Newsletter for Teachers of English in the West Indies Volume I No. 1.

September Page 1

Newsletter for Teachers of English in the West

Indies Volume I No. 1. September 2009
Developing the Ideal Caribbean Person through professional Language Teaching

Editorial: A Call for Caribbean Ideas.

mepjones9@gmail.com
This issue of The Newsletter
for Teachers of English in the
West Indies is a response to
the felt need to provide a fo-
rum for sharing the profes-
sional musings of teachers of
English and Literature at pri-
mary and secondary levels in
the Caribbean. In the 1990s,
in Trinidad and Tobago, the
activities of the English
Teachers Association and its
ETATT newsletter served that
purpose. Unfortunately, inter-
est waned. In Jamaica, NATE,
thankfully, has maintained a
consistently activist position.
We aim to provide a forum
where professional ideas will
contend, collide and inspire
informed individual teacher
decision making in the class-
room. The issue will be deliv-
ered free by email to all
teachers who wish to sub-
scribe. The newsletter will be
issued three times yearly, in
September, January and April.
Use it to generate debate and
encourage professional
teacher behaviors in Lan-
guage and Literature teaching.
In this inaugural issue, we
feature contributions by
teachers from Guyana, Ja-
maica and Trinidad and To-
bago. The contributions un-
derscore the potential of
teacher creativity in the re-
gion. We thank CXC for af-
fording commingling. We
also proudly reprint the advi-
sory of the T&T Ministry of
Education on controversial
text selection. All this is with
a view to supporting a re-
sponsible, professional culture
among teachers of English.
Share and develop that cul-
ture.
“Man Thinking” - by Stepha-
nie Clair
Volume 1, Issue 1
September 2009
Special points of interest:
• What criteria should teachers use in
selecting texts for students to study?
• In what ways can teachers help
students to develop an independent
critical perspective in Literature study?
• The Language of Emotions—a
teacher’s perspective.
• Email communication for professional
sharing.
• Michael Jackson, self image and Litera-
ture study
Inside this issue:
Approaches to drama, poetry and 2
prose for exam success
The language of feelings 6

