[Rosa Guy]'s personal life odyssey has been a major influence on the scope and tone of her writing. Upon arriving in the United States with her parents in the early 1930's and moving to Harlem at the age of eight, Rosa became a prolific observer of African-American culture and the forces that shape its existence in American society. Guy's novels have explored the stifling consequences of poverty in settings as far away as the Caribbean, or as near as New York's Harlem. Once it is published, her newest novel from Dutton Press, The Sun, The Sea, A Touch of the Wind will join an impressive body of literary material authored by Ms. Guy that include: Bird At My Window; A Measure of Time; And Then She Heard A Bird Sing; Edith Jackson; Ruby; Children of the Longing; and Music of Summer.
It is not surprising that the Caribbean woman pushes her daughter toward higher education, for she sees education as the greatest tool for social mobility. Education becomes more than just a means of expanding one's realm; it is seen as an armor of protection against hostile forces, an opportunity to be successful so that no one can "tek step wid yuh." Traditionally, women have been the custodians of culture. The Caribbean woman must continuously face this question: "How can I keep the culture intact, maintain our song and dance in these changing times, this electronic age of computer, when our children are struggling against the reins of our value system and often we are so perplexed, not knowing what to do? This, then, is the most valuable lesson the Caribbean mother passes on to her daughter: how to be firm in the midst of society's pressures and remain her individual self and nurture her talents and resources to love her mate and nurture her children, even while she pursues her own dreams. The songs and dance continue.
While Blacks fight for their survival, Colombia's wealthy have other preoccupations. In the highbrow, rarified and polluted air of Santafe de Bogota, the Miss Columbia contest parades its select young women before an expectant nation. The announcers painstakingly describe each aspirant, even to the color of her skin. Save for a few Euro-Indians and a couple of light-skinned Black contestants, all are "white." Miss Santefe de Bogota, the long-legged, white-skinned audience favorite emerges the winner. Barely two hours later and the new Miss Columbia launches her reign by visiting the Black beaches of Cartagena, the port-city through which all enslaved Africans entered Columbia. There, to the delight of the world's photographers, Miss Columbia contrasts her white beauty with the Black skins of heavy-set women from maroon (escaped slaves) communities. The headlines and photos run, front page and center: "Carolina between Maroons," an unabashed reference to the old maxim, "a rise between two thorns." Three years ago the wealthy matron who organizes the Miss Columbia pageant claimed the country was not ready for a Black Miss Columbia.
Verila, on the other hand, is a woman who is in constant flight and change. She lives in Canada and has returned to her island birthplace, ultimately in search of happiness. Elizete professes her love for Verila early in the book. The excitement and overwhelming for desire Elizete has for Verila is palpable. She claims, "I abandon everything for Verila. I sink in Verila and let she flesh swallow me up. I devour her. She open me up like any morning. Limp, limp and rain light, soft to the marrow."
Last May, President Bush signed an Executive Order allowing the Coast Guard to immediately turn back Haitian boat refugees without checking to determine if they were fleeing political persecution. Before that, thousands of Haitians had crowded into unsafe boats to try to get away from their dangerous homeland. The U.S. tagged them "economic" rather than political refugees. "The fact is our government has turned a blind eye to Haitians," said Wade Henderson, director of NAACP's Washington bureau. I have a dream that I intend to make a reality. I'm calling on African Americans and Haitians here in Miami to come together to sit down, talk and work out a plan to help Haitians. But I'm also asking that Hispanics, Jews, Anglos -- everyone -- pitch in to help.
Amid the flurry of designations by the media, law enforcement officials, and advocacy organizations--terms ranging from "migrants" to "asylum-seekers" to "economic refugees"--one thing was clear. The people aboard that boat had fled desperate conditions for safe harbor in the U.S. What awaited them when they touched land was then, and remains, a matter of great contention. When asked about the implications of the designation "migrant," Miami field office INS public relations officer Barbara Gonzalez said that in the context of INS policy, "There is really no such thing as a migrant." She said, "Many use the word," when the correct terminology for what they intend is "non-immigrant." How about the terms "alien" and "refugee?" Amnesty International notes that the term "alien" has been used in U.S. legislation to describe various types of non-citizens, including those Amnesty would call "asylum-seekers." Similarly, the INS describes an alien as any non-citizen or national of the U.S.
-, Born in Haiti, she was raised in Brooklyn, NY, attended the best school and college. Her mother, Yanissa Elie, nicknamed Lola, a beautiful Black whose the glamour attracted tourists and VIP visiting Haiti in the late fifties, used to sing when Haiti was booming. Ms Jarvelle shares with her mom a very sensitive soul. But, she is committed not to singing and dancing, but to serving. You waste your life when not helping others". Ms Jarvelle does not want the Haitian society to repeat itself the way she did in Haiti. Motivating, making people being themselves. Such are her challenge and dreams.
"It is a play about two people who love each other," explains Greta Mendez, the play's Trinidadian-born director. "The external elements of racism have affected their relationship. "As the battle is raging in Trinidad, [Elvira] and [Rohan] are raging. They are having their own coup and trying to work it out." "I call it the battlefield of heart and soul" "The divide-and-rule syndrome is still happening and the play is saying, `Let us look at that'." * Coups and Calypsos runs until February 28 at the Oval House, 52-54 Kennington Oval, London SE11 at 7.45 pm each night. Tickets from £5.50; box office: 0171-5827680.
[Rosa Guy]'s novels have explored the stifling consequences of poverty in settings as far away as the Caribbean, or as near as New York's Harlem for over 30 years. Once it is published, "The Sun, The Sea, A Touch of the Wind" will join an impressive body of literary material authored by Ms. Guy that includes "Bird At My Window," "A Measure of Time," "And Then She Heard of Bird Sing," "Edith Jackson," "Ruby," "Children of the Longing" and "Music of Summer." "I believe I write for everybody," says Guy., "Young people like my work because I don't talk down to them." This attitude helps explain the on-going popularity of her "Imamu Jones Mystery Series," a crossover favorite among both Black and White young readers. Many of them have come of age reading the suspenseful "Mystery Series" which focuses on the trials and tribulations of a Brooklyn teen struggling to define his manhood.
One basic but tremendously important strategy is becoming and staying involved in our daughters' education. Our girls need to be told and reminded that all professions are open to them and that they must begin from an early age to prepare for these professions. Historically, girls do not take as many math and science courses as boys do, yet many top-paying professions require these subjects. Let your daughters know that math, chemistry, physics, etc., are not boy' exclusive domain but that girls have the aptitude to do just as well in these areas. These are women whose lives speak eloquently of courage, determination and achievement. Contemporary women also provide striking examples of qualities our own daughters can emulate. Within our churches, schools and communities are countless women with stories worth sharing.
