A We Dis?

Dr. Cherrell Shelley-Robinson's presentation on October 14, entitled A we dis? Cultural Representations of the Caribbean in Children's Books was very interesting and thought provoking. It was well done, and Hazel Campbell has given a comprehensive account of it, as well as her specific and insightful comments. I think you will find her blog on this most informative.: http://jambooks-fiction.blogspot.com.

Thought provoking:
1. I knew that there were many more books on the Caribbean in countries like the UK than we knew. I was astounded at the number that Dr. Shelley-Robinson discovered. No, I cannot tell you how much they were, because any time I hear something that totally astounds me, frightens me by its enormity, my brain locks down. It must be some mechanism to stop me from shrieking out with dismay. Suffice it to say that there is an enormous amount of books about which we know nothing. You could contact Dr. Shelley-Robinson through the Department of Library and Information Studies, UWI, for more information. She is retiring, to do more useful research, I think, and is donating her entire Caribbean children's book collection (collected from all over the Caribbean and other developed countries) to the University Library. So big up Cherrrell!

2. I knew that books produced overseas were giving a wrong impression of us, or as she said, a less than balanced view. I had become reconciled to that, in a manner of speaking. One has to be reconciled to some things, because one cannot fight on all fronts. However, I never thought about 'our children', the children of the children of those who migrated. They are ours because they are still seen as being descended from us, which is good. I had not thought as Dr. Shelley-Robinson pointed out, that they too are being given an unbalanced picture of the islands, a picture which might lead to them feeling 'less than equal' knowing that they are being viewed as 'less than equal'. And there is nothing they can do about it because they do not know otherwise.

This must be a call for some of our writers and publishers to try and penetrate this market with a variety of children's and young adult material. Not an easy task, I can tell you. Any suggestions, guys?

By popular demand!

Sounds good, eh! Well I think if a person requests the cover of an out of print book, it deserves to get the heading: By popular demand!

See a previous post for more about this book.

Art imitates life and responsibility to the reader

Art imitates life or life imitates art? And responsibility to the reader.

We have had endless days of rain and unbelievable damage to roads, bridges, gullies, yards and houses next to gullies, and very, very sadly, loss of life.

The first day that we were able to reasonably go out after these rains I was in the plaza and everywhere I heard people saying with awe, ‘…and the gully roared. …’. Time and time again, ‘the gully roared’. I realized that it was the first time that many people from the generation with paved gullies had heard them roaring. The roaring declares the fury of the water. A gully roaring is one of the most frightening sounds. I grew up in an area surrounded by gullies; all roads in and out crossed unpaved gullies. In the rainy season we were often marooned.

Suddenly I realised that this roaring, this threat, which I described in my book set in Kingston 1951, The Ring and the Roaring Water was an unknown to many until now. Indeed a friend of mine who lives with a road in front of her house, separating her from the very 'respectable paved gully' next to it, told me that as she knew the gully was rising, she remembered my story and so she knew what she’d have to do; should the water overflow onto the road; she’d have to climb over her back fence to get to higher ground, the residence behind her, up the hillside.

And as we now know, in these recent rains many of the ‘respectable controlled gullies’ did indeed breach their banks, tearing away the land and structures behind them.

In writing for children I believe the writer has a responsibility to the reader. So if you make your characters take certain actions, the reader must know if danger is involved, and the level of the danger.

In my story the children were fleeing the house in a hurricane because the roaring of the gullies seemed to be coming closer and closer, and they thought the gullies might wash away the house with them in it. Why else would you leave the house in a hurricane? So I make them leave the house in what appears to be the eye of the hurricane.

In my original version I had the children crossing the road to reach higher ground on the other side of the road. (the actual lay of the land where I lived). It provided tension as they scrambled through the water and stones tumbling down the road. And then I realised the danger to my characters. Consequently, I changed their escape route, making the higher ground beside their yard and accessed through a turnstile, which did allow for some tension. You see, in the dark they would never know how strong the water was on the road. Too many roads are just old river beds, with the rest of the river beside them, in the gullies, or beneath them, in drains, just waiting, waiting …

When I was little there was a saying/joke. ‘London is on the Thames, New York is on the Hudson and Kingston is on the gullies’. From then we thought a little island should line up itself with big, big cities! However, for those of you who live here, think about it as you move around Kingston, by culverts, over little bridges that you don’t even think are bridges, along roads with neatly walled gullies beside them. Can you go anywhere uptown or downtown without seeing a gully?