What is drama? 7

T&T Ministry advice on Teaching Hummingbird Tree

The Humming-Bird Tree is a
poignant novel that explores
the tensions of pre-teens of
different social backgrounds
who become friends. This
happens within a society that
has clear lines of demarcation.
According to James Ferguson,
it is a ‘deeply humane
novel’…an ‘honest recogni-
tion of the contradictions and
conflicts within a colonial
order’. As a work of fiction it
has earned the respect of es-
Maya Angelo—’Go and hug your 10
‘Michael’’
teemed Caribbean personali-
ties such as Professor Gordon
Rohlehr and Professor Ken
Ramchand and of course the
many teachers of good litera-
ture who wish to share it with
their students. It presents is-
 Newsletter for Teachers of English in the West Indies Volume I No. 1. September
Page 2
Literature gives students the tools to develop their critical consciousness.
sues that are faced by students on a daily
basis in the society of today. Its use in
schools provides the opportunity for stu-
dents to address these issues in a safe
environment under the guidance of pro-
fessionals.
The Humming-Bird Tree by Ian Mc Don-
ald is a West Indian novel set during the
pre-Independence period in Trinidad. Its
major themes include childhood, family
relations, love, social class, poverty and
man’s relationship with the environment.
It is currently a source of controversy
because of its language, in particular, the
expert guidance of the teacher of Litera-
ture, students are taught to respond criti-
cally to what they are exposed to in
books, films or other media. Books lend
themselves to critical thinking activities
necessary for students’ overall intellectual
and moral development. That an author
used the dreaded ‘f-word’ does not in
itself make the book vile nor is it neces-
sarily a promotion of obscenity. The
Literature Teachers who engage their
pupils in the study of The Humming-Bird
Tree engage students in reflective dia-
logue about students’ own use of lan-
guage considered impolite or obscene
help students to re-examine some of their
own attitudes towards language itself.
Standard English is still linked to class. In
the novel, it is the language of the power-
ful and the educated. Creole expressions
are consistent with the speech of the poor,
uneducated masses in the novel and in
2006, speakers of the Creole are still per-
ceived as unintelligent by some sectors of
Newsletter for Teachers of English in the West Indies Volume I No. 1. September
use of a few ‘impolite’ expressions. Its
suitability for students of literature is also
being questioned because of allusions to
sexual activity as the boy grapples with
adolescent passion, though this passion
remains unrequited.
Literature gives students the tools to de-
velop their critical consciousness. This is
a reason why The Humming-Bird Tree
would be selected by teachers of Litera-
ture as material suitable for discussion
and serious critical analysis. In the past,
books such as “The Adventures of Huck-
leberry Finn”, “Annie John”, “The
Dragon Can Dance” and “Miguel
novel has to be considered in its entirety
as a work of fiction. Literature lauds the
imagination but literature at the same time
reflects the society from which it springs.
Teachers of Literature well understand
the element of realism in fiction and seek
to engender this understanding in their
pupils. It would be unreasonable to expect
a child in rural, agricultural Trinidad to
speak the Standard English which ex-
the population. pose important questions
that might help students to deepen or re-
consider their views regarding sexual
activity, sexual repression, inter-racial
relationships, racial superiority. (All ex-
plored in the novel)
Encourage students to critique their
world, to look deeper into the issues of
class and race by comparing Trinidad in
2006 with that of the 1930-40s. How dif-
ferent are relations between ethnic groups
at present?
Encourage students to explore the con-
flicts associated with ignorance and preju-
Page 2
Street” also met with stiff opposition
from segments of the population who
questioned their moral content.
Opposition is not
necessarily un-
healthy, but in
fact, results in
healthy debate.
Literature sessions
are indeed just
that. Under the
This cartoon by Martin Rowson illustrates
the chapter ‘The Body of Literature:
Heads, Lungs, Hearts and Bowels’ in
‘Curiosities of Literature: A Book-lover’s
Anthology of Literary Erudition’ by John
plains why Kaiser, in the novel, speaks
the Creole. In the CXC “English A” ex-
amination, the English-based Creole is
permissible within the dialogue in the
short story. This of course is for purposes
of realism, since the average West Indian
speaks the Creole as her first language.
Yet, there are advocates of Standard Eng-
lish who feel strongly that schools should
not be promoting the Creole.
dice in a culturally divided society.
weigh the power relationships between
people in their society. Do “Whites” still
posses the power as they did during the
era of the novel? How has the reality of
the Indo-Trinidadian changed? Are there
stereotypes portrayed in the novel such as
the illiterate cane cutter?
Opposition is not necessarily
unhealthy, but in fact, results in
healthy debate.
 Newsletter for Teachers of English in the West Indies Volume I No. 1. September
Approaches to teaching poetry, drama, and prose for exam success.
Hi my name
is Dianne
Henry and I
am from Guy-
ana. Where I
live is miles
and miles
away from the
Dianne Henry,
Teacher, Guyana city
of George-
town. I have
been teaching for twelve years
and I started at age of 17 years,
went immediately to
