Lisa Harewoods post about a zr ride in Africa reminded me of one of my favourite parts of Omeros by Derek Walcott. Read this my friends on Facebook and tell me it does not evoke such visuals as to make you nod, and smile, and grimace, with longing for our islands. And understanding. The breeze threshed the palms on the cool December road where the Comet hurtled with empty leopard seats, so fast a man on a donkey trying to read its oncoming fiery sign heard only two thudding beats from the up-tempo zouk that its stereo played when it screeched round a bridge and began to ascend away from the palm-fronds and their wickerwork shade that left the windscreen clear as it locked round the bend, where Hector suddenly saw the trotting piglet and thought of Plunkett’s warning as he heard it screel with the same sound that the tires of the Comet made rounding the curve from the sweat-greased steering wheel. The rear wheels spin to a dead stop, like a helm. The piglet trots down the safer side of the road. Lodged in their broken branches the curled letters flame. Hector had both hands on the wheel. His head was bowed under the swaying statue of the Madonna of the Rocks, her smile swayed under the blue hood, and when her fluted robe stilled, the smile stayed on her dimpled porcelain. She saw, in the bowed man, the calm common oval of prayer, the head’s usual angle over the pew of the dashboard. Her lifted palm, small as a doll’s from its cerulean mantle, indicated that he had prayed enough to the lace of foam round the cliff’s altar, that now, if he wished, he could lift his head, but he stayed in the same place, the way a man will remain when Mass is finished, not unclenching his hands or freeing one to cross forehead, heart, and shoulders swiftly and then kneel facing the altar. He bowed in endless remorse, for her mercy at what he had done to Achille, his brother. But his arc was over, for the course of every comet is such. The fated crescent was printed on the road by the scorching tires. A salt tear ran down the porcelain cheek and it went in one slow drop to the clenched knuckle that still gripped the wheel. On the flecked sea, the uninterrupted wind herded the long African combers, and whipped the small flag of the island on its silver spearhead. II Drivers leant over the rail. One seized my luggage off the porter’s cart. The rest burst into patois, with gestures of despair at the lost privilege of driving me, then turned to other customers. In the evening pastures horses grazed, their hides wet with light that shot its lances over the combers. I had the transport all to myself. “You all set? Good. A good pal of mine died in that chariot of his called the Comet.” He turned in the front seat, spinning the air with his free hand. I sat, sprawled out in the back, discouraging talk, with my crossed feet. “You never know when, eh? I was at the airport that day. I see him take off like a rocket. I always said that thing have too much horsepower. And so said, so done. The same hotel, chief, correct?” I saw the coastal villages receding as the highway’s tongue translated bush into forest, the wild savannah into moderate pastures, that other life going in its “change for the best,” its peace paralyzed in a postcard, a concrete future ahead of it all, in the cinder-blocks of hotel development with the obsolete craft of the carpenter, as I sensed, in the neat marinas, the fisherman’s phantom. Old oarlocks and rusting fretsaw. My craft required the same crouching care, the same crabbed, natural devotion of the hand that stencilled a flowered window-frame or planed an elegant canoe; its time was gone with the spirit in the wood, as wood grew obsolete and plasterers smoothed the blank page of white concrete. I watched the afternoon sea. Didn’t I want the poor to stay in the same light so that I could transfix them in amber, the afterglow of an empire, preferring a shed of palm-thatch with tilted sticks to that blue bus-stop? Didn’t I prefer a road from which tracks climbed into the thickening syntax of colonial travellers, the measured prose I read as a schoolboy? That cove, with its brown shallows there, Praslin? That heron? Had they waited for me to develop my craft? Why hallow that pretence of preserving what they left, the hypocrisy of loving them from hotels, a biscuit-tin fence smothered in love-vines, scenes to which I was attached as blindly as Plunkett with his remorseful research? Art is History’s nostalgia, it prefers a thatched roof to a concrete factory, and the huge church above a bleached