Should these books be out of print?

Voice in the Wind

The Bird Gang

Why should I write about books which are out of print? Because we complain that there is not enough for the 9-12 year-old and the young adult audience. (Not sure who 'we' are, but I guess it's better than 'they', the 'faceless they' which frees us up from quite a bit of responsibility). You see, I think there is more for the older reader than we know, and while the picture story book is a gorgeous medium, colourful, and very necessary for our young children, the older child also needs more material. It's a time when as a pre-adolescents/adolescents, children begin to work out and understand who they are.

I recently read an article in a newspaper which was explaining the importance of literature as a subject at the secondary level. The writer gave very important points, the intrinsic nature of literature; the importance of reading about other people's lives in other countries, thereby understanding what we all share as human beings; universal values. No where did the writer mention our own lives, the validation of ourselves in literature.

Surely one of the things about literature is that it should also reflect for us an image of our lives, like a mirror; and allow us to reflect upon our lives, especially in post colonial regions. Yes, I know colonialism is long gone, but some of the effects have not gone: reference to the bleaching of skins, and the fact that all of us seem to prefer buying the books which we bought all through colonialism, rather than those from other territories. Look at the shelves of the children's section the next time you are in a bookshop. And believe me, if you can prove me wrong, I will rejoice!

I cannot tell you why these two books I've chosen are out of print. But one of the reasons could be that no one who might be interested in publishing for this group knows about them. I admit right up front that they are two of my favourite books.

One is Voice in the Wind, by Jean D'Costa., (Longman). It takes place in Jamaica during the second World War. I can hear some saying, "See that! Ancient history! That was then, and now is now. Who want to read that?" Could be! But I would ask why are there other books about children set in Europe during that time period on some of our reading lists, and not this one. Okay, persons liking one book over another is normal; everybody has a right to their opinion. True! I just hope that it is not because one is European, 'So we know is a good book because 'they' say is a good book.' We don't know if a Caribbean book is as good unless somebody tells us? And I'm not knocking books established as classics from outside of the region. I'm just asking us to consider as we look at books what we think the 'thinking process' is for selection/purchase.

Another I like is The Bird Gang, by Christine Craig, Heinneman Caribbean; and yes, I was the person who had it published when I was in charge of the then newly formed children's section. This book could be a delightful chapter book; contemporary children, relevant story, exciting adventure, delightful black and white illustrations by Andrea Haynes. It's about a group of friends who try to save the birds from the bird shooters in bird shooting season. Plotting and planning in secret; the execution is far more scary than they expect. The ending is happily resolved, but for those who want to read between the lines, it leaves us asking questions about the creatures in our environment.

Here is a section from the book:

We came screaming out of the bush with loud, loud wails. We hurled ourselves at the acacia trees shouting and shaking the trees. The birds made a soft 'wh-oosh' as they took to the skies. There was a terribly loud 'bang' and we whirled around, screaming in earnest now, and dropped to the the ground as a hail of pellets fell all around us. ... I was terrified.

The publisher that published this book no longer exists. But had this been published by a British publisher would it be better known and on some reading list? I'm really asking if it would have made the book more important for us if 'they' said it was a good story. You see, we, our literature teachers, our schools, our librarians, our examining bodies have to ask for books and so encourage publishers to reprint. Oh my God, what heresy! However, to quote Bob Marley, "Free us from mental slavery". 'Everybody vex now since I say that. Right? Yes, man! Sorry 'bout that.'

I think I'm going to make enquiries about this one. Surely there must be a publisher somewhere! Surely?

Third chapter still holds my interest

Hi Guys

I've been overwhelmed almost, with a rush-job, so missed out on my weekly blog. Right now listening to Desmond Decker: You Can Get If You Really Want, and others. I work to my CDs, different ones to suit my mood, or perhaps even create a mood. Yes, I know there's music on the Internet; I've been introduced to it, but I like my hand-picked CDs.


My post has to do with the story Fly Guy in the Youthlink magazine. I read this week's, the third chapter, and again I want to know what is going to happen next. A new male character has been introduced, and he presents a bit of a mystery.


