Kamau Brathwaite – författare

Kamau Brathwaite, who won the 1994 Neustadt International Prize for Literature, has revised his celebrated 1979 Casa de las Americas collection, Black + Blues, for its first edition by a U.S. publisher. A rich, arid, beautiful collection, Black + Blues is cast in three parts — “Fragments,” “Drought,” and “Flowers.” In Brathwaite’s voice, as The Beloit Poetry Journal noted, “the false distinctions between poetry and polemic, between tragic vision and comic insight, between anger and tenderness, here disappear. At last a major poet of our troubled history and troubling time is available to readers in this country.” “His dazzling, inventive language, his tragic yet unquenchable vision,” as Adrienne Rich declared, “make Kamau Brathwaite one of the most compelling of late 20th century poets.”

Equinox is an unforgettable and never-before-published masterwork completed by Kamau Brathwaite before his death in 2020. Written in his unique Sycorax typeface and replete with compelling images and photographs, Equinox contains poems written in Brathwaite’s singular Barbadian vernacular and visionary style—poems about the Middle Passage, the natural world, Billie Holiday, Whitney Houston, the Kumina dance in Jamaica, Nelson and Winnie Mandela, the Fukushima nuclear disaster in Japan, and Breughel’s painting “Landscape with the Fall of Icarus,” among many tidalectic topics. The lyrical poems in Equinox weave together history and culture with the imagery of Brathwaite’s native Barbados, weaving a lush tapestry of injustice, redemption, and hope.

Here, in a single volume, is Kamau Brathwaite’s early groundbreaking trilogy The Arrivants—containing Rights of Passage (1967), Masks (1968), and Islands (1969)—a brilliant and visionary exploration of the predicament of the poet living in the New World. Through the tension of regional dialect, musical rhythms, historical flashbacks, and excursions to Europe, New York, and Africa, Brathwaite interweaves the past and present of his Caribbean homeland—its natural beauty, its violent history, and the values that sustain its people—into a vigorous and unforgettable poetic work.

A mystical masterworkThis book by the great Barbadian poet Kamau Brathwaite is characteristically sui generis, vatic, and strange, exhibiting ornery bravura. Tonally and typographically frenetic in the 'sycorax video style' he's been employing for decades, the work examines a major theme appropriate to a great poet in the late stages of his career: that of the afterlife. Brathwaite performs a kind of spiritual/aesthetic GPS in his poetry and is is a poet of undeniable stature, writing the final poems of his career. Central to the book is a series of poems outlining the speaker's (the poet's) experiences with what he calls "Cultural Lynching." These poems speak of appropriation, theft, isolation, and exploitation, all within a context of an American hegemony that intensifies the racial politics and ageism underlying the events described. The speaker's pain and outrage are almost overwhelming. Filled with longing, rage, nostalgia, impotence, wisdom, and love, this book is moving in every sense of the word.

Words Need Love Too represents both a summation – a drawing together of concerns that the poet has explored in his writings through the previous ‘years of salt’ – and a turning point, a hopeful new beginning. With hindsight we can already see the shadow of events like “nine eleven” – which happened when Brathwaite was in New York, living only blocks away from the World Trade Centre – that inevitably drives the poet and his writing back into explorations of the dread spectrum.But for the optimistic epithalamium moment of ‘Words Need Love Too’ the visionary celebration of poems like ‘Agoue’ again seems both possible and important to this poet whose early work had been as much about celebrating connection and the possibilities inherent in the Caribbean’s rediscovery of its African heritage as it had been concerned to chronicle the barbarities and hurts of the process of cultural alienation that made such a rediscovery necessary. In terms of the prevailing tone of Brathwaite’s later writing that optimistic moment may be short lived but Words Need Love Too serves as an important reminder of the emotional and spiritual range of this great Caribbean poet’s work.

Kamau Brathwaite’s poetry offers stunning collages devoted to the history, mythology, and language of the African diaspora, and has gained him a world reputation. Middle Passages, his most recent collection, is his sixteenth poetry volume, but his first with an American publisher. With notes of protest and lament, the fourteen poems of Middle Passages address the effects of the Middle Passage of slavery on the New World, and celebrate great musicians (Ellington, Bessie Smith), poets, heroes of the resistance, and Third World leaders Kwame Nkrumah, Walter Rodney, and Nelson Mandela. And as the London Times Literary Supplement noted, it is “a poetry that moves between rage and tenderness, doubt and displacement to affirmation… Middle Passages is a potent and effective book, a work of passion and integrity.”