no history are
doomed”.
Another
poem begins with the line, “Chinese Columbia” then each subsequent line lists a
different ethnic group that lives on the west coast and puts “Columbia” after
each one. At the end of the list is “British Columbia / whose motto / Splendor Sine Occasu … can be translated myriad ways …” The
translation is basically “Shining without a sunset.” But Compton gives his own
at the end as, “Scintillation without perimeter”.
George
said that there have been no treaties between Natives and the British Columbia
government until recently. My research shows that the first one was in 1850,
but maybe he means a fair one where the details weren’t written in later.
We
looked at the poem “Afro-Saxon”. George explained that elite Blacks identified
themselves with that term.
Compton
is mixing elements of popular culture as a means of interrogating commentaries
on authenticity just like he mixes beats as a DJ.
His
poem, “Jinx” has words or lines intermixed with non-letter symbols. It contains
a joke about the Rosetta stone and the genetic code. There is no genetic code.
George
announced that we would be taking a break, but first we would look at “Christian’s
favourite poem from the book, ‘To Poitier’” I’d thought that he was going to
ask me to read it but he read it himself. In fact, except for the first poem,
George read all of the ones that we looked at in this book, even though he
usually asks for volunteers. In the poem, Compton credits Poitier, through his
role in “Guess Who’s Coming To Dinner?” with bringing mixed couples like
Compton’s own parents together and he thanks him, with love.
During
the break I asked George if I could have an appointment with him to discuss my
essay. He told me to email my request, I guess because it would be easier to
access his calendar in front of his computer.
He
bragged that has been keeping a New Years resolution that he made in 2011. I
asked what the promise was and he answered that he committed himself to leaving
Canada once a month. I asked what motivated him to make such a resolution and
he responded, “Harper!”
I
asked George if as the poet laureate of Canada there’s an apartment for him in
Ottawa. He said there isn’t but he stays in hotels and it comes out of his
Library of Parliament budget.
I had
thought that the Parliamentary Poet Laureate was an appointment but George
revealed that he’d had to apply for the position. This is in contrast to his
earlier tenure as the poet laureate of Toronto, which he hadn’t asked for. He
said he was very surprised when he got the call to tell him that he was
Toronto’s poet laureate.
After
the break we looked at the poem, “The Essential Charley Pride”, which is
another of my favourites. It begins, “There is a church of John Coltrane /
Charley Pride is a heretic …” George mentioned Coltrane’s composition, “Naima”.
The next two lines are “There is a Funkadelic Parliament /Charley Pride is Guy
Fawkes …” This distracted George into talking about George Clinton and
Funkadelic. He described Funkadelic as “acid rock with a Black accent” and told
us about 1979’s “Chocolate City”, which is a rap about the first Black
president. George recounted how when they were teenagers in Nova Scotia, on
Saturday nights he and his brother used to turn the television to “Cousin
Stacy’s Country Jamboree” which he said was a horrible amateur night with bad
musicians and singers. But what they liked to do was to turn the sound down and
watch the video while playing Funkadelic.
Charley
Pride “endured the denigration from both sides.” A synonym for “denigration” is
“blackening”. “Directing him every which way but home.” Is a reference to the
Clint Eastwood movie, “Every Which Way But Loose”. “You have crossed over” is
one of the many references to Robert Johnson who, as legend tells the story,
received the inspiration for the Blues from the Devil when he sold his soul to
him at a crossroads.
With
Compton you get more than you expect.
From
the poem, “Performance Bond” – “ … Those who don’t remember / repeat …” is a
reference to the famous quote from Santayana. The line - “BC is not the sum of
its exclusions / or the complexion of its successes …” is a play on one Martin
Luther King’s statements. The poem is about the performance failure of British
Columbia. “Does Emery Barnes’s body jogging through the streets of Beijing /
signify “BC” less than WAC anywhere, anytime?” George asked us if we knew who
Emery Barnes was. No one had an answer. “It’s Black history month!” he
chastised. He informed us that Emery Barnes was the speaker of the British
Columbia legislature and the first Black speaker of any provincial legislature
in Canada. WAC refers to W. A. C. Bennett or “wacky Bennett”. Bennett was the
25th premier of British Columbia and he held office for twenty
years. “The Komagatamaru moves through law and Latin / to terra sine occasu …”
This is a reference to the shipload of South Asians that came to just off the
coast of British Columbia in 1914. There was no legal reason to refuse them,
but William Lyon McKenzie King, probably upon the advice of his dog, found a
loophole that allowed him to turn the 376 Punjabis away. During his twenty-two
years in office, King also refused Jews, interned Japanese Canadians and said
nice things about Hitler.
George
said that the Japanese were our allies in World War I and the Japanese navy
would regularly patrol the coast of British Columbia to protect it.
George
announced that he agrees with Justin Trudeau that our electoral system is
perfect the way it is.
“Epicanthal
Japanese vessels in Steveston” Steveston was a Japanese Canadian town, the
population of which shrunk considerably during the Japanese internment.
Compton
moves seamlessly from hip talk to politics. “Youth its own ethnicity.” The poem
reminds George of T. S. Eliot’s “The Wasteland” because of its modulation of
voices.
George
said that the small “l” liberal dream is the acceptance of equality. Racism is
not the problem but rather empowered racism and that of all “isms” is the
problem. He said he didn’t want to go so far as to say that the current United
States president is autocratic.
Brown
versus the Topeka Board of Education was the case that allowed the United
States Supreme Court decision to kill segregation.
He
talked of gerrymandering, which is to redraw electoral boundaries in order to
exclude certain people from participating in the electoral process.
One
poem is a copy of a cheque from Wayde Compton made out to Papas Labas, who is
voodoo priest from the novel “Mumbo Jumbo” by Ishmael Reed. On the memo line is
written, “So I may pass through” or cross over.
One
poem has two lines – “This is what it sounds like when pigeons cry / homeward.”
George said we should think of pidgin English.
Another
poem has three words: “ailing” then the word “water” is repeated 72 times and
“spirits” is repeated 13 times. George said it is reminiscent of “Zong”, which
is a concrete poem by Philip Norbese.
As we
were packing up, Zack announced happily that he was one of the seven accepted
into the Creative Writing Masters program. George told him that he helped
create that program and that it is because of him that seven people are
admitted instead of six. Zack went in the other direction while George and I
went out the side door. He told me about one of the other founders of the
program who had been dismissed because of sexual harassment allegations without
even having a chance to be questioned on the issue. It reminded me of the whole
Greg Frankson thing from a couple of years ago. George said that another
faculty member had to resign because he knew something about the disappearance
of native women that he couldn’t devulge.