As I said in the last blog, I'm interested in this work by Gwyneth Harold because I think it's an approach that might interest our young adult male reluctant readers, and even the girls. Set in Jamaica - the familiar; an exciting occupation - a pilot, not unattainable by any means, because anybody can do anything ( you may need to get a scholarship, but it's something that could happen), a story with an edge to it, a modern edge. Gwyneth gets just the right amount of information and tension into such a short section/chapter. The story intrigues me.

I had said when I started this blog that I wouldn't be reviewing other writers' work, but rather telling you what I like about the work. (Of course, I also give you my opinion on issues). However, I think this rule can be expanded to include work which fascinates me, draws our attention to what other writers are doing, especially in a market which is as challenging as ours is. I believe that any Caribbean writer who succeeds in any way enriches us all. No, guys I'm not preaching! I'm simply saying what you all know to be true.

Young adult story in Gleaner magazine: one way to go!

Interesting news! Hot off the press news? I was delighted to see in The Gleaner magazine, Youthlink, the beginning of a story: Fly Guy, chapter 1. "Space for a Kite", by Gwyneth Harold. I had mentioned Gwyneth Harold's book, Bad Girls in School (Heinemann) in a previous blog when I was discussing young adult books that are now dealing with the present day reality for many of our youth in schools. And I really do applaud her for taking on that topic, and Heinemann for publishing the book. So I am very pleased to see her writing what would appear to be a novel for this young adult target audience, which will be serialised in that newspaper. I don't know anything more about it. I just saw it and thought I'd share it with you. I will try and get in touch with Gwyneth just to make sure that I haven't got the premise wrong. So if any of you are in contact with her, or anyone tells you about this blog, Gwyneth, please contact me at mdianebrowne@yahoo.com.


I enjoyed this first installment. It grabbed me! I want to know what happens next. Already we know there are secrets to be revealed. Already there is conflict. Great beginning, eh! And I think boys ( that illusive demographic) will want to read it. Way to go, Gwyneth! All the best with this. For those of you who want to check this out, I entered "youthlink Jamaican gleaner", and got right to the Youthlink site, and there it was.


Interesting isn't it, when you think that a number of the famous writers of what we now consider European/American classics started off serialising their work in newspapers. Is there nothing new under the sun? And I'm not suggesting that this is the first time this has been done in Jamaica/the Caribbean, but it does point to a way of reaching the young adult target audience at this particular time when they are more interested in reading text messages. Therefore, a short and riveting section of a story. Illustration is cool too.

Researching for Time Travel in Jamaican books

Researching for Time Travel in books for older children: the 1907 Earthquake and Hurricane Charlie, 1951.

When I read adult novels I trust that my author has done the research needed. All is true except what he/she has made up. ‘Aha!’ you say, ‘But isn’t it all their imagination?’ Yes, but some of it is based on facts! Haven’t you noticed that some authors have a section in the book indicating the facts upon which the story may be based? For children’s books we need to be even more careful that we bring to writing the integrity of accuracy.

Everything is set in a time and place and we have to be true to that time and place. Even outright fantasy is set in a fantasy time and place different from a known time and place, so that whenever things deviate from what they ought to be, the child notices and is filled with wonder. For example, children know that they cannot get onto a giant bird’s back and fly across great distances, but they enjoy the fantasy of it. Children are quite clever really.

Research for my Time Travel books is often a combination of interviews ( even asking just that one essential question) and resource material in print, including photos. Some of the research may never be used in the story but it is in my head, allowing me to see my characters in their environment and figure out what they would/could do.

When I am preparing for my book, I do not read any other children’s books on the event about which I’m writing, because I want it to be my voice, not someone else’s, creeping in inadvertently. I may do so after I’ve finished, and then I may say, “Oh he/she did that really well.”

Researching A Tumbling World… A Time of Fire: My main source for material is the newspaper, in this case, The Gleaner here in Jamaica. I love researching in newspapers. They so represent ‘the now’ of a time. They give a true picture of how people lived. The Gleaner told me not only what people were saying, thinking and doing in the time before the earthquake, but what happened during the earthquake, and what happened after. The 1907 earthquake was really well documented.

