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  IN THIS CITY

  Austin Clarke

  Introduction by

  DAVID CHARIANDY

  Publishers of singular Fiction, Poetry, Non-fiction, Drama, Translations and Graphic Books

  Library and Archives Canada Cataloguing in Publication

  Clarke, Austin, 1934-

  In this city / Austin Clarke ; introduction by David Chariandy.

  (Exile classics 10)

  ISBN 978-1-55096-106-5

  I. Title. II. Series.

  PS8505.L38I5 2008 C813'.54 C2008-906128-4

  Copyright © 1992, 2008 Austin Clarke

  Introduction copyright © 2008 David Chariandy

  Cover Photograph by Joanna Ellenwood

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  We gratefully acknowledge, for their support toward our publishing activities, the Canada Council for the Arts, the Government of Canada through the Canada Book Fund, the Ontario Arts Council, and the Ontario Media Development Corporation.

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  CONTENTS

  Introduction

  Gift-Wrapped

  Initiation

  Letter of the Law of Black

  I’m Running for My Life

  Trying to Kill Herself

  A Short Drive

  Naked

  Sometimes, a Motherless Child

  Questions for Discussion and Essays; Related Reading; of Interest on the Web

  INTRODUCTION

  Austin Clarke has earned much critical acclaim for his novels, especially The Polished Hoe, which won the Giller Prize in 2002, and the International Commonwealth Writer’s Prize in 2003. But Clarke is also a lifelong and demonstratively accomplished author of short fiction, a fact that might too easily be overlooked. Admittedly, several of Clarke’s stories, such as “When He Was Free and Used to Wear Silks” and “Canadian Experience,” continue to be anthologized and discussed to this day; and an anthology of Clarke’s stories, selected from throughout his forty-five-year career as a writer, has now been published. However, until this very moment, each of Clarke’s five short story collections have been out of print, denying readers, old and new, the rewarding experience of encountering Clarke’s stories in their original arrangements and historical moments. Exile’s re-release of In This City – indisputably one of Clarke’s finest collections – is thus a very timely and happy event. For here, in peculiarly intense prose forms, we can find all of the wit, formal innovation, and trenchant social criticism that have made Clarke one of the most important writers of Canada and the Caribbean.

  Austin Clarke was born in 1934 in Barbados. Although he came from a poor and single-parent household, Clarke managed to find his way into academic institutions that, historically, had been unwelcoming both openly and systematically to people of his background. He won a scholarship to study at the prestigious Harrison College in Barbados, and, thereafter, a scholarship to study economics at Trinity College in Toronto. Clarke arrived in Canada in 1955, and since has lived a life that the words “hectic” and “productive” can only begin to evoke. From 1965-73, he worked as a journalist and broadcaster covering social issues, especially the civil rights movement. From 1968-74, he served as visiting professor at Yale, Brandeis, Williams, Wellesley, Duke, and the universities of Texas and Indiana while assisting in the development of Black studies programs at Yale and Harvard. In 1974, he became cultural attaché of the Barbadian Embassy in Washington, and, from 1975-77, he served as general manager of the Caribbean Broadcasting Corporation in Barbados. From 1973-76, he served as advisor to the Prime Minister of Barbados, and, from 1989-94, he was a member of the Immigration and Refugee Board of Canada. Clarke has been writer-in-residence at several libraries and universities in Canada, and, in 1992, he was honoured with a Toronto Arts Award for Lifetime Achievement in Literature. In 1997, Frontier College in Toronto also granted him a Lifetime Achievement Award. In 1998, he received the inaugural Rogers Communication Writers Trust Prize for Fiction and, in the same year, he was invested with the Order of Canada. In 1999, he was awarded Canada’s W.O. Mitchell Prize for producing an outstanding body of work, as well as the United State’s Martin Luther King Junior Award for Excellence in Writing. He has received four honorary doctorates and numerous honours for his individual works. He has also, of course, managed to do a bit of writing: no less than 11 novels, five short-story collections, four non-fiction books, and a plethora of shorter prose works. At 75 this year, Clarke shows no sign of slowing. The publication of his 11th novel, most appropriately entitled More, has just been released.

