This post is part of #DiverseDecember, which was brought about due to there being no books by BAME authors on the World Book Night list. Please head over to Naomi’s blog for an excellent, thorough discussion about this.
I thought I would start by looking at BAME writing that has emerged from that bastion of white, male middle-class privilege: just about everything the theatre. Firstly, Chewing Gum Dreams by Michaela Coel. This one-woman play (performed by the writer) was a huge success, winning awards and transferring from the fringe to the National.
Tracey Gordon, schoolgirl, tells us about her friends, family, and where she lives in Hackney, East London. She’s a bully and a victim of bullying, she’s sweet and vindictive, she’s loyal and she’s betrayed by people. She’s young and she’s trying to understand everything that’s happening to her:
“Candice Ellis is the buffest girl I’ve ever seen in the whole’a Hackney and also my best friend, from primary school – so the love is strong. She’s mixed race with perfect curly ringlets and light brown eyes. Her hair is PERFECT. She should be on an advert. She said she puts some Garner Fructis shit in it every morning, I tried, it didn’t work for me. And it smells like Kiwi; my hair smells like beef soup.”
Tracey gets a boyfriend, someone far removed from the casual sexual assaults she has experienced with other men:
“He’s a writer, he writes books, he wanted me to read some but – . He’s got really big ambitions, wants to go to Uni and that, he says there’s cracks in the floor ‘n I should aim higher before I find myself stuck in dem.
Cracks in the floor.
I tell him those cracks were made for me, they were made for my mum, and her mum and relaxin’ into them is what we do best. I ain’t smart enough to be someone I’m just smart enough to know I’m no-one. I’ve got nothing, so I can’t get nothing. I don’t even think I want anything apart from what, new trainers and longer hair.”
Of course Tracey wants more but as she says, she’s not sure what it is. Chewing Gum Dreams captures a lot in a short space, about expectations and limitations, those we place on ourselves and those society places on us according to race, social class, gender…serious issues but also delivered with a good deal of humour and lightness of touch which makes it all the more devastating:
“ ‘Erm…No matter what happens, everything’s gonna be alright, yeah?’
She don’t believe me either. She gimme a face full of ashes and questions.”
Secondly, Elmina’s Kitchen by Kwame Kwei-Armah, also set in Hackney, and which also played at the National to great acclaim.
Deli is trying to run a West Indian restaurant in Hackney’s ‘murder mile’ while avoiding the crime that surrounds him:
Deli. You can’t run a business on lies.
Digger. You think a Indian man would do that? That’s why the black man will always be down, He don’t know how to analyse his environment.
Deli’s son Ashley idolises Digger, a man with a gun and an income of uncertain provenance:
Digger. And you wanna be a bad man? Go back to school, youth, and learn. You can’t just walk into dis bad man t’ing, you gotta learn the whole science of it. You step into that arena and you better be able to dance wid death til it mek you dizzy. You need to have thought about, have played wid and have learnt all of the possible terrible and torturous ways that death could arrive. And then ask yourself are you ready to do that and more to someone that you know. Have you done that, youth?
Kwei-Armah does a great job in showing the pressures that surround a group of men (and one woman) trying to make their way in the world. The restaurant is a microcosm, demonstrating how self-respect becomes bound up in wider issues of societal identity. Not all of us will worry about paying protection money to the Yardies, but the struggle to find a life that nourishes rather than degrades is a broad one.
“Deli. You know what I read in one of those ‘white’ books the other day? The true sign of intelligence is how man deals with the problems of his environment….(Shouts) …I don’t want to live like this Ashley, it ain’t fun….
Ashley. Get offfffff, you’re hurting me….
Deli. (from the heart)…. I’m trying, I’m trying to change shit around here, but you ain’t on line, bra! Where you are trying to head, it’s a dead ting, a dark place, it don’t go nowhere.”
Elmina’s Kitchen is a modern day tragedy, powerfully affecting, questioning and angry.
If you’d like to see Elmina’s Kitchen performed by the original cast, some kind person has uploaded the TV production onto YouTube so do take a look.
(Image from here)