Cynthia James      

 

Books: 

Sapodilla Terrace. Peterborough, England : Upfront Publishing Ltd., 2006.

The Maroon Narrative: Caribbean Literature in English Across Boundaries, Ethnicities, and Centuries. Portsmouth, NH : Heinemann, 2002.

Bluejean: A Novel. Trinidad: GreenTree Press, 2000.  ( Excerpt from Bluejean)

Vigil. Trinidad: G. V. Ferguson Ltd., 1995.

La Vega and Other Poems. Trinidad: G. V. Ferguson Ltd., 1995.

Soothe Me Music. Trinidad: G. V. Ferguson Ltd., 1990.

Iere, My Love. Trinidad: G. V. Ferguson Ltd., 1990.

 


Cynthia James

    Excerpt: SAPODILLA   TERRACE  

      Part 4 - Philomen

         My car swung into Ford Lane. I was going to look up Philomen. Just one street behind the main road and it was as if I was in one of the country villages on a larger, but more cluttered scale. The road was still narrow but it was paved, so I drew up at the edge. The front door of the house was wide open as usual. A length of cream lace, brown where hands and heads passed, swung in and out. I didn’t see a dog, but I wasn’t taking any chances.

“Good Morning, Miss Maud!”

No one answered.

"Philomena!" I tried again.

Still nobody answered. I went back to my car and did something I would have thought twice about doing in other places--I tipped my horn.

A young woman whom I did not recognize was braiding someone’s hair in the gallery next door. There were strips of artificial hair draped on her banister in neat rows. As she lifted another clutch of hair to graft it onto the head she was working on, she looked up at me.

“Anybody at home?” I asked, motioning to the house in front of me.

“The old lady there. Let me call her for you. Mammy!” She called leaving her client unattended, and entering her front door guarded by a curtain just as flimsy as the one next door. The client straightened her neck and looked inquisitively at me. The voice of the hairdresser penetrating her house bawled out, “Mammy! Tell Miss Maud that somebody here to her!”

From next door, at the back, the neighbor was shouting, "Maudie! Maudie-Oi! Somebody in the front!"

In a short while a boy in a stretched-mouthed merino and Reeboks appeared at the side of the house. In his hand he twirled a basketball. He was simply checking out the caller. Until someone came from inside, he would remain belatedly guarding the entrance while he spun his ball. A boy of about ten in home clothes, foot well encased in thick football socks and Reeboks, twirling his basketball as though he belonged to an A-team from the Bronx.  Philomen's son?  More likely her sister Tansy's. 

            Floorboards were thumping under heavy feet coming toward the door. I prepared myself for the horse-around that was standard greeting with Miss Maud. It was she indeed, Philomen’s mother . . . a little grayer, but still the tubby Miss Maud.

            “Good Morning, Mr Gentleman,” Miss Maud uttered questioningly.

“Miss Maud? Paul. Paul Alexander,” I said moving forward slowly, giving her time to make the connection.

“A - A, Paul?" 

Miss Maud was leaning over the banister with a rush of recognition.

“Paul? Come nuh, boy. I didn't know you was back home! You mean to say you come back and nobody didn't tell me? What kind of thing is that? No warning at all at all at all?”

I wasn’t getting a chance to say a word.

"Come, man, come."  She was pulling back the furniture in the small gallery, to make room, wheezing from all the fuss.

"And Philomen didn't tell me nothing! She have her own place now, you know. She have a boutique in Picoplat Mall. I was a bit disappointed. I hardly expected Philomen now a grown woman to be still living at home, but since it was Sunday I thought I might have run into her.

“Boy, you mustn't do these things! You will give people heart attack! And then look at my crosses! Is me alone here, now that Tansy gone."

“Where’s Tansy?”

“You know how long Tansy migrate to Canada? That is her son.” Miss Maud pointed to the boy with the basketball.

“Hi,” I said, looking at the boy.

As I stepped on the planks over the shallow drain, the hoarse quarrelling of an old dog arose from underneath the stump-toed house.

"Is it Benji who’s doing as if he doesn’t know me?" I asked.

