I have two entirely different and diverging spiels to divulge about this topic. The first, which I’ll probably (forget to) talk about later, is inspired by Dr. Eric Levi’s post about changing the culture of medicine by changing the words we use when we talk to each other.
The second, which I’ll talk about now, has to do with the way we produce and consume Jamaican literature. I say Jamaican specifically, because I think the Caribbean on a whole is doing much better with producing stories that are told in the language of the people. But I can’t shake the feeling that as Jamaicans we aren’t quite there yet.
Prolific writers like Erna Brodber and Kei Miller (among many, many others) must be commended for following the ample footsteps of Miss Lou and putting our dialect on an international stage. But when I read The Last Warner Woman (Miller) or Nothing’s Mat (a recent release by Brodber) I don’t feel like I’m hearing the voice of the man or woman on the street. The dialogue and narration tend to feel like a weirdly off-brand version of Jamaican dialect, the distinction growing when they employ the use of Patois. It’s not that they use Patois wrong (because it’s a language with its own rules and I’m very adamant about that but I should probably leave that argument for another time) it’s just that it doesn’t feel right.
Of course I might be judging their writing too harshly. It’s much easier for me to say that Tamika Gibson captures the essence of the Trini accent perfectly in her YA novel Dreams Beyond the Shore because I don’t live in Trinidad and have no reference for the nuances of their everyday conversations. But I know what I expect Jamaicans to sound like, and the bar I set might be too high to realistically reach on the page.
Another reason for my discomfort with our language in print might be that the sounds and phrases I hear in Montego Bay are noticeably (albeit only slightly) different from the turns of phrase used in Kingston or other parts of the island. So maybe Miller and Brodber are staying true to their own ears, while alienating mine.
In either case the point remains that I have yet to read a Jamaican novel that rings true with authenticity*. It either feels like I’m watching Jamaica through the eyes of a foreigner or like I am the foreigner with strange and altered expectations for the writing. It doesn’t help that most Jamaican writers live abroad, and I have often wondered if it is easier to write home from the Diaspora or if the distance does something to the translation. As if in their habit of making our language and culture more palatable for the foreign audience it loses the vivre that makes it appeal to the local one.
Where does all of this thinking leave me? Tamika Gibson mentioned in an interview that she wrote the award-winning manuscript because she wanted Trinidadian youngsters to have a book that was in their language. Growing up all the stories she read were about foreign places and foreign people and she didn’t want that to continue.
Neither do I. But as I grapple with the idea of writing an authentically Jamaican story I recognize that my struggle is in the physical act of putting one word after the other. Having read so many novel and stories and poems generated by a largely cosmopolitan author base certain phrases and descriptions spring readily to mind. Certain combinations of words naturally trip out of my fingers, but none of these fit our local setting.
There’s no set or pre-defined way to describe Montego Bay because it just hasn’t been described often enough. So the task that rests with the writer who talks about home is really to build the language brick by brick in a slow meticulous operation. Because it’s never really been done before so you have to pay attention to get it right.
It’s the difference between moving into a densely populated neighbourhood where all the houses have been around for centuries and moving into a neighbourhood where all your neighbours are still building the houses from scratch. It’s grunt work, fantastic work, and it will take elbow grease, grit and determination. Luckily, we’ve got those in spades.