Posts tonen met het label Agard John. Alle posts tonen
Posts tonen met het label Agard John. Alle posts tonen

zaterdag 21 september 2013

Caribbean Roots

Black British and Caribbean Poets Read Their Own Work



Caribbean Roots brings together recordings of ten Black British and Caribbean poets. The selections represent a range of experiences, emotions, styles, and influences, and they reflect both the culture of the Caribbean and life in Britain. The featured poets include Linton Kwesi Johnson, Jean ‘Binta’ Breeze, David Dabydeen, James Berry, John Agard, Amryl Johnson, E. A. Markham, Michael Smith, and Benjamin Zephaniah, all reading their own work in a mixture of studio recordings and electrifying live performances. This two-disc set will be essential for anyone interested in black writing and poetry in performance in Britain today.

donderdag 21 februari 2013

Guyanese poet, John Agard awarded Queen’s Gold Medal For Poetry 2012


Buckingham Palace announced today  that John Agard is to be awarded The Queen’s Gold Medal for Poetry 2012. The Medal is awarded for excellence in poetry, and will be presented to Agard by The Queen in 2013.
John Agard

Guyana-born John Agard is only the second black writer to receive the Gold Medal for Poetry since the award was instituted by King George V in 1933 at the suggestion of Poet Laureate John Masefield. Its scope was widened in 1985 to include writers from across the Commonwealth, with Derek Walcott winning in 1988. Other distinguished holders of the medal include W.H. Auden, John Betjeman, Robert Graves, Ted Hughes, Philip Larkin, Les Murray, Siegfried Sassoon, Stephen Spender and R.S. Thomas.

The decision was made by the Poetry Medal Committee headed by the Poet Laureate, Carol Ann Duffy, and was made on the basis of John Agard’s most recently published books, Alternative AnthemSelected Poems (Bloodaxe Books, 2009), as well as his book of children’s poems Goldilocks on CCTV (Frances Lincoln, 2011).

Carol Ann Duffy said: “John Agard has always made people sit up and listen. He has done this with intelligence, humour and generosity. He has the ability to temper anger with wit and difficult truths with kindness. He levels the ground beneath all our feet, whether he is presenting Dante to children or introducing his own (Guyanan) culture to someone who hasn’t encountered it before. In performance he is electrifying – compelling, funny, moving and thought-provoking. His work in Education over years has changed the way that readers, writers and teachers think about poetry.”
Commenting on his award, Agard said: “When told the news out of the blue on the phone by the poet laureate, Carol Ann Duffy, I couldn’t believe my ears and it took a little time to sink in. I am delighted as well as touched to be in the company of such names as Charles Causley, Norman MacCaig, Gillian Clarke, Stevie Smith , Derek Walcott. I am deeply thankful to the Poetry Medal Committee who supported my nomination for this honour and to all who supported my work over the years.”

Agard is the second Bloodaxe writer to be awarded The Queen’s Gold Medal for Poetry. He joins Fleur Adcock, who was the recipient of the award in 2006 for her retrospective Poems 1960-2000. His latest collection, Travel Light Travel Dark, will be published by Bloodaxe on 27 June 2013.

John Agard grew up in Georgetown, Guyana, in the 1950s. In 1977 he moved to the UK, and he has lived in Lewes, East Sussex, since 1978. He is a poet, performer and anthologist who has published many books of poetry both for adults and for children. His first two collections of poetry for adults were published by Serpent’s Tail, followed by five with Bloodaxe, most recently his two 2009 publications, Alternative Anthem: Selected Poems (with an accompanying DVD John Agard Live!), and a separate collection Clever Backbone.

