Remembering Toni Morrison

Image Source: naacp.org (The National Association for the Advancement of Colored People)

Toni Morrison passed away on August 5th. I started to write this post on August 12th, but felt somewhat reluctant; it seemed too early to write something. I felt numb, stuck for words ... the right words that is. There were no tears, just a sense of loss.

A week later, after watching and re-watching many YouTube videos of Toni Morrison, I felt more prepared to express my thoughts and feelings. 

Toni Morrison was an African American writer whose outstanding literary work significantly influenced the development of my literary journey; be it reading and/or writing. 

I've always admired Toni Morrison's literature. It was Toni Morrison who set this amazing legacy, a landscape that is universally vast and yet meets the needs of many black and brown people, especially the black women I know.

Toni Morrison's writing is imaginatively crafted and artistically excellent and yet representation and meaning is at its core. It didn't matter that her imagination and novels focused mostly on the African American historical experience. I could relate, especially as Toni Morrison spent her entire writing life trying to make sure that the white gaze was not the dominant one in any of her books.

Image Source: theguardian.com

Also, in the light of Toni Morrison's passing, I remembered my blog post dated 15/10/12, 'Blog Action Day - Toni Morrison - A Writer's Influence.' The theme for that year's Blog Action Day was the Power of We. It was a no-brainer to choose Toni Morrison and the focus of writing within a 'community'. 

The Bluest Eye

Here's an excerpt from that blog post where I discuss Toni Morrison's debut novel, The Bluest Eye (published 1970), which is still one of my favourites:

"...The novel focuses on Pecola Breedlove, a lonely, young Black girl living in Ohio in the late 1940s. Through Pecola, Morrison exposes the power and cruelty of white, middle-class American definitions of beauty.  Pecola is driven mad by her consuming obsession with white skin and blonde hair, and not just blue eyes, but the bluest ones. A victim of popular white culture and its pervasive advertising, Pecola believes that people would value her more if she weren't black. If she were white, blonde, and very blue-eyed, she would be loved. Pecola is abused by almost everyone in the novel ... my focus here is with the way that Pecola, a little Black girl in the 1940s, still resides in a few Black girls and women around the globe now, in our modern 21st century."

I look forward to the time when I can pass on my copy of The Bluest Eye to my granddaughter (now aged 12), when she reaches the age of 15, 16, or 17. It's not that I think my granddaughter couldn't take on the reading; it's that I think a few more years and she'll be even more adept at appreciating and working at, and understanding those multilayered musings.
  
Beloved

My admiration of Toni Morrison deepened when I facilitated a two-hour session as part of a Creative Writing course for African-Caribbean women during Black History Month 2004 in Wellingborough, Northamptonshire. In that session, we focused on passages of Beloved (published 1984), which became one of my most favourite and memorable teachings.

Given the eternal life of the written word and Toni Morrison's presence on the Internet, we will continue to be enlightened as we read and tune in to gain yet more insight into the magnitude of her literary legacy as she goes down in history as one of the world's greatest writers.

* * *

How did you feel when you heard Toni Morrison passed away?
What did she mean to you? 

Let me know in the Comments section below.

How to Let Go of Your Old Journals

 My old journals span 24 years.

My first ever journal was a small notebook, started in 1995. In those early days, I felt restricted by that size and leapt to A4 size notebooks. Later, I settled with A5 size ones. You can read more about my reasons for starting here.

So why, some 24 years later, have I shredded most (not all) of those 30+ journals? It has a lot to do with my journey towards a minimalist lifestyle, which started at the beginning of March this year. I've never been one for keeping a lot of clutter, but I soon realised that minimalism is a lovely way to actually sniff out all those hidden places where clutter resides.

My journals had been packed away in a box after moving house a few years ago and it now seemed crazy to keep them. So when I opened that box, it was with an intention to let go of paper clutter. I certainly didn't want to read them and I definitely didn't want to leave them as some kind of legacy ... that would've been a burden for anyone inheriting them. 

One of the numerous bags of shredded
journals headed for recycling.

How did I feel whilst shredding my old journals?

I must admit I did spend a minute or two scanning the opening pages, which transported me right back to the past for a while, but I wanted to stay focused on the task of shredding. Letting go of the past felt like a great move in the right direction, the deal being that I was working towards my newfound minimalist lifestyle. This has been an amazing journey, and I love where it has taken me. I feel light in mind, body and spirit and have released more positive energy and more clarity than I could've dreamed of. 

Did the journals have any sentimental value?

Surprisingly, no, the journals had no sentimental value attributed to them, therefore no relevance in keeping them.

I would've liked to burn those 30+ journals as that may have been more of a symbolic, ceremonious way to let them go, but then I thought that wouldn't of been something easy to do. So I decided on a system of shredding the pages of three journals a day over a period of a few weeks. The final journal was shredded on 3rd April.

