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From Stabroek News: see http://www.youtube.com/watch?v=XagMrfzWzYY. Address at Moray House Trust, Guyana, at LiTTribute II - LiTTurgy to the Mainland, February 15, 2013
(Kris Rampersad, Littscapes: Landscapes of Fiction from Trinidad and Tobago, St Augustine, Trinidad, 2012 : 200 p.)
In reading this work we find a neat kind of confluence. Guyana at this time is in the middle of celebrating nationhood – the peak of it was Republic Day yesterday. The publication which was launched in Guyana a week ago is a celebration of nationhood as it is captured through photography, an explanatory text and the literature of Trinidad and Tobago. The easiest way to begin an analysis of this book Littscapes by Kris Rampersad is to describe it – give an idea so that the audience gets a clear picture of exactly what it is. But that is not the easiest way, because it is a text that defies easy description. There are more types that it is, than things that it is not.
Kris Rampersad
The publication is Littscapes: Landscapes of Fiction from Trinidad and Tobago by Kris Rampersad, published in St Augustine, Trinidad, in 2012. The bibliographical details describe it as “First Edition 2012”, which is not surprising, given its multi-tasking nature and its wide reach, and this suggests also, that considering the several things that it seems to set out to cover, there is more to come in future editions.
It is 200 pages of written and visual text, presenting the landscape of Trinidad and Tobago in passages of descriptions, explanations and quotations, very impressively supported and complemented by hundreds of colour photographs and excerpts from the literature of the country. Rampersad always interweaves into her own descriptions, the pieces taken from the literature, so that one gets pictures of the several varied subjects from the point of view of the writers and of their fictional characters. These are taken predominantly from works of fiction covering a range of short stories and novels, but to a lesser extent, there is reference to poetry and drama.
The idea of “littscapes” comes from drawing from the literature to give scenes, views and visions of landscape and life in clear, colourful, illustrative pictures as well as snippets of how they are treated in the literature. It is a quite thorough artistic concept. It is a portrait and biography of the nation of Trinidad and Tobago which actually pays tribute to the Repub-lic in 2012, the year of its 50th anniversary of Independence. The book is attractively, neatly and effectively designed, using a recurring motif of the double-T – “TT”, which, of course, is “Trinidad and Tobago”, but is also “literature” so that there is not only the visual impact but the tribute to nationhood as reflected in the various works of literature.
Littscapes is a work of art; but also it is a documentary, a travelogue, a critical work with visual and literary power. It takes us on a tour of the country, giving some exposure to almost every aspect of life. It may be too heavy and too academic to be called a tourist guide, but no tourist guide can give a better, more comprehensive introduction to Trinidad. It entices and attracts just as the other glossy tourist literature does; it looks like a weighty volume, but an important factor is that it is very easy to read. Neither is this link to tourism accidental, because one of the objectives of the book is that it must show the value that literature has in promoting and presenting and selling the nation. It must show different uses of literature, encourage new approaches to it and make it more attractive and interesting. The book does for literature, what literature does for the country.
Rampersad tours the countryside and highlights features of it, at the same time exploring the literature to indicate how the writers treat the subjects, what they or their fictional characters say, and how they are used in the plots. Photographs of several sections of Port of Spain are accompanied by the descriptions and literary excerpts; this treatment is given to the capital city, other towns, streets, urban communities, villages, historic buildings and places, vegetation, animals, institutions, culture and landscape. There is considerable visual beauty, what Derek Walcott calls “visual surprise” in his Nobel Lecture (1992); an impressive coverage of social history, geography, and politics, but also a strong literary experience. It is a survey of Trinidad’s landscape and of its literature.
The publication reflects a considerable volume of reading, drawing from as early as Walter Ralegh at the dawn of Caribbean literature, which adds historical character and depth to the landscape and culture. The references include early fiction such as ARF Webber’s Those That Be In Bondage. The connectedness of nationhood becomes relevant again here, since both Webber and Ralegh have ties to Guyana as strong, if not stronger than those with Trinidad. The relevance of this literature to the building of Guyanese nationhood is similar to the case of Trinidad here. Just as the historical development of the country is reflected in the places and monuments, so it is in the rise of social realism through the fiction of the 1930s in Port of Spain. Rampersad presents her subjects through the eyes of CLR James and writers from the Beacon group such as Alfred Mendes, and has done the painstaking work analogous to that of a lexicographer, of sorting out their several hundred references to her subjects.