Seeing how the people lived: I get my information from articles in the newspaper, but also from the advertisements. The advertisements are a delightfully interesting part of the research process: I uncover a life-style; consumer habits; (tonics for every ailment real or imaginary), and so on; so that by the time I begin to write the story I am fairly well steeped in that Past Time life. Photos are important; what sort of transportation was used? (tramcars, carriages); what sort of clothes and hair styles women and girls wore? There was also a great book, mentioned in my acknowledgements, which had picture postcards, including those of the damage in Kingston. So photos give me visual images that complement the writing process, and are essential for the illustrator.


And even with all this research, sometimes you have to search for particular things which are, or become integral to the story. Here is an example: While the protagonists, Vanessa and Kerry, are just trying to see if they can find the house in which their grandmother lived as a child, (a dangerous thing to do in Past Time; suppose you actually met her?) they find themselves invited into a neighbour’s house, a ‘respectable family’, because ‘decent girls’ cannot be just wandering around the streets.

The question arises: The motor car was already invented, but were there any in Jamaica? And this is important because…? In describing how the girls feel when they first find themselves in Kingston Past Time, I have to decide what they see, what their first impressions are, apart from fright. From The Gleaners printed before the earthquake I discovered that there were only 20 motor cars in the island at that time. This makes a car a prized possession, so it is unlikely that the girls will see cars. However, here’s the link. I’m sure that the father of this family, an arrogant and unpleasant man, no doubt owns one, and so we are not surprised that he boasts about being one of the few people on the island to have a motor car. The car then weaves itself into the story: if it weren’t for the car the family would not have been planning a special outing, which the mother of the family decides not to attend because she cannot leave ‘decent girls’ alone while waiting for their family to come to pick them up. She, therefore, gets caught up in the earthquake with the girls, and they become responsible for her, thus endangering themselves in the fire which follows, postponing their attempt to return to their own time, and consequently getting them into much more trouble …

The setting in Kingston where the girls experience the earthquake is actually based on the house where my grandmother’s family lived when I was a little girl. So I can see my characters moving around the house and garden. When, in the earthquake, they are in danger from the furniture flying across the room (research) I can see and describe the piano skating towards them, because it is probably a similar piano to the one which I remember.

At the end of each book I have a ‘Dear Reader’ section, where I am able to give a ‘real-life memory', that is, the event experienced by someone whom I know and talked to, as different from the sources in the newspapers or other accounts of the time. In the case of A Tumbling World… A Time of Fire, it is from a piece written by my grandmother. It starts out: “I was five years old…”. Finding this was almost like serendipity. (By the time I was writing this book my grandmother had passed on.) When I had finished writing the book I was going through old folders and found this brief report in my grandmother’s own handwriting! I must have asked her to write what she remembered and then forgotten about it, but there it was waiting… waiting to be included as a ‘real-life memory'.

In The Ring and the Roaring Water, again The Gleaner was the corner stone of my research. However, it could not answer one of my integral questions; nor could other sources. In fact, eye witness reports often differed as to what took place where. The question had arisen: Did the eye of the hurricane pass over the island? So I had to work around that aspect in the story, and in fact, at that time the characters would not have known. And the question is important because…? It affects the decisions made both by myself and the characters. When Vanessa and Kerry, along with the family of children with whom they are forced to take shelter, leave the house to flee the ‘roaring waters’, is it in a calm caused by the eye of the hurricane? It is essential for me to know as it affects how long the characters can be outside safely.

The setting for this story is the house in which I lived and the neighbourhood and surrounding areas. Again I could follow my characters through their physical environment. Consequently, in one of my many rewrites, I realised that the escape route I had planned for them held its own dangers and so I had to chose another.

Unfortunately, no one I knew could provide me with a ‘real-life memory', as they all seemed to have been outside of Kingston at the time, and by the time I was writing my mother had passed on. So I had to use myself, even though I was too young to remember anything besides pots and pans all over the place catching water from the leaking roof, and the sight, when lightning flashed, of wild trees swirling ferociously outside the windows, and of course, absolute fright.

My reason for using the ‘real-life memory’ is that I hope my readers will be excited to see the comments of real people who experienced these events. I hope that they will see their own older family members as persons who have lived through various events in our island’s ‘near history’; that they have stories to tell which may lead some of our young readers to become writers. No, I don’t actually say that! But I know some of my readers will work it out for themselves.

And as I plan my third book in this series, I am trying to decide between two different events. I start going through some folders and find newspaper reports of one; already it seems the research had begun. Serendipity?