Professional Documents
Culture Documents
Ashley E. Smith
Dr. Robin Cohen
Postcolonial Literature
May 6th, 2007
Tid(e)ilation and the Margins of the Page in the Work of Kamau Brathwaite
“Before we begin, we haffe discuss SYSTEMS” is how United States Poet Juliana
Spahr begins a talk on the influence of Kamau Brathwaite by quoting the opening lines of
his book MR Magical Realism.(Spahr 1) The book itself is a collage of historical facts,
weave submerged “New World” presences with recovered “dreamconnections” since the
arrival of Christopher Colombus. It is in this sense of addressing the shifting margins and
cross-cultural nature of Brathwaite’s work that I would like to consider the formation of a
visual poetics that the author has dubbed “Sycorax video style”. It is a style that he
himself has described as coming from the margins of the screen “which, as you know are
not really margins, but electronic accesses to Random Memory…” (Dawes 37)
like to begin with an earlier image lifted from Homi K. Bhabha’s “Signs Taken for
Wonders”, which entails “the fortuitous discovery of the English book” (Bhabha 1) in the
hands on the colonized outside Delhi. In the story of Annund Messeh, the “catechismist”
encounters a group of worshipers who have in their possession a number of printed and
hand copied Christian Bibles. Rather that having converted to a British form of
Christianity, these worshipers accept the book as given from god to them. In doing so,
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they begin to syncretize autochthonous beliefs with Christian customs in a way that
destabilizes the Western authority signified by the introduction of the Gutenberg book. In
this moment, Bhabha notes the form resistance opened by hybridity. From here, I would
like to fast forward to 1987, to a poem by Kamau Brathwaite that marks the invention of
mamma!
well not quite! (“X/Self xth letter to the thirteen provinces” X/Self 43)
last lines of the poem, the act of communication has been to converted to the nearly
spiritual method of “writin in light”(Middle Passages 115). As Stuart Brown notes: “Even
that phrase carries connotations of the middle passage; one ‘justification’ the slavers
made for the continuing trade in human beings over four centuries was that it delivered
savages Africans from darkness into the benign light of Christianity…” (Brown 2) In
complex (as external to the Caribbean), and yet his embrace of it creates a space from
which to address the lingering justifications for slave trade and colonialism, but also sets
From this point in the pre-Sycorax style of the original publication of X/Self,
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Brathwaite began to introduce into publication the computer generated typography that
largely constitutes the video style. The author describes this innovation as coming from
his “time of salt”. Between the years 1986-1990 Brathwaite was struck by the death of
his wife Doris Monica Brathwaite (whom he refers to as Zea Mexican), the destruction of
his home and archives by hurricane in Irish Town, Jamaica, and a brutal break in to his
Kingston apartment in which a gunman shot him at point blank range in the head. In this
final incident, the bullet lodged in the gun, but Brathwaite believes that a “ghost bullet”
entered his body rendering him “dead” and incapable of writing by hand afterwards
(McSweeney). Thus, Doris Brathwaite’s early MacSE, and what the poet describes as
“Sycorax lurking in the corner of the screen” (McSweeney) became a way for the author
to reconnect to his earlier work and write through these tragedies and towards public
intersect with text in varying font sizes, many of which are deliberately pixilated –
recalling the dot-matrix effects of early Macintosh computers. Often these cybernetic-
infused typographies are brought into contact with normalized type faces, as if
distribution and reception. In Brathwaite’s own words, the process becomes both
“… the video style comes out of the resources locked within the computer, esp my
Mac Sycorax & Stark (but not particular to them or mwe) in the same way a
sculptor like Bob’ob or Kapo wd say that the images they make dream for them
form the block of the wood in their chisel
When I discover that the computer cd write in light, as X/Self tells his mother in
that first letter he writes on a computer, I discovered a whole new way of
SEEING things I was SAYING…” (Wordsongs & Wordwounds 2)
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I began this paper wanting to discuss the unique visual records and uniquely
visual effects of Brathwaite’s video style, which is recognizable foremost by its emphatic
appearance on the page. I came to this topic by what I felt was a strange absence in
critical attention to Brathwaite’s work. Even recent studies have either brilliantly focused
on pre-Sycorax formal properties in the poet’s oeuvre -- such as drastic line breaks,
quoted bellow) or wholly connected the typography of Sycorax style to Caribbean oral
traditions.
