{"id":259,"date":"2007-02-06T12:01:17","date_gmt":"2007-02-06T12:01:17","guid":{"rendered":"https:\/\/mahmag.org\/nucleus-import\/?p=259"},"modified":"2007-02-06T12:01:17","modified_gmt":"2007-02-06T12:01:17","slug":"roger-bonair-agard","status":"publish","type":"post","link":"https:\/\/mahmag.org\/archive-english\/roger-bonair-agard\/","title":{"rendered":"Roger Bonair-Agard"},"content":{"rendered":"<div class=\"leftbox\"><img src='https:\/\/mahmag.org\/nucleus-import\/media\/7\/20070206-poem-bkg.jpg' width='290' height='193' alt='Roger Bonair-Agard' \/><\/div>\n<p>\n<b>The devil in music<\/b><br \/>\n<i>by Roger Bonair-Agard<\/i><\/p>\n<p>\u2013 for Wammo and the North Stand<br \/>\nThey say they want to have a musical change in pan<br \/>\nWell I didn\u2019t tell them Yes<br \/>\nWell I didn\u2019t tell them No<\/p>\n<p><!--more-->The devil in music <br \/>\n\u2013 for Wammo and the North Stand<br \/>\nThey say they want to have a musical change in pan<br \/>\nWell I didn\u2019t tell them Yes<br \/>\nWell I didn\u2019t tell them No<\/p>\n<p>\u2022 Lord Kitchener (from \u2018Pan in A Minor\u2019) <\/p>\n<p>I\u2019m telling the Texan<br \/>\nof the phenomenon of pan in A Minor<br \/>\n100-piece orchestras of oil drums<br \/>\nharmonizing the songs of slaves<br \/>\nwith the twelve notes of the Western scale<br \/>\nin unheard-of tonics and chords<\/p>\n<p>see him grin broad<br \/>\nacknowledge the goose bumps<br \/>\nas I explain the baptismal swell<br \/>\nof savannah dust blooming<br \/>\nlike babies\u2019 breath amongst the bouquet<br \/>\nof 100 pan men 4 flag women<br \/>\nand a moko jumbie<\/p>\n<p>soak in the ego of my own description<br \/>\nlike that is the source of his joy<br \/>\npretend I am not a man<br \/>\nlost in the land of another<br \/>\npretend I am not telling the Texan of this<br \/>\nas much to keep the memories fresh<br \/>\nas to share this pound of flesh<br \/>\nthat hurts more and more every day<br \/>\nI move further away from home<\/p>\n<p>as if my removal from the land<br \/>\nof cascadoo and las\u2019 lap mas\u2019<br \/>\nis not itself a tearing of flesh<br \/>\nthat neither of us is healed from<\/p>\n<p>like my tattoos aren\u2019t a scarification ritual<br \/>\nthat reminds me I\u2019m alive<br \/>\nthe ink one big blue-black mark<br \/>\nwhere Arouca where Cascade where the savannah<br \/>\nwhere Trinidad was ripped from me<\/p>\n<p>the Texan is laughing now<br \/>\nas he tries to picture the bass man<br \/>\nspinning like a rooster in a gayelle<br \/>\nas he negotiates the six-drum of bass<br \/>\nlaughing as he tries to mimic<br \/>\nsomething he has never seen<br \/>\n100 men jumping in unison<br \/>\nas they make music <br \/>\nas they pogo like Maasai <br \/>\nthrough the diminished fifth (diabolus in musica)<br \/>\nand the moko jumbie man is raised<br \/>\nto a fever of exultation<\/p>\n<p>and flag women drop their heavy hips<br \/>\ndown and up again to remind us<br \/>\nof the struggle and magic of the cane brulee<\/p>\n<p>and it is 3 AM and the Texan<br \/>\nmight as well not be listening<br \/>\nbecause I am shirtless and prancing<br \/>\nand for five minutes Renegades are on stage<br \/>\nmaking Jit look like the genius he is again<br \/>\nand a woman in the tightest shorts<br \/>\nbetween her and her God<br \/>\nand a gold tooth to the front<br \/>\nis offering me a heaping plate of pelau<br \/>\nfrom a basket to wash down the full cup<br \/>\nof hot rum in my hand<br \/>\nand the man who is still stemming<br \/>\nthe blood from his temple from the bottle<br \/>\nthrown there half hour ago<br \/>\nis smiling again<\/p>\n<p>and for five minutes the Texan<br \/>\nis laughing background noise<br \/>\nand this muggy Brooklyn summer<br \/>\nthis four-story walk-up<br \/>\nthis fire escape and the gunshots in the distance<br \/>\nare somebody\u2019s twisted idea of a joke<\/p>\n<p>and me and Trinidad are whole again<br \/>\nno wounds between us<br \/>\nno IMF debt<br \/>\nno West Indies losing to England<br \/>\nor Australia or India at cricket<\/p>\n<p>me and Trinidad are whole again<br \/>\nno Abu Bakr<br \/>\nno curfew<br \/>\nbobol is ting to laugh at again<br \/>\nbecause Black Stalin\u2019s voice is hoarse<br \/>\nbut the North Stand is carrying him<br \/>\nPeter, keep de fire blazin\u2019<\/p>\n<p>and Pan in A Minor is a climax beneath us all<br \/>\nJit is pastor preacher communion<br \/>\nand Renegades is choir<br \/>\nand we are willing submittants to this cult<br \/>\nbecause Kitchener decided to explore<br \/>\nthe minor chord<br \/>\nBeat Pan<br \/>\nbefore Brooklyn before Temper Bailey before hurt<br \/>\nBeat Pan<br \/>\nbefore gang fight before poetry before debt<br \/>\nBeat Pan<br \/>\nbefore kidnappings before crack <br \/>\nBeat Pan<br \/>\nbefore reconciliation with my father before eviction<\/p>\n<p>before this rapture and this bruise this tearing<br \/>\nbefore this longing to make it up to Trinidad <br \/>\nand have Trinidad apologize to me<br \/>\nbefore wear red and lose to America in football<br \/>\nbefore 9-11 before cut locks before these poems<br \/>\nbefore Bush threatened to cut off aid<br \/>\nwe never wanted in the first place<\/p>\n<p>it was always the Savannah<br \/>\nalways the North Stand<br \/>\nalways Kitch making the pan sing<br \/>\nin chords it never knew it had in it<br \/>\nfor Spree for Trinidad for the flag woman<br \/>\nfor the pelau woman<br \/>\nfor me and a Texan<br \/>\nin a hot kitchen<br \/>\nin Brooklyn <\/p>\n<p>&#8220;Bonair-Agard is a poet who fixes his experience with memory and uses memory image as analyzer of his experience. A poet of live language mastering it&#8217;s literary &#8220;statement&#8221;. Someone whose poetry can be entered and felt and understood. An impressive work.&#8221; &#8212; Amiri Baraka<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The devil in music by Roger Bonair-Agard \u2013 for Wammo and the North Stand They say they want to have a musical change in pan Well I didn\u2019t tell them Yes Well I didn\u2019t tell them No<\/p>\n","protected":false},"author":550,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[45],"tags":[],"_links":{"self":[{"href":"https:\/\/mahmag.org\/archive-english\/wp-json\/wp\/v2\/posts\/259"}],"collection":[{"href":"https:\/\/mahmag.org\/archive-english\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mahmag.org\/archive-english\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mahmag.org\/archive-english\/wp-json\/wp\/v2\/users\/550"}],"replies":[{"embeddable":true,"href":"https:\/\/mahmag.org\/archive-english\/wp-json\/wp\/v2\/comments?post=259"}],"version-history":[{"count":0,"href":"https:\/\/mahmag.org\/archive-english\/wp-json\/wp\/v2\/posts\/259\/revisions"}],"wp:attachment":[{"href":"https:\/\/mahmag.org\/archive-english\/wp-json\/wp\/v2\/media?parent=259"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mahmag.org\/archive-english\/wp-json\/wp\/v2\/categories?post=259"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mahmag.org\/archive-english\/wp-json\/wp\/v2\/tags?post=259"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}