  Clarke is a writer of international importance, and contextualizing his work is no easy task. The challenge mounts when one recognizes that Clarke is one of those rare writers who have done much to create the very fields in which their work is now commonly placed. Perhaps the first thing that ought to be noted is that Clarke is one of the last major and actively practicing members of the “first wave” of contemporary Anglo-Caribbean writers, which included such formidable talents as V.S. Naipaul, George Lamming, and the late Sam Selvon (Clarke’s personal friend). These writers rose to prominence in the 1950s and 1960s amidst major shifts in the social and cultural fabric of the English-speaking world. At the time, almost all of the “first wave” writers were based in London, England, then the indisputable capital of Anglo-Caribbean writing. But Clarke, of course, was based in Toronto, Canada; and he has contributed more than any other prose writer to the possibility, recently articulated by the late E.A. Markham, that the global capital of Anglo-Caribbean writing (outside of the Caribbean itself) has shifted now to Toronto.[1] Another thing that ought to be noted is that Clarke has had a deep and sustained engagement with Afro-American cultural debates as they have shifted through civil rights, Black Power, and more contemporary iterations or “moments” – a fact that can readily be observed both through a perusal of Clarke’s writings and his extensive professional experience in the U.S. But In This City, as well as a great many of Clarke’s other books, makes clear the fact that Clarke has always been particularly attentive to the challenges faced by West Indian immigrants and their descendants in Canada and especially Toronto. Here again the sheer scope of Clarke’s life-experience is important to grasp. When Clarke first arrived in Toronto in 1955, it was more than a decade before the revised Immigration Act of 1967, which, for the first time in Canadian history, allowed qualifying non-whites relatively unrestricted entry into Canada. In other words, Clarke first arrived in an urban space that was multicultural (as it always had been), but not nearly as “racially” diverse as it is now. Clarke’s first major prose accomplishment, the novels comprising the Toronto Trilogy ( The Meeting Point, Stor
m of Fortune, and The Bigger Light), were all originally published between the years of 1967 and 1975, and they focused on the experiences of working-class West Indian immigrants in the lonely and occasionally hostile contexts of a largely white city. But by the time Clarke had published In This City (in 1992), Toronto’s black and Caribbean populations had grown immensely. Indeed, it is most telling that the first story of In This City, “Gift-Wrapped,” concerns a young woman from the small town of Timmins who comes to Toronto and cannot help but notice the parade of “West Indians,” although she ultimately finds this phenomenon, perhaps as an indicator of city life writ large, “too new, too rich, too diverse in colours and in rhythm for her to dare to be closer to it.” (7)

  “Gift-Wrapped” is both an attractive and unusual way to open In This City. In many respects, the story exhibits themes and circumstances that have fascinated Clarke for decades: an individual arrives in a big city dreaming of success and of escape from the past, but soon experiences social isolation and learns how, for many, the goals of urban happiness and security are inaccessible. But “Gift-Wrapped” is also striking in that there is strong if not absolutely conclusive evidence that the protagonist is white, or, at the very least, most unlikely of Caribbean background. “Gift-Wrapped” reminds us that people of very different backgrounds – even the dominant group – can experience the anomie of the city,[2] and that Clarke intends his fiction, even when focusing on people of African-Caribbean descent, to speak to broader social issues and experiences. However, it is also clear that most of the stories in In This City focus on Afro-Caribbeans (and particularly immigrant Barbadians) as they negotiate their lives and aspirations with others. “Gift-Wrapped” is immediately followed by “Initiation,” in which a relatively conservative “university professor” of Barbadian background encounters youths living in Toronto’s notably “black” Jane and Finch corridor, but using the language of black power “as if [they were] in Harlem and not Toronto” (30). Clarke’s depiction of the youths is largely satirical, of course; and this echoes Clarke’s own life-long interest in, but also critical detachment from, American black nationalism (see, for instance, his famous interview of Malcolm X). But it would be a mistake to interpret “Initiation” as reflecting a dismissive attitude, on the part of Clarke, towards those youths (or even more experienced folk) who have identified, to greater and lesser degrees, with the theories, postures, and aesthetics of black pride. It is perhaps no irrelevant matter that, today, at 75, the occasionally self-proclaimed “conservative” Dr. Clarke appears able to sport both cuff-links and dread-locks, sip martinis and reverently prepare pigs’ tails and bread-fruit, with magisterial confidence and no apparent sense of contradiction.

