INFO: new book—Sixty Poems for Haiti

Poetry

Sixty Poems for Haiti

Sixty Poems for Haiti

Sixty Poems for Haiti - The anthology Sixty poems for Haiti is published on 21st June 2010 from Cane Arrow Press. It was conceived by Maggie Harris, the award-winning, Guyanese-British poet, now based in Wales.

The collection comprises poems from authors ranging in age from 12 to 89 and located in the West Indies, UK, Ireland and Europe. Some contributors are seasoned - even famous - poets; some beginners; the only brief given was to send a poem for Haiti. Some have responded directly, or elliptically, to the traumatic events on and after the earthquake of January 2010; others have sent a selection from their recent work as gifts to the people of Haiti. All of them have given their work for free, the aim being to raise a few dollars more for the reconstructive work on the island, and to provide a good stimulating read. Amongst the contributors are West Indian pioneer Kamau Brathwaite, Debjani Chatterjee, Trinidadian scholar Vahni Capildeo and the St Lucian man of letters, Kendel Hyppolyte.

The collection is also the book of the concert - an event to be held in Broadstairs on 26th June and to be hosted by many of the authors represented in the anthology. At least 90% of the ticket price and that on the cover of the first edition of the book will go directly to the Lambi Fund whose mission is 'to assist the popular democratic movement in Haiti.' The Fund "provides financial resources, training and technical assistance to peasant-led community organizations that promote the social and economic empowerment of the Haitian people." Maggie will publish the total raised on her website (www.maggieharris.co.uk). All profits from future editions will also be given to the fund. Copies of the book will be available directly from the publisher.

Cane Arrow Press, the publisher of the collection, was set up in 2009, inter alia to promote the poetry of Trinidad and Tobago. Emanating from one of the last British colonies in the Caribbean, the poetry of the twin island state has had to make up a century-and-a-half head start on the longer standing Anglophone West Indian territories such as Barbados and Jamaica. Although the novels of Selvon and Naipaul have received international recognition, the poetry of the nation has not been collected since Papa Bois - a 1947 collection from a group of writers known as the Five Folio Group - a failing Cane Arrow hopes to put right.

A twin aim of the press is to support the poetry and philosophy of West Indian Britain. In the same way that T&T poetry exists on the margins of WI poetry, so West Indian British poetry fulfils that limbo position in exile. Dedicated to the idea that the best creative writing comes out of the crossroads of cultures, the press has so far released three books and aims to publish about three books a year for the foreseeable future.

Next on the agenda is that long awaited T&T anthology and the press is also working on the reprint of Cy Grant's Ring of Steel which celebrated the nation's contribution to C20 music. Both in their own way seek to celebrate the work of forgotten ancestors and to provide a springboard for current thinking.

OP-ED: Take punitive action against BP now - CNN.com

Take punitive action against BP now

By Lt. Gen. Russel Honoré, Special to CNN
May 26, 2010 1:39 p.m. EDT
tzleft.honore.nola.file.gi.jpg
STORY HIGHLIGHTS
  • Gen. Russel Honoré: This disaster is the BP oil spill, not the Gulf oil spill
  • BP should be fined, he says, even $100 million, each day the oil is gushing
  • Money from fines should be used to help Gulf Coast and its people recover, Honoré says
  • General believes BP and negligent government regulators should face jail time

Editor's note: Lt. Gen. Russel Honoré commanded the military response to Hurricane Katrina. He retired from the U.S. Army in 2008 after 37 years, sits on the board of the Louisiana Disaster Recovery Foundation and is an adjunct professor at Emory and Vanderbilt universities. He is the author of "Survival: How a Culture of Preparedness Can Save America and You from Disasters."

(CNN) -- It's interesting how many people have swallowed the BP public relations' bait to call the explosion from Deepwater Horizon oil rig the Gulf oil spill. We need to call it what it is: the BP oil spill. The federal government needs to take control and take punitive action against BP and any negligent government regulators immediately.

As a concerned citizen, preparedness speaker and author, and former commander of federal troops in disaster response, I watched with interest as BP brought out its big PR guns to protect its brand and its platoon of expert engineers, paid by BP to talk about how it happened and how they intended to fix it.