Cyril Potter College of Educa-
tion and three years later I
graduated with a Credit in
English. Immediately after
that I attended the Essequibo
Technical Institute where I got
Distinction in both the Elemen-
tary and Intermediate
Level in Information Technol-
ogy. Following that I attended
the University of Guyana and
did a Bachelor of Arts
in English with a Minor in
Communication Studies. I have
always taught at the Anna Re-
gina Secondary School which
is my Alma Mater. I love read-
ing, chatting online, playing
cricket, walking, scrabble, fowl
words (a word game). In my
spare time I dabble in a little
gardening, fishing and I enjoy
cooking. I teach both English
A and English Literature at the
CSEC Level and I am on the
administrative staff of my
school as Senior Mistress.
When my Fifth form goes off
for CSEC I volunteer to teach
at the Form 1 Level. The kids
are always an enthusiastic
bunch and I love working with
them. I am a Seventh Day Ad-
ventist and I have marked CXC
English Literature for three
“The man who does not read
good books has no advantage
over the man who can’t read
them.” - Mark Twain
years at CSEC
Poetry, drama and prose are the
three genres that are taught for
literature at the CXC Level and
results are not to our expecta-
tion .What continues to plague
teachers are means of getting
children to read and to appreci-
ate these three genres. Strate-
gies are needed to be imple-
mented to bring these genres
alive in the classroom and so
enable our students to appreci-
ate and love them. The univer-
sal question is - How to do this?
Drama and a number of strate-
gies are the way to go. What
better way it is to have our chil-
dren feel what the characters
experience and live through it
but by role play and setting up
Page 3
the stage for a big class act. Our
children would become part and
parcel of the experience and that
is the solution for Examination
success.
What works for poetry for me
are repeated readings by myself
and various students. Then, I
then ask probing questions. For
example in the poem "Coolie
Mother” by David Dabydeen I
may ask "What are the activities
Jasmattie involved in? What
does this tell us about her? Why
was Jasmattie educating her
son? Does she enjoy her chores?
How are you able to tell this or
not tell this? During this process
I introduce devices e.g. Simile
“Curse swarm from she mouth
like red ants”. And I asked what
the qualities of ants are? For
example it stings hot and makes
you quite uncomfortable. It is
painful. What about the
word swarm? What picture do
you get? A large quantity of
ants running out of a nest.
 Newsletter for Teachers of English in the West Indies Volume I No. 1. September
Approaches to teaching poetry, drama, and prose for exam success.
Therefore, I show the kids that a
simile is a comparison between
two things using as or like. In
this case, Jasmattie’s curse takes
on all the qualities of ants.
I put drama in the teaching
process by getting the kids in-
volved in activities. I even al-
low my students to pretend
to be Jasmattie and spit and
mash blood in the ground. For
other poems I vary the activ-
ity: instead of my doing the les-
son the kids teach the poem but
I inform them that they need to
come up with questions to get
their colleagues to think. Of
course as the teacher I monitor
their work - giving my views on
the questions. Compliments are
given to these kids during this
process thus making them feel
confident about their presenta-
tion and work. At the end of the
presentation all the kids write a
summary of the poem and they
become part of the teaching
process by identifying errors in
their peers work be it grammar,
spelling etc. Another exercise
that I do to make the teaching
process efficient is tackle the
devices and the deeper meaning
of the poem in another lesson
which immediately follows this
lesson since the poem is fresh in
the kids’ mind. This is done
through probing questions and
introduction to the various de-
vices in poetry. Once the de-
vices are taught once or twice
then the kids must be able to
identify same after and be able
analyze them. As the teacher
not only do I become the guider
but also helper and motivator.
An entire lesson can be set up in
such away where the class is
divided into groups and role
play various parts of the poem.
One of the poems that I did this
way with a class of 30 boys and
two girls is "Carpenter’s Com-
plaint." The boys in my class
were the carpenter. Some of
them even brought wigs and
dressed like Miss Fergie .They
had on their shabby clothes and
set up the shop using the can-
teen .Also they had their rum
bottle and their shot glass. And
when the carpenter said “pass
me another one Miss Fergie”
they did the act and we just
Page 4
broke into mirth when this was
done. Not only did we use the
outdoors to have a change of
environment but we had hilari-
ous fun. As a literature teacher I
was not only able to bring fun
and joy into the classroom but
also let my students have a first
hand experience of the poem.
Their creativity was exploited
and the content was taught.
The other genres should be at-
tacked in the same way. In my
introduction to any play or
novel I tell the story. I speak
about Shakespeare and what a
great playwright he was and
how renowned he is. Children
find romance and fights and
deals and friendship to be most
interesting aspect of novels or
plays. For any introduction of
the play or novel I highlight
these aspects and I was able to
build on their inquisitive nature.
The introduction to the plays
 Newsletter for Teachers of English in the West Indies Volume I No. 1. September Page 5

