Caribbean Woman Quotes

For too long I've been parched of thirst and unable to quench it. Too long I've been starving to death and haven't died. I feel nothing. Not the wind on my face nor the spray of the sea. Nor the warmth of a woman's flesh. You best start believing in ghost stories, Miss Turner... you're in one!

She was one of those golden mulatas that French-speaking Caribbeans call chabines, that my boys call chicas de oro; she had snarled, apocalyptic hair, copper eyes, and was one whiteskinned relative away from jaba.

The night-soil men can see a bird walking in trees. It isn't a bird. It is a woman who has removed her skin and is on her way to drink the blood of her secret enemies. It is a woman who has left her skin i a corner of a house made out of wood. It is a woman who is reasonable and admires honeybees in the hibiscus.

The unluckiest of the Caribbean’s sick came, in search of cures: a poor woman who, since childhood, had been counting the beats of her heart so long that she had run out of numbers to count; a Jamaican who, because of the tormenting sound the stars made, never slept; a sleepwalker who rose from bed at night, and in sleep undid all the things he had done in waking; and many other ailments too, less serious in nature.

Slavery is not a horror safely confined to the past; it continues to exist throughout the world, even in developed countries like France and the United States. Across the world slaves work and sweat and build and suffer. Slaves in Pakistan may have made the shoes you are wearing and the carpet you stand on. Slaves in the Caribbean may have put sugar in your kitchen and toys in the hands of your children. In India they may have sewn the shirt on your back and polished the ring on your finger. They are paid nothing. Slaves touch your life indirectly as well. They made the bricks for the factory that made the TV you watch. In Brazil slaves made the charcoal that tempered the steel that made the springs in your car and the blade on your lawnmower. Slaves grew the rice that fed the woman that wove the lovely cloth you've put up as curtains. Your investment portfolio and your mutual fund pension own stock in companies using slave labor in the developing world. Slaves keep your costs low and returns on your investments high.

You ain’t old yet but when you get old, all the women in the village start to look down on you when they find out you want to do something other than sweep the kitchen or cut up vegetables. Had this big starch mango tree when I was small. Anytime I set myself to climb it, there was always a woman passing by to yell at me and tell me to get down. Asked me why I leaving my poor mother to do all the housework. I never got to the top. It was like God was always watching, ready to send another hag to tell me down. Then, one day, they cut down the tree.

Rose’s experiences had transformed her from a provincial innocent with a Caribbean accent into a woman of sophistication and hard realism, but the uncertainties of her position had taken their psychological toll, inclining her to extravagance and promiscuity. The bloom of her youth was beginning to fade, and she had such bad teeth (“like cloves”) that rather than open her mouth to laugh, she maintained a tight-lipped smile whilst snickering through her nose, and went out of her way to avoid eating in company.

The word cod is of unknown origin. For something that began as food for good Catholics on the days they were to abstain from sex, it is not clear why, in several languages, the words for salt cod have come to have sexual connotations. In the English-speaking West Indies, saltfish is the common name for salt cod. In slang, saltfish means "a woman's genitals", and while Caribbeans do love their salt cod, it is this other meaning that is responsible for the frequent appearance of the word saltfish in Caribbean songs such as the Mighty Sparrow's "Saltfish".

No Language not only imagines a sexual politics as West Indian as the Caribbean Sea but also charts complex relationships between eroticism, colonialism, militarism, resistance, revolution, poverty, despair, fullness, and hope that explore the pliability necessary to imagine Caribbean same-sex loving politics differently, postcolonially. Myriam Chancy, in the first study of Brand’s poetry, writes her artistic vision as a rescripting of traditional poetics into poelitics: “A fusion of politics and poetry that recalls Lorde, who once wrote of the transformative power of poetry as ‘a revelatory distillation of experience’ and as an act of fusion between ‘true knowledge’ and ‘lasting action.’ ”8 Brand vocalizes quite lucidly the threat that this infusion of politics into poetics poses to both revolutionary and neocolonial Caribbean thinkers: “To dream about a Black woman, even an old Black woman, is dangerous even in a Black dream, an old dream, a Black woman’s dream, even in a dream where you are the dreamer,” she writes of reactions to her black lesbian feminist revolutionary artistic work by Marxists and conservatives alike. “Even in a Black dream, where I, too, am a dreamer, a lesbian is suspect; a woman is suspect even to other women, especially if she dreams of women.