The question that emerges then is “Do we loose something when we discuss the
visual work of Brathwaite attending only to aspects of punctuation and the “auralitive”
dimensions outside the page?” The problem with discussing Brathwaite’s Sycorax style
as only a manifestation of the audible is that one easily “looses sight” of the visual
construction and collage-like interplay offered by video style. It is this attention to visual
systems that I would like to proceed with. And yet, as video, from the Latin “I see”,
contains for us now an association with sound – a relationship to oral traditions plays an
inextricable part in Brathwaite’s re-envisioned text. As in the highly visual layout of the
poem “Heartbreak Hotel”, which is based on the transcription of a call-in radio program,
privileging of senses. One must have the mind of a cinematographer to fully enter the
liminal spaces opened by the poems. This is to say that while audible systems and the
traditions of oral cultures play an indivisible role in Sycorax style, I would like to
emphasize that this does not make the visual dimensions of the work invisible.
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The challenges that have contributed to what Brathwaite himself has noted as a
critical blindness to the post-Sycorax work (Dawes 37) are multifold. The first may be
the sense of constant “development” and revision Brathwaite has attached to these
experiments. Initial introduction to the video style comes in the book Middle Passages
which reprints/rewrites a number of earlier poems. The publisher notes that the “Text is
based on Sycorax video style being developed” by the author (MP1) and it is certainly a
style in constant development. Since this, Brathwaite has rewritten virtually all of his
earlier works in video style, most notably the three books (Mother Poem, Sun, X/Self) that
comprise Ancestors. Furthermore, variations of the poems exist in editions of the “same”
book by different publishers (as with the original edition of Dreamstories and the
in general. As Kwame Dawes notes, he revises and visually alters even his interviews
(Dawes 23) – again apparent in the book ConVERsations with Nathaniel Mackey. The
result is that multiple versions of the same poem or text may be simultaneously in print,
in a way that emphasizes that the more recent versions are not meant to supplant their
earlier counterparts, but be in dialogue. This sense of a body of work under constant
presentation. Both Elaine Savoy and Kenneth Sherwood, (among others,) begin essays by
apologizing for not reproducing Sycorax style in quoted passages according to formatting
difficulties not strictly confined to academic conventions, and they are certainly ones that
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I encountered in the space of this paper. What should be noted, however, is that an ever
increasing body of work on the visual dimensions of poetry exists – though primarily in
Nation Languages of the Caribbean, has placed him outside of the range of books such as
such Los Pequeño Glazer’s Digital Poetics or Geoff Huth’s numerous essays on Vispo
and modernist experimentation. Brathwaite’s situation is unique, but there may in this
connection to the “spoken word” history of the Caribbean has perhaps led these critics to
place him outside the “contemporary” realm of visual experimentation. Even when noted
critic Marjorie Perloff addresses Brathwaite’s work, and his own description of it, there is
a somewhat condescending tone to her acknowledgement that “[d]efined this way, ‘video
style’ may be understood as another name for what we call visual poetics.”(Logocinema
Sycorax style come from the centrality of oral traditions to Brathwaite’s work itself. In
interview with Leonard Schwartz, Brathwaite describes the video style as “basically a
way to give the orality of Nation Language back to the word on the page.” (Schwartz)
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Furthermore, in his influential essay, “The History of the Voice”, Brathwaite lays out an
argument for considering the particular creolized forms of Caribbean speech not as
pejorative dialects, but as legitimate Nation Languages. The roots of Caribbean Nation
Language are:
“not found in a dictionary but in the tradition of the spoken word. It is based as
much on sound as it is on song. That is to say that the noise it makes is part of the
meaning, and if you ignore the noise (or what I you would think of as noise, I
shall say) you ignore part of the meaning” (History of the Voice 271)
Thus a break with the European pentameter became an essential means of recovering
sound patterns inherent to the Caribbean and echoed through the larger African Diaspora
dactylic patterns from the Trinidadian calypso and kaiso forms, but also the improvising
techniques of the American jazz tradition. It is in particular, this essay that had led critics
such as Elaine Savory and Anna Reckin to focus on the “sound/space” of Sycorax Style,
addressing this “visual noise” as part of the poet’s meaning. In Nathaniel Mackey’s
“Wringing the Word” he juxtaposes Brathwaite’s use of the word pebble with remaining
