No Contingencies

Carolyn Hlus was a lecturer in English literature at the University of Alberta, Edmonton.

The cover blurb claims Ayanna Black’s No Contingencies isa “reflection of the world of a black woman living in Canada.” But the book, as a whole, although containing a few poems which mention Canadian places, is more accurately described as a reflection of the universal plight of black women. Written in a combination of standard English and patois, the poems move with the vibrance of dance, a reflection again, this time, of Black’s Jamaican cultural heritage.

The book, illustrated with striking black-and-white drawings by Pat Jeffries, is divided into three sections, each of which increases with emotional intensity. The first section, entitled “A Sense of Origin,” describes the black woman’s origins and destiny; poems about factory workers and bag ladies emphasize the black woman’s continuous economic struggle. The second section, “Touch,” at times charmingly, at other times mischievously, describes the black woman’s sexuality. “Prelude 1/Prelude 2” concludes: “we crumble/ into/each other’s/arm! and/burn/to/the/ movement/of the/burning/candle” whereas “Because of my wickedness for you” concludes “your/beautiful bell/that/tibetan bell/ and clap per/exploding! thunderous music/spontaneous rhythmic music/a musical journey/the music of/the Art Ensemble of Chicago/our music/because of my wickedness for you.” The third section “Freedom Dance,” contains the most powerful poem/song of the book, “Freedom Dance,” a rhythmical entreaty for understanding South African blacks.

With this collection, Ayanna Black establishes herself as one of Canada’s leading black poets.