How did it begin?' Miss Cotton asked. When?' they replied. In the beginning,' Aunt Velma said. Wid tears,' they assured her. Wid tears,' Dahlia chimed. Ainsworth and the other children waited, but only silence responded to them. They were certain they had missed something; a few of them thought perhaps they had even fallen asleep. They asked those who sat beside them, but they could offer no explanation. Ainsworth looked at his mother and she was crying. He felt ashamed for her, but he nticed the woman beside her was also crying. He saw the faces of all the adults, including the men, and tears streamed down all their faces. The story was their memory. The story was the pain that produced tears. The story was what they had lived. The story was their petty jealousy that caused them to begrudge each other every minor success and plot ways to harm one another. The story was all that was lost to them because someone was too selfish to share, too mean to forgive, too blind to see the possibilities. The story was the beginning of their lives that had been old them over and over, but out of embarrassment they hadn't listened; so when the time came for those tales to be useful, they didn't know the details and groped in self-darkness. The story was in the first drop of salty tear that was shed for them, that they shed for themselves. Ainsworht lookd around at his mother and the other adults crying and felt cheated, until he found his own tears. Salty. Sticky. Inseparable from him, like the pain of birth. That was indeed the beginning.

Ain’t nobody gon look for me, ain’t nobody in this world to miss me. It probably ain’t even had a body to find. Just one more woman fall off the Earth–dispensable flesh.

You are a romantic, James Evanston.” She pressed herself to him and let him guide her around the room. “You make me one, Luz Alana.” He truly had never been one before. Always ruthlessly practical, but the moment this woman had come into his life, the things which had seemed all-important simply ceased to matter.

I’d forgotten how fun it is to dance in front of mirrors. Halfway into the track, I accidentally burst out laughing, in a normal and hopefully not rude way, at the fact that I’m taking an Afro-Caribbean dance class in a gentrified neighborhood of East Los Angeles taught by a white woman for white women— a bunch of Rachel Dolezals shaking our nonexistent asses. Afterward, I become sad, feeling guilty about my obvious role in gentrification and my voyeurism into cultures I know nothing about, but which seem “exciting” in the abstract, in comparison to my mundane and sheltered existence.

One black woman who had not participated in the orgy of killing said as she passed the piles of dead bodies: “This day, even the earth is killed.

Clark sighed and shook his head at the tedious road ahead. Information, that’s what this whole mess was about. Knowledge truly was power, and men like Ellis understood that Clark could help give them the knowledge they needed to grow their billions and protect their kingdoms. Even over the roar of the surf Clark heard Ellis enter the house. Clark and Ellis shared a thirst for power and that was about it. Where Clark was calm and discerning, Ellis was volatile and brash. The man had a way of wearing people out through frontal assault after frontal assault. Nothing tricky, no feints, he just hammered you into submission. Clark found it all very interesting. He was a true tactician, and often relished outmaneuvering people like Ellis, but tonight, in the warm Caribbean air he would prefer drinks, some light fare and the smooth skin of a young woman flown in from Miami.