imperialist power – and thereby remain a mark of alienation. Brathwaite terms these
innovation that seeks to overcome it, the taking of linguistic liberties aimed at
decolonizing the word.” (Paracritical Hinge 44) For Mackey, this juxtaposition between
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It is this breaking apart and in to language that I would like to suggest becomes foremost
visible in the pixilated typography of the Sycorax video style, thus connecting the visual
strategies of the work to what Mackey notes as characteristic of the poet’s innovative
approach. In the video style, words are not simply broken into letters, but the surface of
visible language itself becomes porous, not so much in an act of occlusion, but cross-
pollination between lines as concomitant with the shifting (and integration) between
registers of language. In the following passage from DS2, Brathwaite rewrites the final
pages of his poem “Salvage(s)”. The originally published poem pursues, across
continents, a lost boat-mate whose name keeps shifting from Gareth, to Gawth, to Garath
ect. The work deliberately asserts the word “salvage” from within the colonial
connotations of the term “savages.” In the rewrite, Brathwaite synchronizes the search in
the poem with tragedy of 9-11, which occurred within view of the apartment where he
was staying as a visiting professor at NYU. This event opens a space from which he
“which was an event the Caribbean people had not asked for, to the moment of tragedy in
New York, which the people of the United States had not asked for.”(Schwartz) The
effect is strangely moving as Brathwaite widens the atomized font on the page to address
The original passage becomes intermixed with the United States National anthem; the
lower banner line indicating the American wound in the “stars and strips”, which move
towards “the pale/ fading stripes/ of the beaches.” (DS2 257) This insistence on cultural
discussion of the novelist Daniel Maximin, Chris Bongie notes “Rather than stressing the
necessary pre-condition for the future emergence, at the local level, of successful
Caribbean societies, and at the global level, a functional world…”(627). In this sense, the
continual confrontations and the consistent differences and integrated presences at play
within the production of culture, and made visionary in the text itself.
In fact, the naming of “Sycorax video style” emphasizes the dimensions of this
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this hybridization. The name situates the new magic of computer mediated production
within the older magic of the witch mother of Caliban from William Shakespeare’s play
The Tempest. In doing so, Brathwaite moves to locally cannibalize and reinvent English
literary inheritance – but also situates the work within an ongoing Caribbean tradition of
re-writing The Tempest. The depth of this tradition, documented recently in books such
as Jonathan Goldberg’s Tempest in the Caribbean and Chantal Zabus’s Tempests After
Shakespeare, dates back to, at least, 1929 with Guyanese writer Samaroo’s latin-creole-
influences can be seen in the work of Barbadian ex-patriot George Lamming’s post-
Prospero trilogy of novels and scholarship and Aimé Césaire’s influential reworking of
the play from a Martinican slave’s perspective. As Charles Pollard points out, this
alteration of Shakespeare can also be seen in the work of Derek Walcott, the Caribbean
poet Brathwaite is most frequently compared to. In Walcott’s Omeros, Brown notes, the
poet “transposes his father’s biography to make it resonate with Shakespeare’s life and
work (Pollard 153). Pollard connects this to a chain of modernist versions of Hamlet in
Eliot, Joyce, and Seamus Heaney, but he could perhaps more proximately connect it to
which opens with the lines “Tupi or not Tupi” (Andrade 1). Both are acts of what
Brathwaite terms “Calibanism”, a term that marks the political significance of neologism
in postcolonial cultures (PH 187). But rather than the paternal anxieties Pollard locates in
Walcott’s work, Brathwaite’s poetics are directly oriented to maternal reclamations, and
poet himself states, he sycretizes Sycorax with voudoun deities – as “the Iwa who, in fact,
allows me the space and longitude – groundation and inspiration … that I’m at the
envisioning of Shakespeare’s Sister, the hitherto unknown figure of Caliban’s sister, who
he gives the name Sister Stark (Returning to Sycorax 210). This naming is an attempt to
address what the poets calls the “visibility trigger” that moves significant work from a
towards these triggers of visibility as deeply significant should alert us to the dimensions
of visuality concurrent in his work with the reclamation of orality and public
performance. In this sense, orientation of the Sycorax style is toward what we see – and
the Sycorax style as moving towards a tid(e)ilation of the visual registry, in which the
poetic image becomes concomitant with tidal shifts in typographic rendering. These
of language through which historically repressed presences resurface in the space of the
page.