This account includes some memorable passages of real literary criticism, although these are very brief. They include the entries on The Humming Bird Tree by Ian McDonald, another writer that is more Guyanese than Trinidadian, with instructive insights into the novel’s title and its meaning. Others are the references to Lion House in Chaguanas and the Capildeo family which hold great interest for background to VS Naipaul. Naipaul immortalises his mother’s family in Hanuman House and the Tulsis, and Rampersad provides additional information about Naipaul’s use of his migratory existence in her discussions of various parts of Port of Spain. There is also similar enlightenment in the way such locations as San Fernando, Mayaro and Princes Town accumulate greater meaning when used to treat the work of novelist Michael Anthony. Yet another passage of deep criticism is the brief reference to “girl victims” as they are treated in the fiction.
The other side of that has to do with omissions and reductions. There are many topics that appear undersubscribed. There was not much information or there were hardly any literary references, even in places where it is known that the subjects were well treated in the literature. Examples of these are the entries on politicians, calypsonians and superstitions, all of which abound in the fiction but are not sufficiently handled in Littscapes. However, while that is noticeable, it could never be a requirement that the book must cover everything – as indeed, it cannot. Were it a dictionary, one would fault the lexicographer on important omissions, but this work does so much already that it might be unfair to judge it on its omissions or reduced treatments.
Then there are the odd segments in which the publication does in fact behave like a tourist guide without the usual strength of literary material. Added to this are the errors which are typographical as well as where some details of literary texts are concerned, such as characters, names and titles. One or two authors are claimed as Trinidadian who might well be claimed by other islands. Walcott has produced quite a lot of Trinidadian literature, but many references to his work in this book really belong to St Lucia, and not Trinidad. Then there is the Tobago question. Trinidad is in all respects the major and dominant island, and this is overwhelmingly reflected in Rampersad’s treatment. She says in her text that Trinidadian writers on the whole neglect Tobago, treat it as the lesser of two sisters or do not treat it at all. In this book, therefore, the imbalance is noted.
In the end, Rampersad’s Littscapes does achieve an innovative approach to literature in bringing it alive in the description of landscape, life, culture and people. It encourages people to take ownership of it, see themselves, their home or familiar places in it and accept it as a definer of identity. But the book is as much photography by Rampersad and others as it is literature, and the pictures help to illustrate, highlight and make the fiction real.
Above all Littscapes: Landscapes of Fiction from Trinidad and Tobago has an extremely powerful sense of place and reinforces what in Rampersad’s words is “the pull of place on authors”. It may claim to be an accessory to what she calls “the body of fiction inspired by Trinidad and Tobago”. It communicates the character of the country.
No one book can be everything; no one book can set out to achieve everything that a literature and a visual text can do for its people and its nation; but whatever you say one book can’t do, this one almost does it.
at LiTTribute To the Republic with readings and performances inspired by LiTTscapes – Landscapes of Fiction from Trinidad and Tobago, at Knowsley, September 15, 2012
Good day ladies and gentlemen,
and children too.
I am here to tell you about my Auntie Krissy.
I call her Krissy-wissy.
Sometimes, when I want to be naughty, I call her Christopher.
My auntie reads my story books with me. Sometimes we read the dictionary too! It is so much fun.
You, and you, and you should try it sometime.
My auntie took me to Port of Spain and showed me where Trini writers worked at the newspaper.
She worked there too.
“For peanuts,” she said.
“Why peanuts and not for money like Dad? I asked.
“Because people think writers are monkeys,” she said.
I laughed till my belly hurt. My peanut-crunching monkey-auntie is so funny!
I went to the library in Port of Spain for the first time with auntie Krissy wissy.
She tried to join me in the library so I could get books with a card.
Can you imagine the librarian asked ME for a utility bill?
I wondered what was wrong with her.
I was only three years old, like my little brother Premant.
I could not read very well, then.
I choose books for Krissy-wissy to read to me.
I liked being with so many books and stories.
