So Spoke The Women

 

Authentic Haitian American Literary Voices

 

From left to right; Fievre, Hyppolite, Danticat, Verna, Solages, Nerette-Louis and Theodore-Pharel.
From left to right; Fievre, Hyppolite, Danticat, Verna, Solages, Nerette-Louis and Theodore-Pharel.
Carla St. Louis
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Haitian Link

At the recent Miami Book Fair International, there was a panel discussion featuring Haitian authors about their anthology, So Spoke the Earth.

The panel included seven of the 41 authors who submitted writings for the book. Of the seven women--that included Joanne Hyppolite, Edwidge Danticat, Chantalle Francesca Verna, and M.J. Fievre--Liliane Nerette-Louis, Mahalia Solages, and Marie Ketsia Theodore-Pharel shared their candid perspectives and provided insight on the significance of their anthology.

For South Florida's Haitians and Haitian-Americans--specifically, the youth--the book serves as an introduction to the Haiti that the media often doesn't portray or discuss.

Nerette-Louis explained So Spoke the Earth's importance lies in the fact that it's "an international literary voice." "It is a collective work that touches every aspect of our land. [Within] the diaspora it became a duty for us, "femme d'Haiti" to communicate our hope, our love, our strength and every aspect of our culture," she explained.

The diaspora she's referring to includes the millions of Haitians who live abroad, and people with Haitian lineage who've never set foot in Haiti. With Haitian enclaves littered throughout South Florida, it’s estimated that number includes over 255,000 Haitians and Haitian-Americans.

Kenasha Paul, a Juris Doctorate Candidate for 2015 at Nova Southeastern Law School, shared her opinion that mirrors Nerette-Louis’ comment. “I feel authors as a whole have a responsibility to the people when writing to not just tell a story but educate in the process,” she said. “Haitian authors can’t tell a story about Haitians or meant for Haitians without including our culture; it’s like our genetic make-up. And it’s more than just being from an island in the West Indies. It’s in our identity, the food we eat, music, the differences in how we raise our children, and care for our neighbors. It would be an egregious error on authors to not communicate and effectively communicate Haitian culture,” explained.

Initially, the book was drafted after a call for literary submissions from female writers was sent throughout the Haitian literary community by Women Writers of Haitian Descent, Inc.

The book eventually became homage to a multilingual Haiti, where the present, past, and future are explored by both natives and non-natives presented in English, Creole, and French. The 384 pages tomb is divided into three themes: death was lurking, danger came rushing in, and the truth shall make you mad.

It addresses the socio-economic issues facing Haiti, the resiliency of Haitians and Haitian-Americans, and the role cultural sharing plays in coping through tragedy.

Because Haiti like any other country includes people with differing lifestyles, cultural, and religious beliefs, the authors explained it's crucial for all elements to be displayed. "Haiti is a country where differences in lifestyle, dialect and foods exist depending on where you are from within the island," said Solages. "So someone over sixty from a rural part of Haiti will bring memories that are entirely different from a twenty year old who grew up in Port-au-Prince. Someone's perception of Haiti has a lot to do with where they were on the island, why they were there, at what age where they there and if they ever lived there."

Her fellow writer expressed similar feelings in portraying a positive image of Haiti. "I want the generation to come to realize how vulnerable Haiti can be in so many aspects but by the same token I want them to see our strength and our coping mechanism," said Nerette-Louis. "I am a storyteller and a writer who left Haiti nearly a half century ago. I am proud to have contributed to this anthology by passing on true stories that witnessed the restraints placed on women in our past generation as well as their strength."