or novel is very important for it is here where I set the stage for my kids to keep on reading these gen-
res. Once I am able to build suspense, to build interest my kids enjoy the novels. Sometimes it is true
that it is hard to do so with some novels or plays since they are pretty boring. However I know my
students and what works for them. When I teach Shakespeare I go through the entire play in class,
since there is no way I would allow the kids to go through the play at home and return and explain
what it means. It hasn’t worked and wouldn’t. Granted, going through the play could be a tedious act,
but I carefully plan lessons to prevent this task from being boring. Role playing Shylock’s speech is
one exciting way to go- “Has not a Jew eyes….” etc. I had a class of 28 students and I divided them
up into four groups. They were all to look like Shylock and to divide the speech into parts and drama-
tize same. Of course, it was important that I teach them certain important facts of drama and that is
face your audience and don’t back them etc.

As a teacher I realize I am not perfect and there are always things for me to learn. I even let them do
short scenes or parts of the play. I even let them tackle speeches. Small quizzes are given to check if
students understand at the end of every scene. Students are told to summarize every scene .They
must write it and they help me in checking same.
The same thing goes with the novel but I don’t go through it with them like the plays. Usually I organ-
ized that students read at home and report to class on what the chapters were about. As the teacher I
have quizzes to see if they have read. Short tests are given to allow character analysis. During these
class discussions themes are highlighted and kids are asked to give instances when these themes are
portrayed. Opinions are shared on characters and how they (students) might have reacted if they
were in the situation.

The final step is teaching students how to write in essay form for each of the genres. I teach them the
need for introduction and conclusion, and the need to concentrate on every part of the question. I em-
phasize the need to bring evidence possible from the play, novels and poems to support their views.
Also I inculcate the importance to quote short pieces for supportive evidence. Quoting should come
easy since the many activities of acting they had to learn pieces. I continuously check students’ work
to ensure they master the art of writing good essays. I comment on their mistakes and compliment
them as much as possible. During this period I show them how they can better their pieces.
Teaching is an art and there is a lot to do to ensure the success of my students. These are only a few
strategies and everyday I learn and come up with new strategies to better my techniques in teaching.
Teaching is a learning process and being innovative is necessary for my success. Making literature
fun and exciting in the classroom is the way I go and it works for me.
By Dianne Henry. Guyana.

Today a reader, tomorrow a leader.

~ W. Fusselman ~
 Newsletter for Teachers of English in the West Indies Volume I No. 1. September Page 6

The Language of Feelings

“Alas! how few of Nature’s faces are left to gladden us with their beauty. The ca-
res and sorrows and hungering of the world change them as they change hearts;
and it is only when those passions sleep, and have lost their hold forever, that the
troubled clouds pass off, and leave Heaven’s surface clear.”
(Oliver Twist)