Did I keep any journals? 

Yes, I did keep a few only because there was still enough empty pages when I'd shred the full ones. I won't use them for journaling, but for making notes when the need arises.

Have I completely given up on journaling?

My new Bullet Journal

No, but I keep only a few current ones. The most interesting one is my new Bullet Journal, a rather new development started on 30th March. 

A bullet journal is an analogue system created by Ryder Carroll, a designer based in New York. In his words, the Bullet Journal is meant "to help you track the recent past, organise the present, and plan for the future." 

A bullet journal is an amazing system that keeps a record of whatever you want. It's entirely up to you how you design your page spreads. I have been in my element setting up my bullet journal with layouts that include the following:

• Year at a glance
• Goals 2019
• New Month spread (here you can design an image or doodle)
• Monthly spread (yes, more designs and doodles)
• Weekly spread
• Future Log
• Mind Dump (rather than Brain dump)
• Quarterly Editorial Planner (for my blog posts)
• Minimalism Lifestyle Goals
• Mood & Habit Trackers (very revealing)
• Meditation Weekly Schedule
• Books/Articles to Read

My list of page spreads, along with everyone's bullet journal spreads, is unique. I'd definitely recommend keeping a bullet journal. I have found mine to be very inspiring, and the experience has definitely improved my way of organising. 

For all those diehard journal junkies out there, I totally get that you may want to keep your journals that date back some years.

I'd love to hear from you if you've been able to let your journals go. What was the catalyst that sent you, like me, to shred them all?

5 Tips for Letting Go of Old Journals:

• If your journals have been in a box for a year, then it's time to let them go.
• Keeping journals 'just in case' is a waste of time (and space). If you suddenly need one of them, will you remember where that particular journal is?
• Recycle them by shredding them.
• Don't try to shred them all at once. There's no need to rush this process, after all, it took you long enough to create them. But don't give up ... it's best to shred a few each day, but keep going until you've let go of all of them.
• If letting go of all your journals feels too much, you could scan a few of them and create a photobook of specific pages.

For more on letting go of your journals:

Burning Your Diaries: First Person - The New York Times by Dominique Browning

For more on Bullet Journaling:

How My Bullet Journal Saved My Life - Article by Sarah Maber

Ntozake Shange Memorial Event

Ntozake Shange, who passed on 27th October 2018, aged 70, was an American playwright and prolific, multi-award-winning poet. As a Black feminist, she addressed issues relating to race and Black power in much of her work. She is best known for the canonical Obie Award-winning choreopoem For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf (1976), a play about Black women struggling to assert themselves while dealing with the everyday problems of life. 

Carol Leeming

When Carol Leeming – multi-award winning poet, playwright, director, performer, musician, and tutor – rang me and told me she was co-hosting a memorial event to celebrate and honour Ntozake Shange's life and work, with Dr Leighan Renaud (University of Leicester) and invited me to participate at the Attenborough Arts Centre, University of Leicester, on 21st December 2018, I didn't hesitate to say."Yes!"

Me Reading at Ntozake Shange Memorial Event

I also knew exactly what I would be reading, an article: 'Ntozake Knows the Name of the Game' in The Voice Newspaper, May 23rd 1995.  The writer of the piece was not cited.  

I had kept this now yellowing article since studying Black Women's Writing at Birkbeck College, University of London, and was excited that it was now going to be aired at such a poignant celebration of Ntozake Shange's life and literary legacy. 

The Voice article

The following is an excerpt of the article:

"What's in a name? Not a lot, according to the 46-year-old writer and poet. Paulette Williams changed her moniker into an African one a quarter of a century ago, in 1970, and to her, it is no big deal. Not in Africa anyway.

Ntozake means "she who comes with her own things" and Shange translates into "who walks like a lion". It seems appropriate.

Zaki, as she is known by her friends, is not sarcastic, as her abbreviated name might suggest.

But when I suggest that to change your name like this is a sign of a bold person she roars like a lion. "Ntozake is like Barbara to Africans. It's not bold at all."

Reading the article to a dynamic audience generated a thought-provoking and interactive discussion. In particular, despite the unknown source of the writing, most audience members believed it to be male, as there was biased reporting of Ntozake Shange, for example, "Despite being dressed casually, her nails are long and a glowing red. They look well manicured, as if someone has spent quality time on them." When the reason for the article was that Ntozake Shange was in the UK after the publication of her third novel, Lilane, there was little mention of this until the end of the article.

The Memorial event was celebrated with African Libation, other personal contributions from leading poets and academics, as well as Poetry readings based on  Ntozake Shange's choreopoem, For Colored Girls Who Have Considered Suicide/When The Rainbow Is Enuf.

