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George Elliott Clarke - Where Beauty Survived : An Africadian Memoir

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George Elliott Clarke Where Beauty Survived : An Africadian Memoir
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A vibrant, revealing memoir about the cultural and familial pressures that shaped George Elliott Clarkes early life in the Black Canadian community that he calls Africadia, centred in Halifax, Nova Scotia.As a boy, George Elliott Clarke knew that a great deal was expected from him and his two brothers. The descendant of a highly accomplished lineage on his paternal sidegreat-grandson to William Andrew White, the first Black officer (non-commissioned) in the British armyGeorge felt called to live up to the family name. In contrast, his mothers relatives were warm, down-to-earth country folk. Such contradictions underlay much of his life and upbringingBlack and White, country and city, outstanding and ordinary, high and low. With vulnerability and humour, George shows us how these dualities shaped him as a poet and thinker. At the books heart is Georges turbulent relationship with his father, an autodidact who valued art, music and books but worked an unfulfilling railway job. Bill could be loving and patient, but he also acted out destructive frustrations, assaulting Georges mother and sometimes George and his brothers, too. Where Beauty Survived is the story of a complicated family, of the emotional stress that white racism exerts on Black households, of the unique cultural geography of Africadia, of a child who became a poet, and of long-kept secrets.

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ALSO BY GEORGE ELLIOTT CLARKE FICTION The Motorcyclist George Rue - photo 1
ALSO BY GEORGE ELLIOTT CLARKE

FICTION

The Motorcyclist

George & Rue

POETRY

White

Canticles II (MMXX)

Portia White: A Portrait in Words

Canticles II (MMXIX)

These Are the Words (with John B. Lee)

Canticles I (MMXVII)

Canticles I (MMXVI)

Gold

Extra Illicit Sonnets

Traverse

Illicit Sonnets

Red

I & I

Blues and Bliss

Black

Illuminated Verses

Blue

Execution Poems

Lush Dreams, Blue Exile

Whylah Falls

Saltwater Spirituals and Deeper Blues

CHILDREN S POETRY

Lasso the Wind: Aurlias Verses and Other Poems

Portrait of George Elliott Clarke October 1965 by William L Clarke - photo 2

Portrait of George Elliott Clarke, October 1965, by William L. Clarke.

PUBLISHED BY ALFRED A KNOPF CANADA Copyright 2021 George Elliott Clarke All - photo 3

PUBLISHED BY ALFRED A. KNOPF CANADA

Copyright 2021 George Elliott Clarke

All rights reserved under International and Pan-American Copyright Conventions. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Published in 2021 by Alfred A. Knopf Canada, a division of Penguin Random House Canada Limited, Toronto. Distributed in Canada and the United States of America by Penguin Random House Canada Limited, Toronto.

www.penguinrandomhouse.ca

Knopf Canada and colophon are registered trademarks.

The author has changed the names of some of the individuals in this book, and in some cases modified identifying details to try to preserve anonymity.

Library and Archives Canada Cataloguing in Publication

Title: Where beauty survived : an Africadian memoir / George Elliott Clarke.

Names: Clarke, George Elliott, author.

Identifiers: Canadiana (print) 20210143843 | Canadiana (ebook) 20210149949 | ISBN 9780345812285 (hardcover) | ISBN 9780345812308 (EPUB)

Subjects: LCSH: Clarke, George ElliottChildhood and youth. | LCSH: Authors, CanadianNova ScotiaHalifaxBiography. | LCSH: Authors, BlackNova ScotiaHalifaxBiography. | CSH: Authors, Canadian (English)Nova ScotiaHalifaxBiography. | CSH: Black Canadian authorsNova ScotiaHalifaxBiography. | LCSH: Halifax (N.S.)Biography. | LCGFT: Autobiographies.

Classification: LCC PS8555.L3748 Z46 2021 | DDC C818/.5409dc23

Text design: Kate Sinclair

Cover design: Kate Sinclair

Cover image: Nettie & Portia White, circa 1930. Courtesy of Sheila White

Map of Nova Scotia Black Cultural Centre for Nova Scotia

Interior photo of Portia White Yousuf Karsh

All other interior photos courtesy of the author.

aprh570c0r0 For Geraldine Elizabeth Clarke 1939-2000 William Lloyd - photo 4

a_prh_5.7.0_c0_r0

For Geraldine Elizabeth Clarke (1939-2000) & William Lloyd Clarke (1935-2005): Adepts, Believers, African Baptists.

