Tuesday, June 07, 2022


Treasure Island in Shiraz's version

I'm not sure whether I've read Treasure Island before. I certainly feel as if I have: it was a staple of BBC Sunday evening family viewing in the 1970s, and several films. I remember it being an inspiration for something I wrote at primary school, and I recall discussing Ben Gunn's mental state with my father while we looked at an old edition in his sister's house in Leeds. It's one of those books that is so embedded in the culture that you feel you've read it, even if you haven't. Well, now I definitely have read it - and it's not quite the book I believed it was.

The reason I think this is that the copy I read was in a beautiful new edition by Four Corners Books, issued as part of their Familiars series. They take a classic text, and they commission an artist to work in dialogue with it. In the case of Treasure Island, the artist was our friend Shiraz Bayjoo, the Mauritian artist who designed THE GREAT EXPERIMENT. He tells me that, when Four Corners approached him, his first instinct was to turn the job down, because he didn't really like the novel. That, the editors told him, was exactly the point. They didn't want him to illustrate the novel so much as deconstruct it, engage with it, expose it and play with it. And that is exactly what he has done.  

If you saw THE GREAT EXPERIMENT, you'll remember how Shiraz works with archival imagery to create vibrant and provocative interactions between past and present. Applied to Treasure Island, the effect of this approach is to shock the reader into a realisation of how deeply Stevenson's text is anchored in a context of British imperialism, slavery and racism. Shiraz's archive imagery reveals that the Admiral Benbow Inn is named after the naval commander who protected British plantations in the Caribbean.  When Jim Hawkins goes to Bristol, the choice of pictures reveals this as the city of Edward Colston.  When the text mentions how three pirates hoped for a reward for their deeds, Shiraz adds an image of St. Louis Cathedral, Mauritius.

Joseph Johnson, in Shiraz Bayjoo's illustration 

Above all, Shiraz's choice and placing of imagery brings out layers of racial politics in the novel that I would never have suspected might exist from the BBC teatime or Disney versions. This engraving of the black sailor turned street singer Joseph Johnson is placed at the beginning of the novel, in the section introducing the old sea captain Billy Bones. It gives a whole new meaning to the description of him as "a tall, strong, heavy, nut-brown man". Nor is Billy the only "pirate" who could be a black man. Israel Hands is described as "that brandy-faced rascal", and Morgan as "the old mahogany-faced seaman". When Jim Hawkins first encounters Ben Gunn, he comments "I could now see that he was a white man like myself", suggesting that this was not his initial expectation. Most strikingly of all, Long John Silver's wife, who never appears but who is clearly central to his plotting, looking after his considerable fortune while he is at sea, is called "his Negress". When Squire Trelawney writes to Dr. Livesey about Silver, he remarks: "He leaves his wife to manage the inn; and as she is a woman of colour, a pair of old bachelors like you and I may be excused for guessing it is the wife, quite as much as the health, that sends him back to roving."

Trelawney's obvious racism and sexism sits very uneasily with a contemporary reading, but it highlights the novel's extraordinary approach to morality, and its political basis. Everyone in the novel is trying to obtain the treasure that the pirate Captain Flint buried on the island: it's just that some are seen as "good" in doing so, and others as "bad". The "good" characters just happen to be white and British. If we understand that the "bad" characters are lower class in origin or black, then it becomes clear that the perceived ethical difference is simply a manifestation of rank. White British men are entitled to wealth because of who they are: black men and women, and people born into poverty, are considered evil if they try to obtain the same wealth by the same means.  

This blog post was written in the aftermath of the Queen's Platinum Jubilee celebrations, and the day after Boris Johnson survived a vote of confidence by Tory MPs.  

Wednesday, June 01, 2022

REMEMBRANCES - Guest post by Matthew James Weigel

Matthew James Weigel

I am grateful to share this space with you and everyone here at Border Crossings’ ORIGINS Festival, Birmingham 2022 and the Birmingham International Dance Festival. My name is Matthew James Weigel. I am a Dene and Metis poet and artist, born and raised in Edmonton Alberta, Canada, and here is where I live, work, and create. I was welcomed to this project by Michael Walling, and I am especially grateful to him for my inclusion in this project working with both ɅVɅ Dance Company and b.solomon/ /Electric Moose. It is a great pleasure and honour to be invited to contribute my poetry.

I’ve never worked with a dance company before. In fact, I rarely work collaboratively! I create both visual and lyric poetry which can be very solitary. But that being said, it has been an absolute delight to chat with everyone involved and talk about our shared goals and what sort of inspirations lift us up collectively. Some of my poems are written intentionally as spoken word pieces, and I think there is a special connection that spoken word artists share with dancers. There is an embodying process that happens, where the sounds and the stories live inside you and connect you to the world around you. These were some of the things I was thinking about specifically when I wrote this piece for REMEMBRANCES.

When we started, I wrote a piece responding to Michael’s writing, and we talked about it a little bit and chatted with Avatâra and the dancers. I was really fascinated by the process of creating choreography. There was a lot of familiarity to that process, in the sense that I could tell there was an analogous sense of vocabulary, technique, imagery and metaphor. Watching dance activates a different part of you from listening to poetry, but there are concepts of performance that are shared between them. You are hoping to connect with your audience and tell a story that exists in a single shared moment. During our conversation what came out was how important that connection was, not just a connection with the audience, but with the body as well. So, my next crack at the poem was to take what I had started with, which was a heavy meditation on the place that I live and the ground that supports and fuels me, and to activate the embodied experience of being here. I can genuinely say that the collaborative process allowed me to write a better piece of poetry than I had ever expected.

I think that’s the beauty of collaboration, not just between artists of the same medium, but when artists collaborate across mediums. We stretch across forms to find connections in new ways of thinking and moving in the world. And if anything, that is what art is for, it’s for helping us move through the world.

I think about this a lot in my art and my writing. My work is heavily invested in my relationship with the land, and how that relationship extends through to the non-human relations around me. Because my writing is so heavily based in research, it’s important for me to centre my work in those connections and relationships. I think it would be impossible to share archival and historical materials in an effective way without sharing my relationality to them, otherwise I feel like there would be an insurmountable distance within the work. To best tell the stories of the land around you, you have to do your best to understand the stories that brought you there. I am incredibly privileged to live where I live. The street I am on has its origins in a trail down to the river that my ancestors would have walked down. That river provides my drinking water. The clay from the river valley was formed into bricks that compose many of the buildings around me. And so, in that one set of relationships, me, the water, the buildings around me, there is a complex story of the history of me, of my family, and of the colonial history of Edmonton.

I take a great deal of inspiration from what is around me. From the spruce trees, the magpies, the willows. And so, the poem that I wrote for REMEMBRANCES follows the same path my work always follows: down the old path to the river, through the trees and surrounded by the beautiful conversations of magpies.

Matthew James Weigel's Whitemud Walking is published by Coach House Books.