Name: Mr. Geddes Kahn

Presentation College, San Fernando

E-mail: mango3man@yahoo.com

While giving background information about the age of Shakespeare, my class was interrupted by a student
who bolstered in asking for help. ‘Sir, the Geography teacher asked for a project on the Nariva Swamp. Can
you help me?’
Shaking my head, I replied, ‘Son, I can help you with the chronicles of Nariva, but it is a series of unfortunate
events!’ My class laughed boisterously, as the young lad sauntered away, even more bewildered than when he
came in.
Resuming my posture, I began to tell of the plays in the Elizabethan age, about the feeling of rejuvenation that
a person felt when he or she left; the renewal of spirit, the sense of human empathy that was expressed, I said,
was what was important at the end of the day. To believe that the events that unfolded touched the very core of
the human soul, is what these plays were about- the occurrences in everyday life that we can relate to, and say
yes, that happened to me, or, I remember feeling like that, is what makes a piece of literature worth the while.
So caught up was I, in my rhetoric, that I momentarily lost sight of the fact that I was teaching in a boys col-
lege, and that emotions were the one thing they vehemently denied having, expressing these ‘non existent’ fea-
tures on paper was a task for them. True enough, boys are capable of reading for meaning, just as girls; it is in
expression that the problem arises. The language of feelings remains restricted deep within their hearts, and so
the teaching of Literature becomes difficult.
In order to get them to express themselves, materials that they can relate to are, and should be introduced. It is
indeed a troubling time when the majority of youth, in their search for identity and individuality, end up hav-
ing communal rather than solitary beliefs and ideals. The advances in technology have brought the world
closer, and our youth emulate what they see in foreign lands rather than embrace their own localities. Sadly,
the majority of said influences are negative and even the local politicians as well as other persons in public life
seem to have counterfeit values. Where then, are these materials to come from?
Indeed some teachers of English are to be held accountable to some extent, as they emphasise that they are
paid whether the students learn or not. We have become the epitomy of villainy, pliers of our trade for wealth
rather than worth, denying students the vitality and enthusiasm that our conviction demands rather than re-
quires; we have become so lethargic and monotonous that it is easy for the child to notice and say, ‘Sir don’t
care, why should I?’
The basis for the language of feelings and emotions is emotions itself! You cannot influence a child to express
him/herself when you yourself remain reserved. The Jurassic and archaic ways should be abhorred. There are
ways to involve and encourage young minds in meaningful debates. Expression of human emotions can only
evolve when reciprocated. A child will not respond to a teacher who is impotent in the delivery of his/her mes-
sage. Sometimes you feel as though you are talking to a brick wall. Imagine how the students feel listening to
 Newsletter for Teachers of English in the West Indies Volume I No. 1. September Page 7

you.
At the beginning of my discourse, I gave a simple example of how we can use what we know to our benefit.
The literature of today is quite different from Wordsworth, Coleridge, Roach and Carter. The concept, how-
ever remains the same- expression of human essence. In a simple parody of their literature, I was able to con-
nect with them and make light of the situation as well. I expressed my ability to reach out to them, through hu-
mour and wit, resonant of Oscar Wilde, perhaps?
Any good teacher of literature can equate the quotation from Oliver Twist with the opinions being expressed,
and appreciate the value of their words. Too often, we focus on the scribal nature of literature and forget nature
itself. It is imperative that the students become aware of the importance of their environment, and the impact it
has on an individual. The invocation of the muse used in the times of Milton can emerge in the ravings of a
lunatic, the chant of a madman, and even the soca junkies. Many a time we ask ‘What do you think?’ about a
topic rather than ‘How do you feel?’ Responses to both questions will be different.
I am fully aware that virility still flows in the veins of many of us, that we are ever vigilant at bettering our-
selves to have greater impact in the classroom, and for this, and I congratulate you. Overcoming obstacles and
strengthening morale is what the language of feelings is all about, the expression of these feelings will echo in
the sentiments of a new age of citizens, one in which sympathy and empathy go hand in hand with logic and
rationality.
Geddes Khan.

What is drama?
In the following email exchange, Caribbean educators, Daphine Simon of Jamaica and Martin Jones
of Trinidad and Tobago share their professional thoughts, doubts and feelings about the challenge of
teaching Literature in these times. How could we generate similar discussions among our colleagues on
staff and with teachers throughout the region?

Sent: Tuesday, 2 December, 2008 11:10:09

Subject: What is Drama?

Dear Martin,

I saw a play today. Yesterday, actually. It was put on in the Caenwood Auditorium by I do not know whom. It
is called "Positive" and I saw it for free. It is one and a half hours long and was presented like how artists of-
ten use the lunch-hour concert concept. The intention, however is for "children" to be charged Jam$250 to
see it and adults Jam$500. Drama has been revolutionized.

The director spoke to the audience afterwards.

The play apparently began as a commissioned work by the United Nations and the Ministry of Health as a
documentary to sensitize youth about safe sex. When the project was falling apart, they called in the master
playwright Trevor Rhone and Grub Cooper of "Fab Five" band produced some original music that is really
lovely. And now what they have is sex on stage, like drama has never packaged it before.