BP's reaction was much like Toyota's when it was confronted with safety issues. It, too, focused on PR to protect its brand, versus telling the truth, and sent out its engineers to talk about the problem and the fix.

The U.S. Coast Guard was the first responder. The Coast Guard's priority always is to save lives. They spent days looking for the 11 missing men. Meanwhile, BP took advantage of this time to make itself the authoritative voice in the news about the spill and blame other companies.

The No. 1 rule when dealing with disaster is to figure out which rules you need to break.
--Lt. Gen. Russel Honore

The U.S. government response was based on laws and rules that were created after the Exxon Valdez oil spill. After Valdez, the law changed to make the offending company responsible for the cleanup. A fund was created that all oil companies contributed to. If there was an emergency oil spill, a company could draw up to $75 million from this fund to fix the problem. But the fund was meant to help small wildcat operations, not huge conglomerates like BP.

Sticking to that regulation was part of the problem. The No. 1 rule when dealing with disaster is to figure out which rules you need to break. Rules are designed for when everything is working. A democracy is based on trust. BP has proved it can't be trusted.

iReporters share views on oil spill response

The government needs to change the game and make this a punitive effort. The government has been too friendly to oil companies.

The government should immediately freeze BP's assets and start to charge the corporation -- say $100 million -- each day the oil flows. The money could be held in a fund that U.S. government draws on to take care of the people along the Gulf Coast and pay the states for doing the cleanup.

Next, BP and the government bureaucrats who broke a law and put the public at risk need to go to jail.

The latest curse going around in southern Louisiana today is, 'BP you.'
--Lt. Gen. Russel Honore

Video: Honore: 'Time is not on our side'

Video: Nungesser fed up with BP, Coast Guard

Video: Explaining BP's 'top kill' video

I remember when we were evacuating New Orleans on Saturday following Katrina. We pushed the survivors to the airport and a major called and said the pilots refused to fly the plane without a manifest and there was trouble with weapons scanners.

I told him to direct everyone to put the people on the planes as fast as possible, and we would to do the manifest en route or on landing. As a result, we flew 16,000 people out of NOLA airport in less than seven hours.

The priorities of the response to the spill must be to stop the flow of oil, prevent the oil from getting into the shoreline as much as possible, mitigate the effects of the oil in the ocean, and take care of the people who have lost their source of employment, such as fishermen and those in the tourist industry.

BP's job is to focus on stopping the flow of oil. The government needs to provide more military "command and control" of the situation. As BP works to stop the gusher, the government must address the problem of the oil coming ashore and take care of the people affected, possibly retraining them in other jobs. The government could do this by using the Stafford Act to fund the states so they can protect their shoreline and clean up the oil. Then, the long-term effects of the spill must be mitigated.

The people of the Gulf Coast, particularly South Louisiana, are still recovering from Katrina. They've been through hurricanes Rita, Gustav and Ike.

They know hurricane season is right around the corner and this BP oil spill has the potential to get much worse. And they don't trust BP.

In fact, the latest curse going around in southern Louisiana today is, "BP you."

Punitive action must start immediately, with BP supplying the money, from fines, to help the Gulf Coast get over this catastrophe.

The opinions expressed in this commentary are solely those of Russel Honoré.

via cnn.com

VIDEO: Happy Birthday Miles - an interview + three performances

MILES DAVIS INTERVIEW

totownmedia September 13, 2007Part 2 of Exclusive, never before seen interview footage of Jazz great, Miles Davis. This is a World Premiere Sneak Preview of the upcoming documentary, I Remember Miles, by internationally known Producer/Director Malcolm W. Adams for Totown Digital Media, a company of Totown Communications Group Japan. www.totown.net

To purchase this DVD contact milesdvd@totown.net

MORE PREVIEW UPLOADS COMING SOON. STAY TUNED TO THIS CHANNEL!
Thank You!
Totown Webmaster
 

________________________________________

MILES DAVIS & JOHN COLTRANE - SO WHAT

 

 

 

Miles Davis - In A Silent Way, New Blues LIVE STUTTGART ´88 [HQ]

 

 

 

Miles Davis - Tutu (live '88)

 

PUB: call for submissions—Anansesem: Submission Guidelines


The Online Caribbean Children's Literature Magazine


Anansesem publishes fiction, nonfiction, poetry and art by aspiring and established children's writers and illustrators, and children (ages 8 to 16.) We give priority to persons living in or originally from the Caribbean region, but we also welcome work from around the world- Africa, India, China, Canada, the United States, Latin America, the UK etc.