I liked the pictures, but the stories in the books were so silly.
Auntie said they make no sense to Trini childrenand promised to write stories for me that will make sense.
Now she writes stories for me about Munnie, a Carnival butterfly.
She writes about the birds of Phagwa, and the flags of Hosay.
I am now a big boy, five years old, and I could read, ent?
I love the stories she writes.
She writes about the fishes near the volcano under the sea called Kick Em Jenny.
That is a very sad story when the volcano goes boom.
She writes about growling ghosts at Devils Woodyard in Princes Town near grandma's house.
That is a scary story.
She writes stories for me about the first peoples who lived in Trinidad.
She calls them Banwari. They lived in the forest.
I told her to add giant dinosaurs to the stories to make them better.
She wrote about Banwari and a dinosaur, and one for Premant about how the octopus lost its shell.
I helped Premant count its eight legs.
I now like all the Banwari stories about the first children who lived in Trinidad.
I told my auntie she should make a book with the stories to share with my friends.
She said she will make a movie with them too.
I hope it is a cartoon! Yeppie!
I do not see her very much because she goes to many countries.
She is writing some special stories for me about all the places she visits to share with my friends.
I like this new book, LiTTscapes. It has many pictures.
It is a book about people who write stories about Trinidad and Tobago.
When I grow up I will read the books by these people who wrote the stories.
Auntie says she can take me to visit some of the places in the pictures in the book too.
Maybe, ladies, and gentlemen and children, if you ask her she will take you too! But not if you call her Christopher.
One day I will write stories too.
One day I will write a book, like my auntie, and she will be here telling you all about how she helped me learn to read and write.
I hope you like my auntie’s new book – LiTTscapes.
I hope you will buy it for your children and for your friends.
This will help her make more books for my friends and I and to help other young writers too.
Thank you for the book, and the stories, auntie Krissy-wissy.
Thank you all for listening to my story about my auntie and the stories she writes for ME, and for you, and you, and you too.
LiTTscapes (Landscapes of Fiction) author Dr Kris Rampersad says the inauguration of LiTTours is intended to generate awareness among residents and stakeholders to protect the Sangre Grande and Mayaro post offices. On September 15, historian Michael Anthony had made an urgent plea for the relevant authorities to act swiftly to save the old Mayaro Post Office from complete collapse. He had made the call as a special guest of Rampersad at Knowsley House, Queen’s Park Savannah, Port-of-Spain.
Interviewed on Friday, Rampersad said, “We are promoting LiTTtours. It is inspired by LiTTscapes. We want to bring the writings about T&T closer home to readers. We are awakening communities to the writers among them while at the same time encouraging appreciation for the landscapes, culture and the heroes among them. It is also encouraging appreciation for the natural, cultural and built heritage.”
She explained the LiTTtours first stop will be at Sangre Grande to highlight the state of the Sangre Grande Post Office and then to the former Mayaro Post Office. “Sangre Grande Post Office is represented in LiTTscapes as a prized literary house. The Mayaro Post Office is a historical building of note. It was recognised in LiTTscapes since it was the setting for many of Michael Anthony’s short stories and novels.”
Rampersad stressed they were engaging in “non-confrontational protest.” The focus was on evoking community sentiment to take responsibility for the buildings and heritage. “We want the young people from the areas to capture the heritage value and significance. We are raising public awareness. We want to empower people at Mayaro and Sangre Grande to take charge. It is not about placards.
We feel confrontational protest action can be distracting and disruptive. Our aim is constructive community development and rural regeneration. We are bent on revitalising districts and communities with all community stakeholders taking an active part.” Rampersad said the ultimate aim was creating a more literate society and acting as a conduit for engaging administrators, politicians, NGOs and the business sector.
ABOUT LiTTours
• Sangre Grande to Mayaro September 29 Leaves Port-of-Spain at 8 am. It passes through the East-West Corridor. Tailor-made tours on themes like politics and places on request. Interested people e-mail lolleaves@gmail.com Readings and short presentations on the communities would be featured.