Along these lines Linda Lizut Helstern points out that aside from the obviously
Egyptian, Mayan, Aztec, and West African symbols into the video style (147). Helstern
reconnects this to Brathwaite’s 1974 essay “Timehri”, the title of which is taken from the
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Warraou Indian word for rock paintings or petroglyphs. In the essay, Brathwaite attempts
to readdress and give space to indigenous American and transplanted African presences
suppressed in the colonial construction of the “New World.” Helstern further notes that
the serpentine glyph that Brathwaite has increasingly associated with the name Sycorax is
strikingly similar to the Mesoamerican glyph for “sacrifice”, which may be used to
represent “the smoke offered through burning incense, breath offered through music or
poetry, or the flowing of blood”(Helstern 151). A front page to the U.S. edition of
Dreamstories (DS2), for example, again utilizes this double scroll as a form of sacred
offering:
The glyph is incorporated into the name Sycorax, and the text below it reads “as i
seal these stories. fly their flag of sorceries. w/a new humility” The sorceries that
Brathwaite refers to are largely secular and yet act to unseal the definitive nature of the
book as a closed document. In Brathwaite’s vision of the book, the text becomes a series
of “dreamstories” where what was once marginal to the record becomes visibly enfolded
through a tide-ilation of the page. This includes the presence of spoken traditions as well.
This inner-tension between oral and visual facets is further illustrated in the poem
“Letter SycoraX” in Middle Passages. The poem first appears as “X/Self xth letter from
the thirteen provinces” in the 1987 pre-Sycorax edition of X/Self. While the original
publication predates the video style, the discussion of computer mediated communication
clearly anticipates it. Significantly, the poem has been consistently described as an
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Josephs). But what has so far gone unnoted is the instantaneous deformation of epistolary
space, in which the letter writer is immediately responded to by the addressee who
interjects “wha?” Because this so quickly occurs in the text, it suggests that we should
not merely read it as part of (enfolded into) the letter, but a fracturing of
dependant on communal feedback (HV 273). In radio interview with Leonard Schwartz,
person RING RING RING what’s that guy Brathwaite about? Or I had a similar
attests to the depth of his association of the communal to syntactic interruption and
reconnection. In the poem “Letter SycoraX”, this interruption is registered in two ways –
by the use of a slash, and hyper-bold font. Unlike Shakespeare’s Sycorax, who is
voiceless, Brathwaite’s mamma comes in “bold” on the page and redefines the structure
of the poem at multiple points. In a later version of the poem, Brathwaite returns to the
earlier title and resituates it as part of the book X/Self in Ancestors. In this version, the
initial interjection of the word “wha?” is set on its own line without the use of a bold type
face. However, as part of a larger book, the interjection of secondary voices has already
been established. Take, for example, a proceeding passage from “Bubbles” which utilizes
vent it
in what
int?
in-
vent it he tell her
to breed underwater
he tell her
as if i’s a summarme
yous a
what!
summarine!
space which literally “vents” or creates airspace and communicative space within the
poem. The stakes in this passage are similar to those in “X/Self xth/Letter SycoraX” in
311). In a sense, this comment may be seen as part of a larger technophyllic moment in
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which personal computers came to be a metaphor and catalyst for a host of utopian ideals.