Please follow these guidelines for submitting material. There is no reading fee. See our FAQ page for payment and publication rights.

 

•••
 
Deadline for inaugural September 2010 issue: August 15, 2010


•••
 
What We're Looking For

Stuff that amuses, inspires and delights. Richness of details, authentic handling of dialogues and relationships, and sensitive treatment of issues. Caribbean stories and poems that can be performed as readily as they can be read. Age-appropriate writing that authentically reflects the values and attitudes of Caribbean people. Writing that considers Caribbean children (and their parents and teachers) as the primary audience, yet is accessible to "cultural outsiders." Illustrations that daringly interpret the Caribbean picture book aesthetic, showing awareness of traditional Caribbean artistic expressions, but also innovative integration of styles of children's illustration drawn from other cultures. Caribbean children's literature that builds upon the past while speaking to the present and the future, that critiques and informs, and that avoids stereotypical presentations (stereotypical presentations would include the Caribbean fruit story, Caribbean festival story, Caribbean alphabet tale, and the mythical Caribbean folktale.) Send us some stories about real-life Caribbean children living in actual social and historical circumstances. Words and plots that evoke childhood in the Caribbean. Ultimately, we are looking for pictures and narratives that Caribbean children will love and see themselves in.

 

 

 

General Guidelines
1. All submissions must include the name of the person submitting the work, the title(s) of the work, and a short bio (no more than 200 words.) In the bio, please list previous publications if any. In children's bios, please indicate the child's age. If applicable, please include information about the author's/artist's connection to the Caribbean.
2. Submissions are by email only. Different types of work are sent to different email addresses so make sure you get it right! See below.
3. Simultaneous submissions are accepted. Please let the Anansesem editor you sent your work to know immediately if your work is accepted elsewhere.
4. Multiple submissions are welcome.
5. Previously published poems and artwork may be considered, provided you let us know where and when they were published. Previously published prose (fiction and non-fiction) will not be considered.
6. Please do not re-submit previous material unless expressly asked to do so by the Managing Editor.
7. Any work received after the closing date for a particular issue will be considered for the next issue.
8. You can expect a response from us by the publication date. Please do not contact us regarding the status of your work; we will contact you.
9. Do not send us links to your website. We'll leave it to you to find and email us your best work.
10. Spelling and Translation Policy: Both American and British spelling are fine. Caribbean Creoles are fine provided that they are accompanied by translations. We currently only accept English language submissions.

 

 

Category Guidelines
Poetry, Fiction, Non-Fiction and Art by Children: In every issue, a special section of the site will be  devoted to showcasing the work (poetry, fiction, non-fiction and art) of our region's youngest writers and artists. Anansesem welcomes submissions by children from 8 to16 years of age. Children must be from the Caribbean in order to submit their work. Please follow all of the General Guidelines above for submitting work by children. Send submissions of kids' poetry to anansesempoetry[at]gmail[dot]com. Send submissions of kids' art to anansesemart[at]gmail[dot]com. Send all other types of work by children to anansesemkids[at]gmail[dot]comWhen sending work by children, please include the name of the child and the word "Kids" in the subject line of the email, e.g. Lily Brown_Kids. You must send a separate email for each child that you are submitting for. Please observe the following restrictions on kids' work:

Poetry: 1-6 original poems
Prose: a maximum of two pieces, no more than 700 words

Art: No more than 5 images

 

A note on children's work

 

Parents and guardians are encouraged to help children prepare their work for submission. You will certainly want to check children's work for spelling and grammatical errors. At the same time, there is a clear line between proof-reading and actually doing children's work for them. Submitting work that an adult has done and attempting to pass it off as the work of a child is heavily frowned upon. Because heavy editing of children's work is generally recognizable, we strongly encourage parents and teachers to refrain from this as it will most certainly result in the submission being rejected.
 