Participants also included:

Leighan Renaud, who works at the University of Leicester. She recently completed her PhD in Contemporary Caribbean Literature.

Sandra Pollock, a multi-award-winning director, community leader, and founder of the East Midlands Women's Awards.

Michelle 'Mother' Hubbard, a poet, performer, story-weaver, writer, African drummer and founding member of Blackdrop spoken word/open mic event Nottingham.

Michelle Vacciana has produced small-scale theatre shows, both independently and by commission.

Michaela Spencer, The Plentiful Poet, graduated with a Foundation Degree in Performing Arts. Michaela studied Ntozake Shange while at University. Ntozake had a huge impact on her degree.

Rosa Fernadez is a writer, slam-winning performance poet and freelance editor from Burton-on-Trent. She studied English at Goldsmiths in London. Since returning to the Midlands, she has been warmly embraced by Leicester's cultural scene. 

Carol Leeming Bio:

Carol Leeming, MBE, Fellow of the Royal Society of Arts, is a multi-award-winning poet, playwright, director, performer, musician, and tutor. Carol's plays have been commissioned by BBC Radio 4 and the Centre for New Writing, University of Leicester, and performed in The Curve, Brighton Dome, and Haymarket. Notable works include her two choreopoems 'The Loneliness of the Long Distance Diva'; 'Love the Life you Live ... Live the Life you Love', along with the plays Vex and Women in Pain, co-written with Wendy Christian. Carol published her debut poetry chapbook in 2016 entitled The Declamations of Cool Eye. Her poem 'Highfields Fantasia' is used for teaching at the University of Leicester. Her work is referenced by Dr Corinne Fowler in the Cambridge Companion to British Black & Asian Literature, edited by Deidre Osborne. Carol is working on a new poetry collection and songs for a music album for 2019.

Hair Power Skin Revolution BBC Radio Northampton Interview 5th August 2018

On 5th August, my interview with producer Suki Somal, aired on BBC Radio Northampton's Mark Dean Show, which is a weekly news and events show for Northamptonshire's African and Caribbean community. 

Eight years on since its publication in 2010 and the subject of my anthology Hair Power Skin Revolution is still relevant today.

To find out more, you can listen to the interview, which was aired in two parts at 8.10pm and 9.20pm by visiting the following link:


My interview with BBC Radio Northampton


Part 1 = 18.45 
Part 2 = 1.12.00

There are 27 days left to listen.

Carers Week Poetry Competition

Carers Week is an annual campaign to raise awareness of caring, highlight the challenges carers face, and recognise the contribution they make to families and communities throughout the UK.

The campaign is brought to life by thousands of individuals and organisations who come together to organise activities and events throughout the UK, drawing attention to just how important caring is.

Carers Week runs from 11th to 17th June. This year the theme is 'Keeping Carers Healthy and Connected'. Northamptonshire Carers Centre, based in 123 Midland Road, Wellingborough, are running a range of events, including three competitions, open to everyone, not just carers:

• Poetry Competition
• Short Story Competition
• Art & Photography Competition

I have been given the privilege of judging the *poetry competion. If you are interested in entering any of the above competitions, entries must be at the Carers Centre by Friday 8th June.  

Entries for all the competitions can be submitted via email:

carers@northamptonshire-carers.org

*There are no restrictions on a poetry theme, however, it would be ideal to keep it within an A4 page space for display purposes.

Judging will take place on 15th June. There will be an overall prize for each category. Northamptonshire Carers Centre will be displaying exhibits between 11th and 15th June.

For further details, contact: 
Joanna Johnson, Young Carers Service Manager:
joannaj@northamptonshire-carers.org

Good luck!

Race Act 40 Exhibition

On Monday, 28th May, I attended the Race Act 40 Exhibition event held at the Wellingborough African Caribbean Association, based in Rock Street.  

Race Act 40 is an oral history project organised by Northamptonshire Rights & Equalities Council, funded by the Heritage Lottery Fund, exploring historic racism in Wellingborough.  

The two-year project was supported by the excellent contributions of volunteers who were professionally trained to carry out over 40 interviews, which will now be archived at the University of Northampton.

The event was formally opened by James Saunders Watson, also known as the High Sheriff of Northamptonshire. 

James Saunders Watson, High Sheriff of Northamptonshire.

Suresh Grover, Director of The Monitoring Group, was the Guest Speaker. Suresh Grover has been a Civil Rights Campaigner for over 30 years. He spoke about some of the campaigns beginning in 1976 to the present time.

Suresh Grover, Director of The Monitoring Group.

Seventy nine people attended the event which included displays of Race Act 40's research, and poetry by Tre Ventour, Norma Watson, and Nairobi Thompson. 

