“Biology recapitulates geography; place becomes an island in the blood.”
Fred Wah, Diamond Grill, 23.
“We were not from the place where we lived and we could not remember where we were from or who we were. My grandfather could not summon up a vision of landscape or a people which could add up to a name. And it was profoundly disturbing.”
Dionne Brand, A Map to the Door of No Return, 5.
“As a mestiza I have no country…yet I am cultured because I am participating in the creating of yet another culture, a new story to explain the world and our participation in it, a new value system with images and symbols that connect us to each other and to the planet. Soy un amasamiento, I am an act of kneading, of uniting and joining that which not only has produced both a creature of darkness and a creature of light, but also a creature that questions the definitions of light and dark and gives them new meaning.”
Gloria Anzaldúa, Borderlands/La Frontera, 48-49.
“The door is not on this map. The door is on my retina.”
Dionne Brand, A Map to the Door of No Return, 89.
“Maps don’t have beginnings, just edges. Some frayed and hazy margin of possibility, absence, gap. Shouts in the kitchen. Fish an! Side a fries! Over easy! On brown! I pick up an order and turn, back through the doors, whap! I pick up an order and turn, back through the doors, whap! My foot registers more than its own imprint, starts to read the stain of memory.”
Fred Wah, Diamond Grill, 1.
“Though the hyphen is in the middle, it is not in the centre. It is a property marker, a boundary post, a borderland, a bastard, a railroad, a last spike, a stain, a cypher, a rope, a knot, a chain (link), a foreign word, a warning sign, a head tax, a bridge, a no—man’s land, a nomadic, floating magic carpet, now you see it now you don’t. The hyphen is the hybrid’s dish, the mestiza’s whole wheat tortillas (Anzaldua 194), the Metis’ apple (red on the outside, white on the inside), the happa’s egg (white out, yellow in), the mulatto’s café au lait.”
Fred Wah, Faking It: Poetics and Hybridity, 73
“That logic of nationality was accompanied by behaviours that have always been unbearable for me. The French nation was colonial. How could I be from a France that colonized an Algerian country when I knew that we ourselves, German Czechoslovak Hungarian Jews, were other Arabs.”
Hélène Cixous, “Albums and Legends,” in Rootprints 204.
“To live at the Door of No Return is to live self consciously. To be always aware of your presence as a presence outside of yourself. And to have ‘others’ constantly remark on your presence as outside of itself. If to think is to exist, then we exist doubly. An ordinary conversation is never an ordinary conversation. One cannot say the simplest thing without doubling or being doubled for the image that emerged from the doorway. At a party you remark enthusiastically that you have been away, someplace where the sun has deliciously deepened the shade of your skin, and you look up from your bronzed shoulder to bewilderment …. Every space you occupy is public space, that is, space which is definable by everyone. That is, the image which emerges from the Door of No Return is public property belonging to a public exclusive of the Black bodies which signify it. One is aware of this ownership. One is constantly refuting it, or ignoring it, or troubling it, or parodying it, or tragically reaffirming it.”
Dionne Brand, A Map to the Door of No Return, 49-50.
“Between You and Me There is an I”
Between two stools
The hyphen lies
The eggs and the nest
The blind and the fold
The hinge of the city
The door and the jamb
The map and its edges
The wars I’ve not fought
The life and its lease
The rope but which end
The brink and disaster
The bank and the laughter
The spike below Chinaman’s Peak
That spot where the two rails meet
From beneath two stools
Hear the silence rise
The smoke ‘round your neck
The tongue and the dash
The cat and the cradle
The dog dead in the creek
The slash and the burn
The shadows of NAFTA
The head and the tax
Rock bluff and river
The laundry its mark
The height and the trestle
Cata and strophe
Not caboose but what’s after
Fred Wah, Is a door, 73
“The word ‘entredeux’: it is a word I used recently in Déluge to designate a true in-between – between a life which is ending and a life which is beginning. For me, an entredeux is: nothing. It is, because there is entredeux. But it is – I will go through metaphors – a moment in life where you are not entirely living, where you are almost dead. Where you are not dead. Where you are not yet in the process of reliving. These are the innumerable moments that touch us with bereavements of all sorts.. Either there is bereavement between men, violently, from the loss of a being who is a part of me – as if a piece of my body, of my house, were ruined, collapsed …. When an event arrives which evicts us from ourselves, we do not know how to ‘live.’ But we must. Thus we are launched into a space-time whose coordinates are all different from those we have always been accustomed to. In addition, these violent situations are always new. Always. At no moment can a previous bereavement serve as a model. It is, frightfully, all new: this is one of the most important experiences of our human histories. At times we are thrown into strangeness. This being abroad at home is what I call an entredeux. Wars cause entredeux in the histories of countries. But the worst war is the war where the enemy is on the inside; where the enemy is the person I love most in the world, is myself.”
Hélène Cixous, Rootprints, 9-10.
“There is a story – a tale. And I am the one who speaks it. That she, the one with the flying cheekbones that speak of yet another trace, was part Carib. Born in Arima – home of the almost-extinct Carib people. She! with the eyes of a tiger. And a skin so fine. I have no words for its colour: a genealogy of silences. The language helpless to describe our usness. To say her skin was ‘tawny’ is to stray into the Frank Yerby world of mulattos, octoroons, and quadroons. To say it was brown is to leave as much unsaid: it was also yellow and black and even red.”
M. NourbeSe Philip, “A Genealogy of Resistance,” 12
Are origins magnetic lines across an ocean
migrations of genetic spume or holds, dark
mysteries within which I carry further into the World
through blond and blue-eyed progeny father’s fathers
clan-name Wah from Canton east across the bridges
still or could it all be lateral craving hinted
in the bioplasmic cloud of simple other organism
as close as out under the apple tree?
Fred Wah, Breathin’ my name with a sigh, Talonbooks.