Miss Maud was laughing and lumbering down to unlatch the small wicker gate in front of the steps. Her shoulders sloped as she placed her weight on alternate sides of her body at a time.

The basketball pro stopped twirling his ball so he could give his attention to the brown curl in the shadows.

"Hush you mouth, Benji!"

Benji hushed.

"Bite him, man, bite him! He never even write!" Miss Maud said in mock annoyance. She cackled when she saw my hesitation.

"Come, man! What you worried bout? Come, man, come! Benji can't move about. He like me. So long you forsake him and gone, all the teeth fall out his mouth."

I approached and Miss Maud, still talking non-stop, gave me a bear hug.

"But look how neat and trim my boy get! Come and give me full account!"

   

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Cynthia James Speaks About her Childhood 

at YWCA Luncheon Jamestown, New York on 10/22/96

 

My life is much more than a personal story, because no one can do it alone. And today I want to tell you about my start, not the countables themselves, but the very fabric of the live I have lived. There was a time I would have been afraid to speak thus boldly about my life; for, to speak of one's achievements in my culture is taboo. But I want to say that success is an attitude, and that, thank God, with the start I was given, for as long as I have lived, I have always had the courage to write my very own book.   

For me, it has been a father with vision, a mother who was invisible but as solid as a rock. It has been the humility of worship. It has been people along the way who have stretched out a hand when they could have kept that hand closed. But above all my success is due to a father who strongly believed that each generation should be better than the last. That sounds like a tough mandate to set for children, but if you have come from where I have come from, you know that it is only a sophisticated way of saying you are tired of singing the blues.

I was born in a village called Sangre Grande in the northeast of Trinidad, the first girl and second child in a family of nine children. Nine children is a lot, but I am going to disappoint you. I was never poor. I had no shoes, but I was not poor. I slept in my mother’s old dress, but that was because it smelt of her, and it was warm and long. Buying clothes was wasteful when clothes were plentiful around. It was just that they were not being used by a particular person anymore. There are many things about small societies that are cultural, which the world looks at as being poor. But I  leave that discussion for another occasion. All I want you to understand is that I did not have many things I could call my own, but I was not poor, nor have I ever felt poor.

I was born into a family in which material things were scarce, but my father was the principal of a school and my mother did in time become one too. In other words, I had the advantage of a good educational foundation, and to me once you have a good educational foundation and you could brave the world, you don't need much more.

We lived in the country, as I think I have told you. And when I was ten, my father prepared me for a college exhibition, which was the chance to get a high school education, an unthinkable thing for ordinary girls in Trinidad at that time. Two hundred and fifty free places were being offered in the country. It was one hundred and fifty up from the one hundred in my brother's time. And I won one. The nearest secondary school was thirty miles away, and school began at eight o' clock.

Out of my village ran one bus. It left the village at six o'clock in the morning , crammed with the ten or so young minds who were mainly boys, and the civil servants, and the mothers who had to attend court for that day. In other words, only those who had made it and those who had trouble used to be on that bus going to town. That very bus stayed in town till four o'clock, refueled and voyaged from town to bring back the civil servants and the pride and the hope of the village who had won college exhibitions, among whom I was one.

What I am telling you, then, is that I never saw my village in the daylight for the seven years I spent in school, except on weekends. My mother woke my brother and me up at four o’clock in the morning, what we call foreday morning in the Caribbean. And we knelt down at the bed side, and she being a faithful Roman Catholic, we prayed the Act of Faith and the Act of Hope and the Acts of Charity and of Love. And she put a palm on each of our heads and said The Lord is my Shepherd. And her voice rose when she came to “Yea do I walk through the valley of death and I shall fear no evil,” and also at the verse that said, “He has anointed my head with oil, my cup runneth over.” Then she would say either the Glorious mysteries, or the Sorrowful mysteries of the Rosary. But we prayed for one solid hour. Every morning my mother prayed for one long foreday hour over her first two children she was sending into the unknown.