village. The gap between the driver and me increased when he said: “The place changing, eh?” where an old rumshop had gone, but not that river with its clogged shadows. That would make me a stranger. “All to the good,” he said. I said, “All to the good,” then, “whoever they are,” to myself. I caught his eyes in the mirror. We were climbing out of Micoud. Hadn’t I made their poverty my paradise? His back could have been Hector’s, ferrying tourists in the other direction home, the leopard seat scratching their damp backs like the fur-covered armrests. He had driven his burnt-out cargo, tired of sweat, who longed for snow on the moon and didn’t have to face the heat of that sinking sun, who knew a climate as monotonous as this one could only produce from its unvarying vegetation flashes of a primal insight like those red-pronged lilies that shot from the verge, that their dried calabashes of fake African masks for a fake Achilles rattled with the seeds that came from other men’s minds. So let them think that. Who needed art in this place where even the old women strode with stiff-backed spines, and the fishermen had such adept thumbs, such grace these people had, but what they envied most in them was the calypso part, the Caribbean lilt still in the shells of their ears, like the surf’s rhythm, until too much happiness was shadowed with guilt like any Eden, and they sighed at the sign: HEWANNORRA (Iounalao), the gold sea flat as a credit-card, extending its line to a beach that now looked just like everywhere else, Greece or Hawaii. Now the goddamn souvenir felt absurd, excessive. The painted gourds, the shells. Their own faces as brown as gourds. Mine felt as strange as those at the counter feeling their bodies change. III Change lay in our silence. We had come to that bend where the trees are warped by wind, and the cliffs, raw, shelve surely to foam. “Is right here everything end,” the driver said, and rammed open the transport door on his side, then mine. “Anyway, chief, the view nice.” I joined him at the gusting edge. “His name was Hector.” The name was bent like the trees on the precipice to point inland. In its echo a man-o’-war screamed on the wind. The driver moved off for a piss, then shouted over his shoulder: “A road-warrior. He would drive like a madman when the power took. He had a nice woman. Maybe he died for her.” For her and tourism, I thought. The driver shook himself, zipping then hoisting his crotch. “Crazy, but a gentle fellow anyway, with a very good brain.” Cut to a leopard galloping on a dry plain across Serengeti. Cut to the spraying fans drummed by a riderless stallion, its wild mane scaring the Scamander. Cut to a woman’s hands clenched towards her mouth with no sound. Cut to the wheel of a chariot’s spiked hubcap. Cut to the face of his muscling jaw, then flashback to Achille hurling a red tin and a cutlass. Next, a vase with a girl’s hoarse whisper echoing “Omeros,” as in a conch-shell. Cut to a shield of silver rolling like a hubcap. Rewind, in slow motion, myrmidons gathering by a village river with lances for oars. Cut to the surpliced ocean droning its missal. Cut. A crane hoisting a wreck. A horse nosing the surf, then shuddering its neck. He’d paid the penalty of giving up the sea as graceless and as treacherous as it had seemed, for the taxi-business; he was making money, but all of that money was making him ashamed of the long afternoons of shouting by the wharf hustling passengers. He missed the uncertain sand under his feet, he sighed for the trough of a wave, and the jerk of the oar when it turned in his hand, and the rose conch sunset with its low pelicans. Castries was corrupting him with its roaring life, its littered market, with too many transport vans competing. Castries had been his common-law wife who, like Helen, he had longed for from a distance, and now he had both, but a frightening discontent hollowed his face; to find that the sea was a love he could never lose made every gesture violent: ramming the side-door shut, raking the clutch. He drove as if driven by furies, but furies paid the rent. A man who cursed the sea had cursed his own mother. Mer was both mother and sea. In his lost canoe he had said his prayers. But now he was in another kind of life that was changing him with his brand-new stereo, its endless garages, where he could not whip off his shirt, hearing the conch’s summoning note. The whole piece is here poetryfoundation.org/poem/177933
Posted on: Fri, 18 Jul 2014 20:59:02 +0000
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