Open Gate: An Anthology of Haitian Creole Poetry

Open Gate: An Anthology of Haitian Creole Poetry is an excellent introduction to poetry in the Haitian language. While a more careful editing with translations would have been helpful on certain poems, the reader is introduced to a variety of Haitian poetry of different times and schools of thought. The editors, Paul Laraque and Jack Hirschman, emphasize militant poetry (mostly from the 1960s to the present) of a nationalist outlook, one that is rooted in Haitian popular culture, folklore, tradition, patriotism, and history. Some selections, such as "Konbit" by Hilario Batista Felix, a Cuban poet of Haitian origin, obviously draw from rural and "traditional" pastimes as inspiration and hope for a brighter future of Haiti (brighter in terms of social equality, justice, democracy, liberation, an end to Duvalierism, etc.).

The better poems in the collection tend to come from Felix Morriseau-Leroy, a single poem from Philoctete ("M'Chouke" which explains why he stays in Haiti despite it all), a selection from Dezafi, and some poems from Jan Mapou. The fact that numerous poets represented in this anthology were members of the Sosyete Koukouy is also of note, particularly in how it connects poets of the Haitian Diaspora. On that note, I had the pleasure of meeting Jan Mapou in Miami and did not even realize he had played such an important role in Haitian Creole literature and keeping it alive here in the United States.

Unfortunately, this anthology could have benefitted from older, historical writings, such as songs. I would have liked to see older Creole poetry from the 1700s and 1800s, specifically, "Lisette," Durand's "Choucoune," Sylvain's "Cric Crac," Coicou, Vodou songs, proverbs and folk music. To better appreciate the inventiveness of the language, its ability to express just like any other language, the addition of material from the aforementioned sources would have been appreciated.

Ready to Burst

"We must remind all those who have profited from our labor, those secular exploiters who disdain us today, that we have contributed to the progress and the beauty of their civilization, in the mines, on the plantations, in their factories, and often under the overseer's whip. Henceforth, we do not intend to be treated like poor relations and servants. We reject enslavement."

Kaiama L. Glover's translation of Frankétienne's Ready to Burst is a fascinating read full of the tenets of Spiralism, a literary movement Frankétienne helped pioneer. Through a meta-narrative text that mixes fiction and autobiographical detail, this novel of the 1960s documents life in Port-au-Prince through the lens of Raynand and Paulin. The Haitian migrant experience in the Bahamas is briefly explored, the elements and nature personified through poetic language, criticism of US imperialism, the history of Haiti, and some indigeniste elements are employed to capture Haitian culture, the peasantry, and the sounds of rara, etc. A highly complex novel structured somewhat like a spiral (hence, Spiralism), the novel switches back and forth between Paulin and Raynand, straightforward prose and dense, poetic language. Frankétienne even ends the novel in an interesting way, having Raynand essentially entitle Paulin's novel, while also alluding to Haiti's political and economic turmoil without being overtly critical of Duvalier.

The ability of the author to write a novel that is so subtly opposed to Duvalier's regime is astounding. Without referring to the current head of state at all, Franketienne captures Haitian society and urban living in Port-au-Prince in all its despair (while also including the utter poverty of rural society, through the American conman showing interest in pistachios). Raynand's failure of a love relationship with Solange, his failure in the Bahamas and miserable return to Haiti, and the loose structure of the novel allow the author flexible and freedom to explore these aforementioned themes. The fact that Haitians being 'returned' from the Bahamas would rather commit suicide by jumping into a sea full of shark stands out as one of the more specifically harrowing episodes in the novel.

Frankétienne's use of Haitian history is also important for grounding his critique of US imperialism, as well as the Duvalierist state. Invoking Caonabo, Anacaona, Dessalines, Louverture, Petion, and Péralte, the novel is certainly nationalist and recognizes the importance of historical figures in building future movements. Indeed, the 1946 revolution is invoked, recalled by one of the characters who experienced the moment as a child. The novel's conclusion, during an invasion by angels/demons representing white imperialist powers, draws on revolution. Haitian cultural practices, such as rara and Vodou, are also invoked in varying contexts, and never negatively. Thus, as a 'Spiralist' text, Ready to Burst is quite reminiscent of other styles of Caribbean writing, particularly Haitian literary traditions.

While certainly not an 'easy' read, Ready to Burst will astound some with its metaphorical and complex interplay of ideas. As a meta-narrative, the author inserts aspects of his own life into the novel, as well as leaving room for a deeper subtext on the state of Haiti during the Duvalier years. One scene of great beauty was the personification of the hurricane that strikes Port-au-Prince while Raynand is walking endlessly through the streets. Anyone seeking a literary perspective on the capital during this era would be well served by reading this important novel.