It does not come across as a documentary anymore.

It can be consumed as "entertainment with a message" and it is billed for audiences of "children"
and adults. I do not know what to say or think. We have never had a play like this before. 'Bastard Out of
Carolina' pales, for this is visual! 'Smile Orange' is a joke.
This is not presented as xrated now or porn, but just a play.
The reason we saw it----apparently the United Nations is funding it to be shown in St. Vincent and the
Grenadines, and having to mount and practise it, the troupe is doing a semi-commercial run in Jamaica for a
 Newsletter for Teachers of English in the West Indies Volume I No. 1. September Page 8

limited time. They are striving to have three casts, so it can run in three places at the same time! And not nec-
essarily in theatres but in school auditoriums.

The dialogue is hair-raising, the action eye-searing; and the audience was not embarrassed to look each
other in the face to leave the auditorium. What is this? And what are the implications?
Daphine

Date: Tuesday, December 2, 2008, 10:01 AM

Dearest Daphine,

Once again, I marvel at your uncanny ability to convey surging and searing emotions and heightened
states of outrage and horror with such mundane prose! And what’s more, are your honesty and sincerity.

But after what I saw recently after googling ‘porn’, I’m thankful that there’s an initiative like this. Our students
have, and routinely use the easy access to it.

The Ministry of Health and the United Nations have obviously taken action based on their recognition
of how vulnerable our youth are when it comes to their sexual activity. No doubt, they used the medium of
drama to relay carefully chosen information and presented it with the intention that the lowest functioning
member of the audience will have clear notions of what responsible, informed behaviour is in relation to their
sexual activities. (Apparently they succeeded, as you note that the audience wasn't embarrassed.) The most
objective, neutral account cannot fail to jar our cultured adult sensibilities, though.

It would have taken oh too long to get our teachers to accept the opportunity and challenge of ‘Bastard’
even though, for me, it represents socially responsible art of the highest quality.

But your experience of ‘Positive’ appears to be real education, Daphine. We have been, and are,
concerned with schooling. We could predict that that education won’t last long in the auditoriums!

Blessings,
Martin
Sent: Wednesday, 3 December, 2008 10:51:46
Subject: Re: What is Drama?

Dear Martin,

I suppose this is the evidence that we are living in special times. The seeds of self-destruct? I don't
know.
Daphine
Date: Wednesday, December 3, 2008, 12:40 PM
Dearest Daphine,
I doubt very much that the initiative represents the seeds of self-destruct. True, it is a response
to frightening, pervasive, deadly behaviours which threaten the survival of our societies. This threat is very
real. But we have been shielded from it with the same cultured indifference that slaveowners didn't see the
injustice of slavery, or indeed the mother of a serial killer who stoutly proclaims that her son was a good boy.

These times are special, because at least there's a concerted, smart effort, sponsored by responsible arms
of the status quo (national and international) to address a grevious threat. Imagine the horror if this were the
creation of a single imagination! They killed Christ, Bobby Kennedy, Bishop, Dr. King and Gandhi. Mandella's
a total miracle.
Keep the faith, Daphine. The sky is not falling.
Blessings,

Martin.
 Newsletter for Teachers of English in the West Indies Volume I No. 1. September Page 9

Sent: Friday, 5 December, 2008 17:50:43

Subject: Re: What is Drama?

Dear Martin,

I am no Chicken Licken. I know the sky is not falling. The seeds of self -destruct were not imputed to the cou-
rageous initiative. But you must admit, sex marketed to "children" will take some getting used to. My
consternation, and sadness really, comes from the fact that we have had to get here, to save their very lives.

Its just such a pity that to be responsible adults, to BE responsible adults, we have had to expose them from
so young to what MATURITY on the other hand would have given, and added, so many little colours and
shades and hiccups of breath.