But first a description: Clara Bowden was beautiful in all senses except maybe, by virtue of being black, the classical. Clara Bowden was magnificently tall, black as ebony and crushed sable, with hair plaited in a horseshoe which pointed up when she felt lucky, down when she didn’t. At this moment it was up. It is hard to know whether that was significant. She needed no bra – she was independent, even of gravity – she wore a red halterneck which stopped below her bust, underneath which she wore her belly button (beautifully) and underneath that some very tight yellow jeans. At the end of it all were some strappy heels of a light brown suede, and she came striding down the stairs on them like some kind of vision or, as it seemed to Archie as he turned to observe her, like a reared-up thoroughbred. Now, as Archie understood it, in movies and the like it is common for someone to be so striking that when they walk down the stairs the crowd goes silent. In life he had never seen it. But it happened with Clara Bowden. She walked down the stairs in slow motion, surrounded by afterglow and fuzzy lighting. And not only was she the most beautiful thing he had ever seen, she was also the most comforting woman he had ever met. Her beauty was not a sharp, cold commodity. She smelt musty, womanly, like a bundle of your favorite clothes. Though she was disorganized physically – legs and arms speaking a slightly different dialect from her central nervous system – even her gangly demeanour seemed to Archie exceptionally elegant. She wore her sexuality with an older woman’s ease, and not (as with most of the girls Archie had run with in the past) like an awkward purse, never knowing how to hold it, where to hang it or when to just put it down. ‘Cheer up, bwoy,’ she said in a lilting Caribbean accent that reminded Archie of That Jamaican Cricketer, ‘it might never happen.’ ‘I think it already has.’ Archie, who had just dropped a fag from his mouth which has been burning itself to death anyway, saw Clara quickly tread it underfoot. She gave him a wide grin that revealed possibly her one imperfection. A complete lack of teeth in the top of her mouth. ‘Man…dey get knock out,’ she lisped, seeing his surprise. ‘But I tink to myself: come de end of de world, d’Lord won’t mind if I have no toofs.’ She laughed softly.

A native man in his small wooden boat was hoping to make one last sale. He held up a woodcarving of a Haitian drummer and shouted up that I could have it for only $10. I wasn’t really interested and was ready to walk away when I heard him offer it again, this time for $5. Looking at an approaching police boat, I agreed to the deal, and lowered my $5 down to him in a bucket. He ignored the cops, who were ordering him away from the ship using a megaphone, and tied the carving onto the lanyard that, just before, had a bucket attached to it. The police warned him once more, to back away from the ship, but the deal was more important to him. Just as I pulled on the lanyard, I heard a shot go off. It took several moments for me to comprehend what had happened. The cop had shot the man I was bartering with! I could see that it hadn’t been a warning shot as blood came from an obvious wound right between his eyes! I continued pulling my carving up and over the railing. Looking down I saw the patrol boat heading back to shore. The poor vendor was floating face down, alongside his boat. As the ship started to pull away, I saw that he was adrift in a growing pool of blood, which was spreading out around him. Life was cheap here and I realized that the old woman’s prediction had come true. I had seen death before leaving Haiti!

In the Book of Genesis it says, ‘It is not good for man to be alone. I will make a helper suitable for him.’ I’ve known this woman most of her life and know that she is more than up to the task. Russell and Julie, as you prepare to take these vows, give careful thought and prayer, for as you make them you are making an exclusive commitment one to the other for as long as you both shall live. Your love for each other should never be diminished by difficult circumstances, and it is to endure until death parts you. Hand in hand you enter marriage, hand in hand you step out in faith. The hand you freely give to each other, is both the strongest and the most tender part of your body. The wedding ring is a symbol of eternity, it is without end. It is an outward sign of an inward and spiritual bond which unites two hearts in endless love. And now as a token of your love and of your deep desire to be forever united in heart and soul, you, Russell, may place a ring on the finger of your bride.

Christopher Columbus was very familiar with the Atlantic islands and the sugar industry that thrived on them. As an agent for an Italian firm in Genoa, Columbus visited Madeira to purchase sugar in 1478. His first wife’s father was the governor of Porto Santo. After Columbus’s wife died, he married again, this time to a woman whose family owned a sugar estate on Madeira. When Columbus returned to Spain after his first voyage to the Caribbean, he was convinced that sugar cane would grow on the islands he had explored. On

She rises- hips rippling to a silent merengue bearing sloshing vessels homeward, a little water breaking the relief of dust on her feet- reflecting how women seem to grip the secret of wringing the blue cloth of sorrow dry to make wine. -Excerpt from Sandra Sealy's poem "Haitian Water Bearer" in "Chronicles Of A Seawoman: A Collection Of Poems

Never give up! It's not that we fall, it's how we rise. Sometimes you have to take night and make day! When one door closes, many others will beckon you. Perseverance & determination can break any barrier. Its not how others see you, but how you see yourself; so crystalize that vision of you.

I ain't know what it is to be a girl Mistress Grandsol. I pass straight from child to woman without even a pause for girl between. Girl is a privilege I never know.