My mother never slept, I used to think. For when I went to the bathroom, she had a bucket of warm water waiting for me. Hot water pipes is Trinidad is a city thing, and even so, I am talking of the time before Independence, when we were still a colony of Mother England. But after the prayers there was no order. You dressed while you were eating, and meanwhile she packed the paper bags of lunch.

By five thirty in the morning my brother and  I were out, waiting to catch the bus when it was going up the road to turn. That was the only way to get a seat, because the bus, which was a forty-seater was full and could pass you straight on its way down.

Some days we woke up late, or the bus broke down. Then my father would suddenly appear out the road. For it was one bus. Everybody knew when this old rack-a-tang bus was leaving the village. If it did not leave that fact was known by the whole village. Then my father would appear and he would stand with us by the roadside until the bread van, or the newspapers van was going back to Arima, which was the next town twelve miles on the road to town.

My father would flag down the van, and the man would invariably say, What's going on, Teach." And after the greeting, Teach would say, "I want you to drop these children off in Arima, and make sure they get a car or bus going to town." That was when the money that did not buy me nighties and gold and silver ribbons came out. The one thing I never saw in our house was money. Money was kept in my father's pocket. We had bus tickets, our lunch, and a one-dollar bill at a time for emergencies. If you used it up you had to tell on what you had used it, and depending on what you had used it for, you would get another one. I have always looked at my father's hand emerging from his pocket with interest. It was not that he was a stingy man, but it was only in these emergencies that I saw him put his hand in his pocket, and I was always surprised at the color of the bills that came out.

And the bread van man, or the newspapers van man would take the bills and we would sandwich ourselves in front between him and his helper, or get in at the back with the bread or the newspapers and the van would go the twelve miles of wasteland between us and the next town. I didn't understand then what was happening to me. But I understand it now in retrospect.

On regular mornings, before I came off the bus, I would look across the seats at my brother, and he would be looking at me. We never sat near to each other unless there was no other seat in the bus. And when I came out of the bus I looked for my brother from the pavements again, and we would not wave to each other, because the other scholarship winners and the civil servants and the people in the bus with their sons in the Royal Jail were looking at us. And I would then walk down Fifth Avenue into a totally foreign world to spend the day. I was bright, so I did well, but I have spent a lot of my life just looking on.

School was over at two thirty. I had to make sure I did not get a detention. What did I do when I got detentions? I was so scared about how I would get home, that in my first two years of college I can only remember one. And that was one with the whole class when the whole class was making noise. And then I used my red dollar. And I still missed the bus, but I got to Arima and I did something my mother told me never to do. I took a PH taxi and came home.

What I do know is that every holiday my father came down on one Saturday to see the Principal, and before he came he hired a van and brought down a load of oranges and plantains and pigeon peas and corn and mangoes and breadfruit, and all the things that we ate in the country. Not things I saw  much of when I went to town. At home we call them ground provisions. But in case you think that was a form of bribery, that is not why I got few detentions.

Not long after I began secondary school, Trinidad and Tobago became independent and secondary schools went up one by one. One went up in my village, called North Eastern College. But I can tell you I was among the first girls from the ordinary class of women in my country to get a secondary education. I was aware of that and I intended to make that count. Today in my country everybody goes to secondary school.

How could I not make a success of it? How could I dare? But I could not have done it alone. The ingredients: a steady family, a vision and prayer, and people who care--that is the message. Not to give less than what has been given you--to bring gratification to yourself, your country, your parents and the world with the talents you have been given. That is the measure of my achievement.

Eventually my father bought a car as more of his children went to secondary school and then we all crammed in it, while my mother poured out the car-breakfast. But to finish the story of the day I got the detention. I got off the PH car at my corner and crossed the road. And there in the shadows of the sidewalk was my mother standing in her house dress. With all her worry and anxiety, she had not bothered to change her clothes. And that was standard during my secondary education: Whenever I was late my mother was standing on the sidewalk in the corner of the rose bushes waiting for me to appear in the dusk.