  In fact, each of the stories in In This City resists hasty “answers” or summations, as good fiction always does. However, a few more points might be ventured. In “A Short Drive,” Clarke offers his learned Toronto-dwelling West Indian protagonist a direct and highly palpable encounter with American blackness and race relations. But the protagonist soon learns much more than he might have anticipated about the “dualism” of identity in general. Of course, many of Clarke’s other stories in In This City are very clearly about the immigrant experience. In “Letter of the Law of Black,” Clarke explores the sorts of thoughts and emotions – the textual “care packages” and “remittances” – that can be sent and received by close relatives living apart. Here, a father advises his son, who is studying in Canada, to take heed of the “virtual pot-pourri of nationalities” that the nation now exhibits, but also to beware the dangers “of sponsors, fools and liberals” – advice that is instantly familiar to anyone with conservative Caribbean-born parents (56, 60). In “I’m Running for My Life,” Clarke returns to one of his oldest themes, the complex and sometimes perilous circumstances that can be faced by female domestic workers in Canada (see, for instance, his novel The Meeting Point); and in “Trying to Kill Herself” and “Naked,” Clarke delves deep, once again, into the sometimes grim interiority of Black immigrant life. But in “Sometimes a Motherless Child,” Clarke pairs, for one of the first truly notable times, his life-ong interest in West Indian immigrants with his effort to understand the children of these immigrants, and their own complicated identities and aspirations. “Sometimes” joins a handful of texts by other Caribbean-Canadian writers that have begun to explore, with greater depth, the urgencies of “second-generation” immigrant life, and the particular stories and psychologies that emerge when one is born “in this city,” but remains marked as “other.” Once again, Clarke proves himself to be engaged most passionately with the latest shifts in Canada’s social and cultural fabric, and “Sometimes” ends up being one of Clarke’s fiercest articulations of protest against “this city’s” – any city’s – violent wasting of its youth.[3] As such, the final story of In This City serves as an indispensable introduction to Clarke’s ambitious depiction of youth culture and generational rifts among Caribbean immigrants in his latest novel More.

  David Chariandy

  September 2008

  David Chariandy lives in Vancouver and teaches in the department of English at Simon Fraser University. His first novel, Soucouyant, was nominated for ten awards of regional, national, and international scope. His second novel, Brother, is forthcoming.

  [1] Markham makes this claim in his introduction to The Penguin Book of Caribbean Short Stories. He refers to “the huge colony of Caribbean writers in Canada” (xv), including Dionne Brand, the late Louise Bennett-Coverley (‘Ms. Lou’), the late Sam Selvon, Cecil Foster, Ramabai Espinet, Claire Harris, Makeda Silvera, Olive Senior, M. NourbeSe Philip, Rabindranath Maharaj, Dany Laferriere, Rachel Manley, and Lorna Goodison, to name only a few. Markham explicitly suggests that “outside the Caribbean, the ‘West Indian Literary Capital’ has shifted from London to Canada” ( Penguin Book Caribbean Short Stories footnote xliv).