Audience Members of RaceAct40 Exhibition.

Here is a link below to my 10-minute radio interview with Suki Somal on BBC Radio Northampton's Mark Dean Show. I come on at 12.35 minutes in (approx), although the whole two-hour show is worth listening to. I like the sprinkling of African and Caribbean sounds - reggae, soca and Afro Beats!

My Interview with BBC Radio Northampton

You have 28 days remaining from today to listen, so I urge you to tune in!

I also shared my experience of racism in the workplace at the Race Act 40 event.

Sharing my experience of racism in the workplace and how
I took my case to a Race Relations Act tribunal and won.

Photographs courtesy of Race Act 40.

Colonial Countryside: Ten New Creative Commissions

Charlecote Park, Warwickshire

10 new creative writing commissions at £1,200 each for 'Colonial Countryside: English Country Houses Reinterpreted.'

About the project

Colonial Countryside is a child-led writing and history project about National Trust houses' Caribbean and East India Company connections. Steered by a child advisory board, this three-year project assembles authors, historians, and primary school pupils to commission, resource and publish new writing. 

One hundred primary children will visit ten National Trust properties and craft new writing, presenting it to live, print, and digital audiences. They will present their work at a conference during the Literary Leicester festival in November 2018. 

The majority of children will be of Caribbean or South Asian heritage and this project will encourage them to think of themselves as public figures who will reshape the national narrative and make this history widely known.

Peepal Tree Press will commission ten authors to write about each participating house. The commissioned work will be published in an illustrated "coffee table" style book containing the ten creative commissions, accompanied by accessible historical commentaries written by experts in the field. Commissioned writers will give inaugural readings and appear at literary festivals and black history events nationwide.

The National Trust has over five million members and the commissioned writing will have a large readership. These ten high-profile commissions are also designed to stimulate a new wave of writing about this topic. In order to resource this, the Colonial Countryside project will create a writers' resource website, delivered by the historical team, and a massive online open course (MOOC), co-produced by children and historians.

The participating country houses are:

1.   Attingham Park, near Shrewsbury

2.   Basildon Parks, near Reading

3.   Buckland Abbey, Devonshire

4.   Calke Abbey, Derbyshire

5.   Charlecote Park, Warwickshire

6.   Osterley Park, West London

7.   Sudbury Hall, Ashbourne, Derbyshire

8.   Wightwick Manor, near Wolverhampton

9.   Penrhyn Castle, Gwynedd, Wales

10. Dyrham Park, near Bristol

About the commissions:

Commissioned writers will be advised by historians who are experts in the field. The participating National Trust properties provide a varied picture of stately homes' colonial links, telling a range of stories about slave-produced wealth, East India Company connections, colonial administrators, Black servants, slave-trading voyages, colonial business interests, Victorian plant hunters, and imperial interior design.

Commissioned writers will receive a fee of £1,200 and an allowance of up to £400 to cover research, travel, and accommodation. They will attend a work-in-progress day at the University of Leicester. Public engagement is central to this project. Social media training is available if required (writers will post social media content on the project's behalf, or the project manager will post approved content on their behalf). In year three of the project, writers may be asked to give an inaugural reading at the country house featured in their commissioned pieces. Commissioned writers will also be invited to attend literature festivals and Black History Month events, with expenses paid.

The commissioned work will be published in an illustrated book by Peepal Tree Press. It is also likely to feature in exhibitions in numerous houses throughout the National Trust's Challenging Histories year in 2022.

How to apply and the deadline

The commissioned work will be judged by a team of acclaimed writers and historians, and assembled by Peepal Tree Press.

Send your commission entry by email to Dr Corinne Fowler csf11@le.ac.uk. Please attach:

A writer's CV 

This should be no longer than one page of A4, font size 12

A proposal

In no more than 700 words, explain why you wish to apply for the commission. You should cover: * your interest in the topic * your experience * your approach to the commission (including your chosen literary form) * how you will guarantee quality * your experience of social media (please note: this is not a deal breaker but it is helpful to know if you have an author webpage and a social media presence) * confirm your willingness to post project information on social media channels and/or your author website (or have it posted there on your behalf) * your geographical location * your intended audience.

There is no obligation to identify a particular National Trust property from the list above, though winning entrants will be matched with one house, even if the commissioned writer wishes to explore connections between participating properties.

A writing sample

This should be no more than two pages of A4, font size 12 or (in the case of poetry) no more than three poems.

Eligibility: Non-UK writers may apply, though there is no budget for plane travel to England. The Arts Council expects that the majority of writers should be based in England. As a condition of the commission fee, you must commit to participating in public events during 2020.

Deadline: Midnight on 30 April 2018.