Read more Haitian Link stories from the Miami Herald

  • Sharing my defining moment

    Exhibit A – Less than a year ago I opened the online edition of the daily Le Nouvelliste looking for my usual Haiti fix. This time I was in for a big shock: a vehemently acidic piece where this physician was spewing out his homophobic rant. His argument that gay relationships would result in a lowering of the population misses the point that some heterosexual marriages don’t result in children for whatever reason.Exhibit B – The conversation shifted to Jason Collins, the basketball player who just announced he was gay.A good friend of mine who has spent his life fighting for justice and equal rights was at ease to denounce the LGBTQ community and, in particular, their quest for marriage equality. LGBTQ stands for lesbian, gay, bi-sexual, transgender and questioning.  He may have assumed I was on his side.Exhibit C – At a Prideline meeting, a community-based organization charged to provide social and emotional support to young LGBTQ individuals, I turned suddenly into a witness. I listened to a few young gay and lesbian Haitian-Americans share their story of rejection from their mother or father. Many of these kids are homeless or living with friends just because they were born with the hardware and software steering them toward same-sex relationship. Parents just stop being nurturing parents.Same-sex relationship may be the only issue that Haitians have a consensus on regardless of their ideology, socioeconomic status or religion. I guess the strong religious bent of the Haitian people blinded them to the reality of discrimination and injustice that LGBTQ folks endure each day of their lives.  Folks are born gay or black or white. The same way it’s unreasonable to confer benefits to White folks because of their skin color, it’s also unfair to fault gays or blacks for their sexual preference or the color of their skin or deny them the benefits that are afforded every other member of society. Let’s just say it: it’s very strange that those of us who have faced discrimination because of immigration or social status are now in the business of discriminating against the LGBTQ community.I have evolved on this issue.My defining moment on the issue of homosexuality came about ten or eleven years ago when I picked Edwidge Danticat’s The butterfly’s way, this compilation of essays and poetry written by more than thirty Haitian-American authors narrating their experiences, sharing their stories, raising their voices, breaking their silence and speaking their own brand of truth.Of all the thirty three stories forming this great anthology, Assoto Saint (né Yves Lubin) story stuck with me: his trajectory as a proud gay man growing up in Les Cayes in the 60’s and then in New York starting in the 70’s.Read what Yves had to say about his childhood.“I must have been seven when I realized my attraction to men”. “All I wanted to do with girls was skip rope, put make up on their faces, and comb their hair”. He went on to say that “knowing Pierre was a turning point for me. The loneliness of thinking that I was the only one with homosexual tendencies subsided”.Keep reading with me.Now in New York at the age of 13 or 14, Yves “kept fantasizing that there was a homosexual world out there I knew nothing of. I remember looking up in amazement as we walked beneath the elevated train, then telling mother I didn’t want to go back to Haiti”.Yves talking about himself when he was a child: “straight A’s, ran like a girl, silky eyebrows – I was the kind of child someone saw and thought quick something didn’t click”. A professional dancer, Assoto Saint died of AIDS in 1994 at the age of 37. Proud to be an ally of the LGBTQ community!

  • Konpa music as social and political commentary

    Konpa music has been knocked as genre for the simplicity of its rhythm and the way its lyrics are often not sophisticated.With Konpa, it’s always felt that what counts is not how the lyrics can inspire the listeners, but whether or not people can dance to the music. The message was secondary to the music, and the musicians seem to want to walk on safer grounds rather than push the envelop when it comes to lyrics critical of the political environment.The year 1986 imprinted its mark on every aspect of Haiti’s social and political life. People were more inclined to speak their minds and felt freer not to be the spokesperson of the political rulers of the day. Konpa, as a musical genre, also reflected that new sociopolitical period in our life.Throughout the 60’s and 70’s, Tropicana and Septentrional made it their duty to compose songs that were favor of the dictatorship. In one song, Septentrional told us: “Francois, our father, sit as comfortably a possible on the presidential chair; the people love you”.Bossa Combo was always referred as “Jean Claude Duvalier’s musical group”. Generally, if these musicians don’t become Duvalier apologists, their next likely theme is women – or better yet, a smear campaign against women. Here deceased Koupe Kloure had no competition. No voice ever arose to say: Enough.These are new times. One can criticize the political rulers of the day and not feel the brunt of their repression. The ruler can deny you access to the Carnival or pressure the radio stations not to play a particular song, but jail time is out of the question.It’s ironic that Sweet Micky spent his whole career castigating the Lavalas government for their alleged involvement in various cases of corruption. However, the same Micky, now as president of the country, had no problems removing one the critical musicians of his regime from this year’s Carnival for his song, aloral. Credit should be given to the roots musicians – Eddy Francois, Boukmann Eksperyans or RAM – for producing the most patriotic type of music.Richie Herard, ex Zenglen, may now be one of the two best Konpa composers; Dadou Pasquet is the other one. It seems that there is a conscious effort on his part to go against three things that Konpa music has traditionally been guilty of: lyrics that were too simple; a negative social message and an arrangement that hasn’t worked out too well.Richie’s album “Nou kapab jere ti sa”, released about eight years ago, may be one of the best Konpa albums ever produced for the quality of the lyrics and the music. You can dance to the music if that’s what you feel like doing. You can also sit back and listen.I believe this is the greatest change in the Konpa music industry. Today the musicians may not be better musicians, but they are better educated. Pasquet, Richie and Rolls Roro Laine of Djakout Mizik are extremely thoughtful individuals. (Someone should advise Laine to be quiet once in Martelly’s presence; his strident (and crazy) “Martelly avi” comments left too many uncomfortable.) It’s no surprise that Magnum Band and Djakout Mizik may be the best in town.These thoughts came to mind as Konpa lovers from Haiti and the Diaspora converged in Miami last Saturday to dance to the sounds of Konpa.The next great battle lies in our musicians’ ability to make sure that Konpa music has successfully crossed over. It’s not impossible!

  • In Miami, Donna Karan showcases Haitian artisans

    The handbag Donna Karan was showing off Friday lacked her signature logo, or any designer's logo. It was made of paper mache and, the fashion designer said, represented Haiti's handmade carnival masks - in wearable form.

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