  [2] Note, however, that the obvious counterpart to “Gift-Wrapped” is Clarke’s “Canadian Experience,” which was first published in the collection Nine Men Who Laughed. Like “Gift-Wrapped,” “Canadian Experience” features someone who migrantes from rural and relatively ‘unsophisticated’ circumstances to the city. The protagonist in “Canadian Experience” also hopes to become an executive in a downtown business. However, unlike “Gift-Wrapped,” the protagonist in “Canadian Experience” comes from Barbados; and, in the end, he neither lands a job nor gets reunited with his family, but dies as a result of suicidal despair or a fatal moment of disorientation.

  [3] It is most important to know that the two principal characters in Clarke’s latest novel, entitled More, are a youth named “BJ” and his mother, who are wrestling with circumstances very similar to those first addressed in “Sometimes a Motherless Child.”

  GIFT-WRAPPED

  When she went to look at the apartment, the sun was shining in the pools of water left back by the street-cleaning van. The street looked like slate or like slag that came out of mines and was piled into banks of snow all during the winter, and later into small hills of grey. And the pink impatiens in the stone boxes at the ornate front door of the building, one on each side and sitting squat and solid in front of the sheet of glass that gave each square of stone its imposing reflection so that it appeared to her as if they were four boxes of the pink flowers instead of two, and when she turned the corner from Bay Street, taking in the untidy, noisy garage of buses at the Gray Coach Terminal that went all over the country, and walked up the imitation granite slabs in the walkway to Midtown Mansions, she felt a little sick to her stomach. She was on her lunch hour, a break of forty-five minutes from the office where she worked in the heart of that section of the city she heard them call the Financial District; her first job following university in London, Ontario. And when she turned her glance to hear the announcement of departing buses, starting and stopping and puffing smoke and causing small congestions of traffic, with the West Indian taxi drivers refusing to move and give up their places in the unm
oving queue and who would not accommodate the huge buses trying to turn, she remembered it was two months ago that she had arrived, excited, into this city, fatigued and ragged from the midnight Toronto express journey that began in Timmins, her home town. When she had stepped out of the cool bus and onto the dirty tarred road in the Gray Coach Terminal, amongst the renovating clutter of planks and bulldozers, the smell of cigarette butts and of oil and gas fumes, and the humidity in the air that hugged her, she was dizzy and had the same nausea in her stomach. She was dizzy on that Saturday night also, from the success of her escape from the small, friendly town of Timmins. Now, on this Monday afternoon, her dizziness turned to agitation, and was caused by her indecision about taking the apartment, and by the imposing appearance of the apartment building itself. Midtown Mansions. In Timmins, she had for all those twenty-five years, except summers for the three she had spent at the University of Western Ontario, lived in a small house on McKelvie Avenue, smack in the trough of snow piled higher than the two-storey clap-board house, with father, a miner at the Hollinger Mines; mother, nurse’s aide at the Timmins General Hospital; brother, now seventeen; brother, number two, fifteen; and sister, thirteen, all in high school, there in the three-bedroom house.

  The advertisement proclaimed that she was going to inspect a bachelor’s suite, and it said that it was suitable for a young career executive; male or female; in the heart of Toronto, with downtown luxury living, close to everything; no car needed and no parking problems as a result, or to suffer through, for the TTC was there and ran all night; close to the Eaton Centre, Massey Hall, the Thomson Hall, within sight of the CN Tower, and “from your window, you can see Sky Dome.” She grasped the copy of Chatelaine so tightly in her hand, making it smaller, into a tube, that the print came off in her palm. Her palm was hot. She fixed the long strap of her black shiny handbag in the crux of her shoulder, and tried deliberately not to let her heels strike the walkway like bullets. She stopped and passed her hand, that with the tube of Chatelaine in it, over the pleats in her cream summer frock. She saw herself in the glass, reflected smaller than her five feet two inches, made small in the mirrored portrait framed by the huge entranceway.