Poetry (For kids by adults): Send 3-6 original poems to anansesempoetry[at]gmail[dot]com. No attachments please. No long, epic poems please. Paste the poems and the bio into the body of your email. If your poem requires special formatting, let us know. If we like your work enough to consider it, we may ask you to send an attachment. Poetry has a rolling submission period; if your work is being held for consideration for a future issue, you will be notified. Poetry by Caribbean writers have first priority.

Fiction (For kids by adults): Send a maximum of two pieces of no more than 5000 words to anansesemfiction[at]gmail[dot]com. We will accept .doc., .wps, or .txt attachments. Fiction by Caribbean writers have first priority.

A note on fiction

By 'fiction' we mean anything within the realm of imaginative prose including flash fiction, short stories (5000 words or less,) and collaborative fiction as long as all the authors are listed. Excerpts or chapters from unpublished books are fine as long as they can stand alone and still make sense. We will accept children's fiction in the genres of realistic fiction, fantasy, historical fiction, science fiction, super hero fiction, mystery, humor, and traditional (traditional = original work that fits the folk tale, fairy tale, or myth/legend sub-genres.) The only genres we will not accept are religious fiction, fan fiction and certain types of horror fiction.

Nonfiction (For adults by adults): Send no more than two non-fiction pieces of no more than 1,000 words to anansesemnonfiction[at]gmail[dot]com. We will consider narrative/creative non-fiction (i.e. personal or reflective essays, literary journalism, and memoir or autobiographical pieces) and expository non-fiction (i.e. scholarly/research/analytical essays/book reviews.) Non-fiction pieces must bear some clear relation to Caribbean children's literature or Caribbean children's literacy experiences. We want to publish upbeat pieces that focus on Caribbean children's positive reading, writing and speaking experiences, but will consider any well-written piece evoking or exploring the experience of the Caribbean child or childhood in the Caribbean. In particular, essays should convey real emotional honesty and/or humor.

A note on nonfiction

Nonfiction submissions should be double-spaced throughout, preferably in Times New Roman font. Citations using American Psychological Association (APA,) Chicago Manual of Style (CMS,) and Modern Language Association (MLA) styles are all acceptable. Although Anansesem publishes non-fiction, please note that we are not a peer-reviewed journal. You can think of us as a 'professional magazine,' i.e. a non-scholarly magazine written for an educated audience. If your non-fiction submission contains a reference page that is more than half a page long, you would be better off sending it to a scholarly, peer-reviewed journal, like one of these.

Artwork (Children's illustration by adults): Send no more than five images (artwork, cartoons, graphics etc.) to anansesemart[at]gmail[dot]com. Preliminary images do not need to be print resolution and may be attached as a JPEG or GIF. Final, approved artwork should be of professional quality, at least 300 dpi saved as a TIFF, GIF or JPEG. After we have considered all submitted artwork, a single piece of artwork will be chosen to appear on the front cover of the upcoming issue. All submissions of art by adults are eligible for this distinction.

 

PUB: call for submissions—Imagination & Place

Call For Submissions

The Imagination & Place Press seeks poetry, fiction, creative nonfiction, and essays for the third book in a series of anthologies. The title is: Imagination & Place: Seasonings. Imagine the spices of life in relation to the place(s) you are. These spices may be herbal or chemical; they may evoke time and cycles. Imagine who/what is well seasoned and how such seasoning occurred. Submit no more than five poems and prose of no more than 7,000 words to iandppress@sunflower.com. Include a cover letter and a brief biography with a paper copy of your submission and mail to Imagination & Place Press, P.O. Box 53, Lawrence, KS 66044. If you want your hard copy submission returned, please include a self-addressed, stamped envelope. No previously published works will be accepted, although we will take simultaneous submissions with the clear understanding that if work is accepted elsewhere, you will let us know. The deadline for submissions is August 1, 2010.

 

Check back often!

 

To Join Our Mailing List, Click Here

 

 

 

VIDEO: "Two Clocks" by Ngwatilo Mawiyoo > from Kenya Christian

"Two Clocks" by Ngwatilo Mawiyoo

 

This is cool. I've always wondered why poets don't seem to make video's just like musicians. We need more of this. Kenyan poets, where y'all @?

Ngwatilo has her poetry book out. Not exactly sure where it's available, but I know its called Blue Mothertongue.