But in all honesty, Brathwaite is interested in the appropriation of these terms, and their
extension, rather than the glorification of the computer itself. Along these lines, the
pictographic on the page fostered by technology (Dawes 37). This random access
memory, again, fosters a porousness of the page with the sculptural reemergence of
glyphs, but also at the level of the letter. In the Ancestors version of “X/Self xth Letter”,
the poem is punctuated by a series of over-sized “O”s . The first is in the second line, and
they continue through the poem. The effect is to problematize the traditional lyric
exaggerations. Thus, Gordon Rohlehr’s statement that font sizes vary in the video style
according to where the pitch would be louder or softer is generally untrue (Rohlehr 3).
Most often visual exaggeration serves to underscore a metissage effect only visible on the
page.
A parallel example can be seen in the “Letter SycoraX” version of the poem
where the letter “X” appears in a digitized font that anachronistically recalls hand writing.
It is this “x” that Brathwaite emphasizes in the character X/Self as both “x” as in post, ex-
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wre x
The poet merges the earlier words “write to” with the marooned Imperial robot from the
pop cultural phenomenon Star Wars so that the former “sounds” through the latter when
read. But more significantly, the “audible” word wrecks is altered by the visibly hybrid
“x”. As in the poem “Salvage(s)”, it is the capacity for regeneration that is — not cross,
x-ed out – but emphasized within collision. Towards the end of the poem, the mark
becomes the long buried mark of signature in the Caribbean. The “x” is transformed
from the Greek letter signifying Christ (as in Xmas), or the light of Christ, into a
body
the signature of the body then, becomes registered in the visibly pixilated word.
the beginning of his book MR, or Magical Realism. The systems that Brathwaite wants to
address are those in which we have historically been made invisible to each other
according to the belief that discovery and innovation follow a linear path. It is from this
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place that Brathwaite situates his work between the poetic and archival, between the lyric
and narrative, between the oral and emphatically visual, between deeply local concerns
and the global ones they necessarily intersect. It is a marginal space from which the
center keeps shifting. And it is also this space emphasized in Dreamstories that in light
of its very visual account lucidly registers what resists repression in the historical record.
As with Sycorax herself perhaps, despite all the voices one may give her, she remains a
visually oriented poet Susan Howe’s book Frame Structures. It is an engraving called
“The Second Oldest View of Buffalo” and it is an illustration of war (Language Poetry
and the Lyric Subject 426). In this essay, she does mention Kamau Brathwaite but it is in
a footnote to another American poet. One can’t really blame Perloff for that. Her subject
Brathwaite. What she asks is “But if this is ‘The Second Oldest View of Buffalo’ what
would the first look like?”(427) And of course we cannot know from Howe’s point of
view, or perhaps ever know. There is a parallel moment in which Kamau Brathwaite
visits a museum in Jamaica and sees a colonial photograph of a boat. He says “even
though I had been on the committees of education, writing the books that stated that the
Amerindians were irradiated from the Islands by the colonizers. It was part of the historic
record and yet how could they have built the traditional native boat without presence of
the natives there?”(ConVERsations 67) For Brathwaite, as well as Howe, the fractured
visual dimensions of the page become a way of acknowledging the cultural palimpsest
one arrives and writes within. Pressing language towards the graphic becomes a way of
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readdressing hidden aspects within the written record, both in terms of what we can see,
and at the limits of opacity, holding open the possibilities of what we have yet to see. In
a different essay, Susan Howe is a footnote to Brathwaite. Or perhaps in this space, the
margins are folded into and refracted through the center of the page. And we are directed