I want to know how I can bring Beauty.

LOUISE BERNICE HALFE

Burning in This Midnight Dream

But enough. What is all Beauty?

WILLIAM FAULKNER

Vision in Spring

Social phenomena are sometimes like the harnessed waters of a mighty river kept in check by the dam of history. When the dam bursts suddenly, it is not history that crumbles into oblivion. No. To the contrary, every drop of that mighty flow resulting from the radical rupture nurtures the soil from which history bursts forth. [The] outcomedepends on how far [the people] see and grasp the necessity for change, the necessity to bring about the deep-going transformations demanded by history.

HARDIAL BAINS

Thinking About the Sixties: 19601967

CONTENTS
a note on nomenclature When I was a boy in Nova Scotia in the early 1960s - photo 5
a note on nomenclature

When I was a boy in Nova Scotia, in the early 1960s, the acceptable terms my community used to describe ourselves were either Negrowith a majuscule N, befitting our dignity, or Coloured, also oft-capitalizedand for the same reason. By the later 1960s, however, Black became the more fashionable and politically advanced descriptor, which caused some conniption, especially for those Black Nova Scotians who were part-Caucasian or part-Indigenous (or both), and who deemed themselves Coloured. Nevertheless, Black became de rigueur, and it has retained its significance. (However, capitalization of black as either noun or adjective is a matter best left, I think, to poetic feel rather than political manifesto. I have let my conscienceand the contextdetermine my inclination.)

By the 1990s, African-Nova Scotian began to become the popular denomination, and governments have consecrated it as such. In 1991, I advanced the term Africadianto designate black people arising from the historical communities of Nova Scotia, New Brunswick, and Prince Edward Island, to distinguish our culture and our three-century-long presence from the originally offshore histories and cultures of Black Newcomers. Governments and universities also utilize the term Indigenous Black to achieve the same distinction: to recognize that the historical, Africadian population has endured aeons of slavery first and segregation later that merit current attempts at uplift, programs not necessarily required by African-heritage Newcomers.

Untold thousands of Africadians have Indigenous (Cherokee and Mikmaq, in my instance) and/or African-American and/or West Indian roots. But what do Africadians call themselves as a down-home slangy dubbing? Simple: Scotians. (Sometimes writtenpronouncedfully as Nofaskoshans.) And the term may be accidentally more correct than its inventors realize: Scotia is Latinized Greek (skotos) for darkness.

I employ all of the aforementioned epithets at different times throughout the memoir. (The context determines the usage.) But I am, at last, myself: Africadianand Afro-Mtis. Period.


P.S. I sometimes do not bother with standard, British orthography or grammar. When you happen upon such moments, the apparent typo may, in fact, constitute deliberate error.

Thousands of Africadians are also Afro-Mtisa term that foregrounds our Indigenous heritage. It is not to be confused with the mainly European/Caucasian-derived Mtis Nation of Ontario, the Prairies, and British Columbia. We possess our own culture, of which we areat long lastproud.

impetus

Where to begin to chronicle my beginnings? It has to be herein this dreamfrom October 2020, which I experienced as I was editing this memoir. I recognized the truth of the dream immediately, and that is why I narrate it here.

In the dream, Im my current agesixty, and my father, William Lloyd Clarke, is likely seventy, the age at which he passed away in 2005. Im standing in the bedroom that he shares with his second wifeIll call her Pammy, who is likely sixty-something, and whom I never accepted, liked, or loved, but only tolerated (for I could not see how she could replace my mother, Geraldine). Though Pammy is also deceased, she is alive in my dream, but leaves the marital bedroom so that my father and I can speak. I am standing, waiting for him to apologize, to say that he is sorry for his role in the splitting up of his firstand my birthfamily. He is dressed conservatively as usuala shirt and tie under a V-neck sweater, and he does begin to apologize, saying, Sonjust as Ive wished (forever); and as he relates his regret, I cannot restrain the dam-burst of tears that erupts from my eyes, and I collapseover the heap of my books, all spread about me, which I know, suddenly, have all been written in yearning for his apology and his acceptance.

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