It is what they will miss, that makes me sad for them and wonder if they are indeed on a path that lacks vital-
ity and renewal, in fact, a slow self- destruction like the ten year incubation period of the virus.

Oh the play does not offend me. It is creative and vital in itself. But perhaps more so than the audiences who
will watch it. These are special times.

Regards,
Daphine
Date: Friday, December 5, 2008, 10:12 PM
Dearest Daphine,
How close you've brought me to you on this one! And how loud you make me want to scream that your defi-
nition of MATURITY is my concept of Literature study.

But I know how stupid, vapid and hollow it would sound.

I can't help thinking that the greatest gift we can offer our generation now, is a list of life promoting
literature texts that students should be exposed to from primary to CSEC. But especially at primary.

We have been poorly served by High stakes tests at every turn, Reading Specialists and Linguists who have
flooded out the school space that belongs to texts to give them 'the many little colours and shades and hic-
cups of breath' - the cultivation of their emotional sensibilities. Jeeze, it sounds so corny in the light of what
we face in these special times...

I'll shut up, read your thoughts again, and hope.

Blessings always
Martin

Sent: Monday, 8 December, 2008 12:47:42

Subject: Re: What is Drama?

Oh Martin, its not stupid , vapid or hollow to WANT things to go right. It is just very difficult to achieve it. And
nothing is more corny than honest optimism. We must try to convert others and yes, HOPE!
Regards,
Daphine

P.S. Sometimes I read your notes twice too. Funny how information can be layered. Or understood/
misunderstood at three thousand miles!
 Newsletter for Teachers of English in the West Indies Volume I No. 1. September Page 10

Go and hug your "Michael" by Maya Angelou.

Yesterday I cried watching the Michael Jackson memorial. I cried for a
little black boy who felt the world didn't understand him.
I cried for a little black boy who spent his adulthood chasing his
childhood. And I thought about all the young black boys out there who may feel
that the world doesn't understand them.
The ones who feel that the world does not understand their baggy jeans,
their swagger, their music, their anger, their struggles, their fears or the
chip on their shoulder.
I worry that my son, may too, one day feel lonely in a wide, wide world.
I cried for young children of all colors who may live their life feeling
like a misfit, feeling like no one understands their perspective, or
their soul. What a burden to carry.
As a mother, I cried for Katherine Jackson because no mother should
ever bury a child. Period. And I think about all the pain, tears and
sleepless nights that she must have endured seeing her baby boy in
inner pain, seeing h im struggle with his self- esteem, and his
insecurities and to know that he often felt unloved. Even while the world loved him
deeply.
How does it feel to think that the unconditional love we give as mothers
just isn't enough to make our children feel whole?
I wonder if she still suffers thinking, "What more could I have done?"
Even Moms of music legends aren't immune to Mommy guilt, I suppose.
When Rev. Al Sharpton (who always delivers one "Awesome" funeral
speech), said to Michael's children " Your Daddy was not Strange . . . .
It was strange what your daddy had to deal with" I thought of all of the
strange things of the world that my children would have to deal with.
Better yet, the things I hope they won't ever have to deal with anymore.
And as a mother raising a young black boy, I feel recommitted and yet a
little confused as to how to make sure my son is sure enough within
himself to take on the world. Especially a "strange" one. To love
himself enough to know that even when the world doesn't understand you, tries
to force you into it's mold or treats you unkindly, you are still beautiful,
strong, and Black. How do I do that?
Today, I'm taking back "childhood" as an inalienable right for every
brown little one. In a world that makes children into "booty-Shakin", mini-
adults long before their time, I'm reclaiming the playful, the innocent,
run-around outside, childhood as the key ingredien t in raising confident adults.
Second, I will not rest until my little black boy, My Michael, knows
that his broad nose is beautiful, his chocolately brown skin is beautiful, and
his thick hair is beautiful.
And nothing or no one, can take that away from him.
Now, ain't we Bad, ain't we Black, and ain't we Beautiful!
Maya Angelou
July, 2009