Agard won the Casa de las Américas Prize in 1982, a Paul Hamlyn Award in 1997, and the Guyana Prize for two of his Bloodaxe collections From the Devil’s Pulpit (1997) and Weblines (2000). His collection We Brits (Bloodaxe, 2006) was shortlisted for the 2007 Decibel Writer of the Year Award. He was writer-in-residence with the BBC in 1998, working with the Windrush Project, and writer-in-residence at the National Maritime Museum in Greenwich in 2007. As a touring speaker with the Commonwealth Institute, he visited nearly 2000 schools promoting Caribbean culture and poetry. John Agard is available for interview.

[from Caribbean Book Blog, 21 december 2012]

woensdag 6 juli 2011

In the tradition of "Empire Writing Back to the Centre": John Agard's Half-caste and Other Poems

by Charmaine Valere

John Agard's poems fit in the tradition of (pardon the lil book-learning) post-colonial literature -Empire Writing Back to the Centre (as Salman Rushdie termed it).

"Half-caste" pokes fun at the term, and in poking fun, the speaker exposes the less than substantive use of the term in describing a person of mixed race. In the poem, the speaker reclaims his wholeness by writing back, reverting the language that sought to make him half. He does so in written form, as well as in spoken form.

As in "Half-caste," the speaker in "Checking out me history" seeks to reclaim a part of him that was denied or hidden. He writes back at those who taught him to disregard his own history and throughout the poem gives tribute to the "Empire's" true heroes.

Through his use of language, he raises those heroes, and others omitted from the history he was taught - Toussaint, Nanny, Mary Seacole, Carib people, Arawak people - above the ones he was taught to admire, and he does so by using language that rises off the page itself.

The narratives he tells of the Empire's heroes - Toussaint, Nanny, and Seacole - tell their stories of triumph and also give them personalities in a language that is anti-Standard / colloquial, and Standard. It is the language of a defiant, once-Empire: Toussaint "lick back"; Nanny de maroon was a "see-far," "fire-woman"; Mary Secole said "no" to the British, and "brave the Russian snow."

Agard's poems are exemplary pieces on reclaiming and reveling in a language of one's own. I will read and re-read this collection and continue to enjoy it for a very long time. Then, I will pass it on to my sons for their enjoyment (hopefully).

Final note: Agard's use of empowering language seems effortless, but that effortlessness may have come at the end of a long struggle. Some evidence of the once-Empire's awkward continuing struggle with the language of identity is in this Living Guyana post. In the post, the writer categorizes two supposedly antagonistic (towards each other) major groups of Guyanese people as "Indo" and "Afro." Although I can, I don't think it's my place to argue against the use of "Indo." But, "Indo-Guyanese" is certainly not as demeaning as the term "Afro-Guyanese." I continue to voice my disapproval of the term "Afro" to categorize a group of people of varying hues and hairstyles. It is derogatory and ignorant. Maybe when we learn to respect difference and empower ourselves with language... Yeah, I dare to be optimistic.

[from The Signifyin' Woman]

John Agard - Half Caste

Excuse me
standing on one leg
I'm half-caste

Explain yuself
wha yu mean
when yu say half-caste
yu mean when picasso
mix red an green
is a half-caste canvas/
explain yuself
wha yu mean
when yu say half-caste
yu mean when light an shadow
mix in de sky
is a half-caste weather/
well in dat case
england weather
nearly always half-caste
in fact some o dem cloud
half-caste till dem overcast
so spiteful dem dont want de sun pass
ah rass/
explain yuself
wha yu mean
when yu say half-caste
yu mean tchaikovsky
sit down at dah piano
an mix a black key
wid a white key
is a half-caste symphony/

Explain yuself
wha yu mean
Ah listening to yu wid de keen
half of mih ear
Ah lookin at yu wid de keen
half of mih eye
and when I'm introduced to yu
I'm sure you'll
understand
why I offer yu half-a-hand
an when I sleep at night
I close half-a-eye
consequently when I dream
I dream half-a-dream
an when moon begin to glow
I half-caste human being
cast half-a-shadow
but yu must come back tomorrow
wid de whole of yu eye
an de whole of yu ear
an de whole of yu mind

an I will tell yu
de other half
of my story