Ngwatilo Mawiyoo is a poet from Nairobi, Kenya. Her work has appeared in various journals in and beyond Kenya including the Kwani? journal and the The Literary Review. Ngwatilo is also an accomplished actress in Kenya’s budding film industry and sometimes works as a consultant in development communication. She endeavors to write honestly and with vision about moments that mean something to people now living, and perhaps even some of those on their way.

 

 

 

INFO: Breath of Life: Curtis Mayfield, Trio Esperança, and 18 versions of "Take the -A- Train"

Master songwriter/performer Curtis Mayfield kicks off the week, we follow with Brazil's female vocal ensemble, Trio Esperança, and close with 18 versions of "Take The -A- Train featuring Duke Ellington, Betty Roche, NDR Big Band, Johnny Hartman, Ray Brown w/ Gene Harris, Eddie Jefferson, Billy Strayhorn, Phyliss Hyman, Louis Jordan, Ray Bryant, Dizzy Gillespie, Chaka Khan, Bobby McFerrin, World Saxophone Quartet, Sun Ra, Jorge Reyes, Deodato, and Chuck Brown.

GO HERE> http://www.kalamu.com/bol/

REVIEW: book—We Ain't What We Ought To Be: The Black Freedom Struggle from Emancipation to Obama

Stephen Tuck. We Ain't What We Ought to Be: The Black Freedom Struggle from Emancipation to Obama. Cambridge: Belknap Press of Harvard University Press, 2010. Illustrations. viii + 494 pp. $29.95 (cloth), ISBN 978-0-674-03626-0.

Reviewed by Martin Hardeman
Published on H-Law (May, 2010)
Commissioned by Christopher R. Waldrep

Three Steps Forward, Two Steps Back

Stephen Tuck’s We Ain’t What We Ought to Be is a well-written, well-organized survey of African American history from the Civil War to the present. It combines much of the most recent scholarship on the subject with readings in primary sources. Divided into a prologue, eleven chapters, an epilogue, endnotes, and an index, Tuck’s interpretation is neo-Marxist and focuses on the local and grassroots. At the same time, black struggle takes place against a background of changing social, political, economic, and technological possibilities.

Beginning each chapter with the quotidian and specific, Tuck builds on such incidents to examine an era, an attitude, or a movement. The final chapter, “Reagan, Rap, and Resistance: 1979-2000,” opens with Michael “Wonder Mike” Wright recording the first hip-hop smash hit at a New Jersey studio and Ronald Reagan delivering a speech at the New York Hilton in his pursuit of the 1980 Republican presidential nomination. With the occasional exception, Tuck’s book features historical walk-ons, people left out of most textbooks: a farmer in Mississippi, a washerwoman in Atlanta, a soldier in the First World War, a clubwoman in Washington DC--each playing a part, each contributing to a collage of resistance. It is in this way, for example, that he almost seamlessly integrates black women into his picture of the whole.  

Stressing continuity in the post-emancipation struggle for equality, Tuck also quotes Zora Neale Hurston: “Anyone who purports to plead for ‘what the Negro wants’ is a liar and knows it. Negroes want a variety of things, and many of them diametrically opposed” (p. 2). Tuck is acutely aware of the variety of meanings that freedom had for African Americans. He sets forth eight themes to provide a structural backbone: local, not just national; American, not just southern; violence, not just nonviolence; wartime, not just peacetime; secular, not just religious; global, not just national; economic rights, not just civil rights; and separation as much as integration. Contingency, therefore, sometimes overwhelms continuity.

This is a fine textbook for the second half of an upper-level undergraduate course in African American history. It is clear as well as nuanced and contains a surprising amount of sly humor. Tuck, university lecturer in American history at Pembroke College, Oxford University, has produced a valuable guide for graduate students as well. Its only drawback is the lack of a bibliography or better still, a bibliographical essay.

If there is additional discussion of this review, you may access it through the list discussion logs at: http://h-net.msu.edu/cgi-bin/logbrowse.pl.

Citation: Martin Hardeman. Review of Tuck, Stephen, We Ain't What We Ought to Be: The Black Freedom Struggle from Emancipation to Obama. H-Law, H-Net Reviews. May, 2010.
URL: http://www.h-net.org/reviews/showrev.php?id=29679