Edwidge Danticat - Create Dangerously: The Immigrant Artist at Work

CREATE DANGEROUSLY

The Toni Morrison Lecture Series

cosponsored by Princeton University Center for African
American Studies and Princeton University Press

The Immigrant Artist at Work

Edwidge Danticat

PRINCETON UNIVERSITY PRESS
PRINCETON AND OXFORD

Copyright 2010 by Edwidge Danticat
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Library of Congress Cataloging-in-Publication Data

Danticat, Edwidge, 1969
Create dangerously : the immigrant artist at work / Edwidge Danticat.
p. cm.(Toni Morrison lecture series)
Includes bibliographical references and index.
ISBN 978-0-691-14018-6 (cloth : alk. paper) 1. Danticat, Edwidge,
1969- 2. Authors, American20th centuryBiography. 3. Emigration
and immigration. 4. HaitiSocial conditions20th century. 5. Expatriate
artistsUnited States. 6. ArtistsHaiti. I. Title.
PS3554.A5815Z463 2010
813.54dc22
[B] 2010010302
British Library Cataloging-in-Publication Data is available
This book has been composed in
Printed on acid-free paper.
Printed in the United States of America
1 3 5 7 9 10 8 6 4 2

two hundred thousand and more

This is the fiction of beginnings, couched in the past tense. But the
chants are not in memoriam. They may be heard as a celebration of
each contemporary recapitulation of that first creation.

Maya Deren, Divine Horsemen: The Living Gods of Haiti

CHAPTER 1
Create Dangerously: The Immigrant Artist at Work

CHAPTER 2
Walk Straight

CHAPTER 3
I Am Not a Journalist

CHAPTER 4
Daughters of Memory

CHAPTER 5
I Speak Out

CHAPTER 6
The Other Side of the Water

CHAPTER 7
Bicentennial

CHAPTER 8
Another Country

CHAPTER 9
Flying Home

CHAPTER 10
Welcoming Ghosts

CHAPTER 11
Acheiropoietos

CHAPTER 12
Our Guernica

On November 12, 1964, in Port-au-Prince, Haiti, a huge crowd gathered to witness an execution. The president of Haiti at that time was the dictator Franois Papa Doc Duvalier, who was seven years into what would be a fifteen-year term. On the day of the execution, he decreed that government offices be closed so that hundreds of state employees could be in the crowd. Schools were shut down and principals ordered to bring their students. Hundreds of people from outside the capital were bused in to watch.

The two men to be executed were Marcel Numa and Louis Drouin. Marcel Numa was a tall, dark-skinned twenty-one-year-old. He was from a family of coffee planters in a beautiful southern Haitian town called Jrmie, which is often dubbed the city of poets. Numa had studied engineering at the Bronx Merchant Academy in New York and had worked for an American shipping company.

Louis Drouin, nicknamed Milou, was a thirty-one-year-old light-skinned man who was also from Jrmie. He had served in the U.S. armyat Fort Knox, and then at Fort Dix in New Jerseyand had studied finance before working for French, Swiss, and American banks in New York. Marcel Numa and Louis Drouin had been childhood friends in Jrmie.

The men had remained friends when theyd both moved to New York in the 1950s, after Franois Duvalier came to power. There they had joined a group called Jeune Haiti, or Young Haiti, and were two of thirteen Haitians who left the United States for Haiti in 1964 to engage in a guerrilla war that they hoped would eventually topple the Duvalier dictatorship.

The men of Jeune Haiti spent three months fighting in the hills and mountains of southern Haiti and eventually most of them died in battle. Marcel Numa was captured by members of Duvaliers army while he was shopping for food in an open market, dressed as a peasant. Louis Drouin was wounded in battle and asked his friends to leave him behind in the woods.

According to our principles I should have committed suicide in that situation, Drouin reportedly declared in a final statement at his secret military trial. Chandler and Guerds [two other Jeune Haiti members] were wounded... the first one asked... his best friend to finish him off; the second committed suicide after destroying a case of ammunition and all the documents. That did not affect me. I reacted only after the disappearance of Marcel Numa, who had been sent to look for food and for some means of escape by sea. We were very close and our parents were friends.

After months of attempting to capture the men of Jeune Haiti and after imprisoning and murdering hundreds of their relatives, Papa Doc Duvalier wanted to make a spectacle of Numa and Drouins deaths.

So on November 12, 1964, two pine poles are erected outside the national cemetery. A captive audience is gathered. Radio, print, and television journalists are summoned. Numa and Drouin are dressed in what on old black-and-white film seems to be the clothes in which theyd been capturedkhakis for Drouin and a modest white shirt and denim-looking pants for Numa. They are both marched from the edge of the crowd toward the poles. Their hands are tied behind their backs by two of Duvaliers private henchmen, Tonton Macoutes in dark glasses and civilian dress. The Tonton Macoutes then tie the ropes around the mens biceps to bind them to the poles and keep them upright.

Numa, the taller and thinner of the two, stands erect, in perfect profile, barely leaning against the square piece of wood behind him. Drouin, who wears brow-line eyeglasses, looks down into the film camera that is taping his final moments. Drouin looks as though he is fighting back tears as he stands there, strapped to the pole, slightly slanted. Drouins arms are shorter than Numas and the rope appears looser on Drouin. While Numa looks straight ahead, Drouin pushes his head back now and then to rest it on the pole.

Time is slightly compressed on the copy of the film I have and in some places the images skip. There is no sound. A large crowd stretches out far beyond the cement wall behind the bound Numa and Drouin. To the side is a balcony filled with schoolchildren. Some time elapses, it seems, as the schoolchildren and others mill around. The soldiers shift their guns from one hand to the other. Some audience members shield their faces from the sun by raising their hands to their foreheads. Some sit idly on a low stone wall.

A young white priest in a long robe walks out of the crowd with a prayer book in his hands. It seems that he is the person everyone has been waiting for. The priest says a few words to Drouin, who slides his body upward in a defiant pose. Drouin motions with his head toward his friend. The priest spends a little more time with Numa, who bobs his head as the priest speaks. If this is Numas extreme unction, it is an abridged version.

The priest then returns to Drouin and is joined there by a stout Macoute in plain clothes and by two uniformed policemen, who lean in to listen to what the priest is saying to Drouin. It is possible that they are all offering Drouin some type of eye or face cover that hes refusing. Drouin shakes his head as if to say, lets get it over with. No blinders or hoods are placed on either man.

The firing squad, seven helmeted men in khaki military uniforms, stretch out their hands on either side of their bodies. They touch each others shoulders to position and space themselves. The police and army move the crowd back, perhaps to keep them from being hit by ricocheted bullets. The members of the firing squad pick up their Springfield rifles, load their ammunition, and then place their weapons on their shoulders. Off screen someone probably shouts, Fire! and they do. Numa and Drouins heads slump sideways at the same time, showing that the shots have hit home.