  The Gift of Tongues- Cynthia James

I had just started to teach and was now becoming accustomed to my duties, one of which was to organize the efforts of the students of my third-form class whenever there were school shows. The Parade of Bands for that year's Carnival, the Carnival of l 970, was my first experience. I had no intention of doing anything to help the students in this event. Carnival was not my thing. I had grown up associating it with vulgarity and what we call low-class behavior. And in fact I secretly felt that all this wildness being introduced into the extra-curriculum was what was contributing to the lowering of standards in the schools.

So my class decided on which girl would be the queen all by itself, and they decided whom she would portray. They did the research and raised the money themselves through cake sales and cricket matches. I was not getting myself involved in that, and I was glad that the girl's parents were "mas people." They would see to making the costume. But I had to know the barest essentials in case the principal asked. The girl was playing some African queen or other, and I remember thinking that at least the choice was right. For the girl, I mean. She was wide-eyed, with skin as black and as smooth as midnight, so that when she looked at you, you saw mainly the flash of stars, her eyes.

The Carnival afternoon came, and I stationed myself upon the balcony intending to be what I had always been, a spectator above the prancing crowd below. Recorded calypso music rang out of the PA system, and I on top just watched the whole procedure, the individual masqueraders, kings and queens coming down the green one by one, then slowly taking the center spot of the courtyard that all the prancing had reduced to dust. 

For all my nonchalance, when my queen was announced, my heart began to throb. I saw her take up her position on the edge of the arena, and Good Lord! I was excited. But it was because I knew her, and she was representing "my efforts," which, of course, I have told you about. From the balcony where I was, I could see the brocaded purple of her gown, her tall, tightly wrapped head tie, and I could see the edge of her train. And she was dancing on the spot, waiting, I did not know for what. But I was waiting, too, to see her because I had not seen any of what they had been doing before, but from what I was seeing now, I was very proud 

She kept dancing on the spot and the music was a frenzy and everybody was looking expectant. But she was not moving off the green grass into the beaten pranced down dusty spot. Then I found myself rushed by some teacher holding a microphone who said to me something like, "Where is your commentary?" And I stupidly said, "What commentary?" And the teacher holding the mike said, "Your queen is waiting. Here, go on, go on!"

All of this had nothing to do with me, but nobody would forgive me if I let the program down. I looked at my queen who was getting nervous on the spot and who was looking up to where everybody was now looking. AT ME! I had no choice. I just opened my mouth and introduced her to the crowd. I said, "And from Three B we have Merlin François, portraying the African queen in all her splendor." And I saw Merlin move off.     

What energy! It was as if she were saying, "You know how long I was waiting to do just this, to let go and play my mas!" I can't tell you all of what I said. All I know is that I was just as dependent on her as she was on me, a true African queen showing the audience who she was, her royal-ness and her life-giving-ness in that swirling dust. Sometimes I could not see her, just the purple brocade, giving light to the edges of each flower in the pattern of overlapping whorls --cashew pink and yellow poui, and a lot of burnt colors like marigold and sapodilla and tambran daisan brown. And the dust, man, the dust was just flying around.

And the calypsonian's voice was a background on which mine was superimposed. Because I remember screaming above the feedback to be heard. You know how you can feel you are being shut out when you are trying desperately not to be shut out above all the energy and commotion in a dense enclosure. And Merlin had gone past half the stage and was nearing the last quarter, going off. And my eyes were like the eyes of the crowd, just following her. And the whole field around the edge was chanting and prancing and she was coming off.

When I passed back the mike, the whole balcony was in a scandal. Teachers were hugging me and laughing and punching me as if I had had my baptism. They were doing as if I had passed some test.

Carnival is the theater that most energizes me as a Trinidadian. I have revisited that experience in my mind countless times and have always been electrified. After that, when something special happened, I wrote it down. In a very dramatic way, I feel that was the moment I was given "the gift of tongues.”

 


Online Writing and Teaching Links:

Andrea Levy's Small Island - Anthurium

From Orature to Literature

Jouvert

Jouvert 1

Performing West Indian Childhood

Sapodilla Blog

CALL Blog

Career of Your Dreams: ESL Webquest

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