LOOKING AT DISPLAYS: Dr Jean Ramjohn Richards and Dr Kris
Rampersad look at display of books by T&T authors from the bibliography of
LiTTscapes — Landscapes of Fiction from Trinidad and Tobago, laid out at
Knowsley in Port of Spain for the LiTTribute to the Republic on Saturday.
—Photos: Kenrick Ramjit
Dr
Jean Ramjohn Richards believes that it is the duty of citizens to preserve this
country's historic buildings, lest we become "poor imitations of foreign
places, while features of our history crumble around us". Occasion was the
LiTTribute to the Republic Tea with the wife of President George Maxwell
Richards held last Saturday at Knowsley, Queen's Park West.
The
event, hosted by author Kris Rampersad, under the patronage of Richards, was an
evening of readings and performances inspired by Rampersad's recently released
LiTTscapes, a book that maps the living experiences of famous characters in
fiction from Trinidad and Tobago.
In
her appraisal of LiTTscapes, national poet laureate Eintou Pearl Springer said
our literature is not merely confined to pages in books, but to our kaiso, our
pichakaree, chutney, stick fight lavways, our Traditional Mas speeches,
midnight robber, pierrot, Black Indian, warao; our great variety of drum beats,
folk songs, chants.
She
said she has been using our literature, the poetry, plays storytelling, music,
to impact and refashion negative behaviours since the mid 80s in the UK, the US
and other Caribbean islands.
"I
have seen positive improvements in grades, sense of self, values. Our curricula
still entrench the notion of our invisibility in our own nation space.
"Most
of it and certainly the manner of teaching bear doubtful relevance to the needs
of our children and youth. We are cursed with leadership in many facets of this
society which is dangerously culturally illiterate. As we celebrate our jubilee
year we have not properly celebrated our writers, our musicians, our artistes,
the poetry of our patriotic calypsoes, our literature is what records, carries
the wisdom of our ancestors, the pains of the then and now and possibilities
for the future.
"Our
literatures reflect and can reshape the soul of the nation. Surely, we have
produced more than Machel Montano, wonderful as he may be. How can we as a
nation be satisfied with the crass mediocrity?"
Richards,
in her celebration of LiTTscapes, said much of who and what we are is lying
dormant or tucked away in the memories of some of the nation's elders.
"The
files containing so much that is important to our future development must be
dusted off and become an effective instrument for shaping a better time and a
better place."
LiTTscapes,
she said, provides a "most useful beachhead for stirring or buttressing a
programme of self-discovery, local and foreign tourism and entrepreneurship,
among a number of other avenues for sustainable development in our
country."
Guests
included Works Minister Emmanuel George, Richards' daughter Maxine Richards and
author/historian Michael Anthony.
Entertainment
was provided by the Chibale Drumming Ensemble made up of Springer's
grandchildren including Ajani and Shomari Healy, Shanaya Springer and five-
year-old Ire Charles — a little boy with a big voice, Andre Mangatal
accompanied by Fitzroy Inniss who performed Anthony's love song "Rose of
Mayaro", much to the writer's delight.
Five-year-old
Saiesh Rampersad, in his role of the Mystic Masseur introduced his "aunty
Kris" to the podium.
Rampersad
said she was inspired to host the literary evening by the people, the recent
celebration of Independence and the upcoming Republic Day anniversary "and
all the other preceding anniversaries of us being here and making this land
home".
"It
was also a literary tribute — to reclaim and refocus attention on the amazing
mass of expression — oral and written — and the connections between them.
"We
have in many ways come to speak with the same voice as citizens of Trinidad and
Tobago though often we are so absorbed with our own little corner. With
jostling for space, that we do not seem to hear that our neighbour is saying
the same thing."
Her book, excerpts of which were read at the tea party, is
merely an accessory she said, "to encourage readings, to encourage
appreciation of local literature, to promote national self-appreciation, to
help us re-envision who we are, and to emphasis the connections between
us".
Introduction of the Author, Kris Rampersad
LOOKING AT DISPLAYS: Dr Jean Ramjohn Richards and Dr Kris
Rampersad look at display of books by T&T authors from the bibliography of
LiTTscapes — Landscapes of Fiction from Trinidad and Tobago, laid out at
Knowsley in Port of Spain for the LiTTribute to the Republic on Saturday.
—Photos: Kenrick Ramjit