Index

• Achebe, Chinua, 162
• Acorn, Milton, 163
• aesthetics of crossing, 20–24
• affect: doubled nature of in Clarke’s work, 11
  • in “He Walks Beside the Sea,” 83
  • and intimacy, 4
  • of style as defense against Black invisibility, 8
• Africville, Nova Scotia, 162, 199
• age: and aging in Clarke’s work, 29–37, 80
  • and Clarke’s poetic career, 80
• Alexis, André, 150, 168
• Algoo-Baksh, Stella: on Clark’s depiction of women, 29, 35
  • on Clarke’s early poetry, 82–84
  • on Clarke’s relationship to Black American culture, 162
• ambivalence: books as sites of, 178
  • in Clarke’s representation of women, 31–37
  • of cathedrals as symbols in Clarke’s fiction, 159–60, 166–67
• Amongst Thistles and Thorns (Clarke), 23
• Anansi, House of, 46–48
• archives of Austin Clarke, 17–20, 68n1, 72, 76, 80, 201–2
• Arrival (Mount), 12, 156, 163
• Arsenal Pulp Press, 207
• Atwood, Margaret, 134, 168, 196, 198
• Austin Clarke Reader, The (Clarke), 81, 94n2

• Baker, Houston, 197
• Baldwin, James, 181, 197
• Ballantyne, Robert, 207
• Bally shoes, 8
• Baraka, Amiri (LeRoi Jones), 92, 94, 162, 176, 192, 197.
• Barbadian dialect, 204. See also nation language; vernacular
• Barbados: Clarke’s arrival in Canada from, 155
  • and Clarke’s childhood, 150–51
  • and Clarke’s conversation with the Queen, 136, 151
  • Clarke’s media work in, 144, 204
  • and colonial education, 15, 21, 100–101
  • and colonization, 183–84
  • and Crean’s visit to Clarke’s childhood neighbourhood, 150–52
  • and food, 57, 62–63, 67
  • in Clarke’s work, 21–22, 23, 56, 84, 98–102, 104–6, 161–62, 165, 166–67
  • in Marshall’s work, 98–102, 104–6
  • political developments in, 61
  • and The Prime Minister, 144
  • Clarke’s return to, 197
• Barrett, Paul: and archival work on Clarke’s poetry, 80
  • and Clarke on Canadian critics, 109
  • on Clarke’s style, 163
• Baudelaire, Charles, 87–88. See also flâneur
• Beattie, Steven W., 92
• Beloved (Morrison), 107
• Benjamin, Walter, 175, 177
• “Bertha” (Clarke’s IBM typewriter), 137–38
• Berton, Pierre, 137, 197
• Bhabha, Homi, 175
• Bigger Light, The (Clarke), 110, 132. See also The Toronto Trilogy
• Bim literary magazine, 73
• Birney, Earle, 168
• “Black Art” (Baraka), 92
• Black Atlantic: and Clarke’s library, 175
  • and Clarke’s literary style, 163
  • in ’Membering, 183, 186
• Black invisibility: Clarke’s style as a defense against, 8
  • in Canadian literature, 131
  • in “The Robber,” 112. See also Ellison, Ralph; erasure; Invisible Man (Ellison)
• Black Power movement, 59–60, 143–45, 162, 192
• Black Skin, White Masks (Fanon), 75
• Black studies, 5, 162, 197, 204. See also Caribbean Studies
• BMW, 18
• Bocas Literary Festival, 201
• “Bonanza 1972 in Toronto” (Clarke), 32
• Brand, Dionne: and the “doorway,” 74–75
  • interview with Clarke and Rinaldo Walcott, 109
  • and introduction of Clarke and Rinaldo Walcott, 2
  • on books, 178
  • and thirsty, 77
  • and shift in Canadian literature, 145, 168
  • on sitting with Clarke, 210
• Brathwaite, Kamau, 134, 197, 198
• bricolage, 20
• Bridgetown, Barbados, 155, 156, 163, 167, 184
• British Empire, 23, 155–70
• Bucknor, Michael, 12–13, 201
• Bukowski, Denise, 191
• Burke, Sam, 101–2

• Callaghan, Barry, 95
• calypsos, 132
• Cambridge (Phillips), 176
• Canadian Apartheid Committee, 130
• Canadian Broadcasting Corporation (CBC), 13, 57, 144
• “Canadian Experience” (Clarke), 3, 193
• Canadian immigration system, 199, 200
  • and Clarke’s arrival in Canada, 155–56. See also immigration; West Indian Domestic Scheme.
• Canadian post-colonial nationalism: 157, 161–64, 169, 197
  • and thematic criticism, 196–97
• Canterbury Tales, The (Chaucer), 82
• Caribbean Artists Movement (cultural organisation), 58
• Caribbean Broadcasting Corporation, 154, 197
• Caribbean Canadian Literary Expo, 138
• Caribbean Studies, 205. See also Black Studies
• Caribbean Voices (BBC program), 21, 57
• Carmichael, Stokely (Kwame Ture), 162
• “Carol” (Gray), 13
• Chadwick, Charles, 82
• Chariandy, David, 168
• Charles, Ray, 182
• Chaucer, Geoffrey, 21, 82, 94, 131
• circularity, of Clarke’s prose style, 149, 165
• Clarke, Austin: activism of, 16–17, 130, 143–44, 162
  • and aesthetics of crossing, 20–24
  • antisemitism in the work of, 192–93
  • archives of, 17–20, 72, 76, 80, 68n1, 201–2
  • and Black invisibility, 8, 112, 131
  • and Black studies programs, 162, 197, 204
  • bookshelves of, 1, 8, 175–78, 137, 204
  • and characters’ intimate lives, 1–2
  • classical education of, 15, 73, 157–58, 199
  • and colonial education, 21, 101–2, 158–59
  • cosmopolitanism of, 14, 157–70, 196–98
  • critical neglect of, 5, 12–24, 65, 149–50, 155–56, 190–200, 205–10
  • decision to write as a career, 202–3
  • diplomatic work of, 132, 204
  • and financial survival as a writer, 18–20, 56, 64–68
  • and formal complexity, 12–13, 49–51, 81–82, 149, 164–66, 191–92, 209
  • fragmentation as a technique of, 7, 9–11, 15, 18–24, 50
  • and friendships, 1–5, 56–68, 138–39, 154, 201–4, 205–10
  • handwriting of, 4, 7, 71, 95, 131, 147
  • and Harrison College (Barbados), 7, 15, 128–29, 136
  • improvisation in the work of, 18–20, 49–50, 58, 63, 165, 183–88
  • labelling as “Canada’s Angriest Black Man,” 15, 130, 163, 170, 209
  • labelling as “Canada’s first multicultural” writer, 156
  • length of writing career, 203
  • letters of, 18, 20, 57–68, 95, 131–39
  • masculinity in the work of, 3, 11, 26, 29, 30–38, 194
  • misogynistic elements in the work of, 3, 12, 28, 29–37
  • perception of as lacking a literary tradition, 198
  • persistence of, 17–19
  • politics of, 2, 15, 86, 143–45, 162–92, 194–95, 209
  • and racism in Canada, 12–24, 48, 65, 149–50, 151, 155–56, 190–200, 205–10
  • and relationships with editors, 15, 46–48, 143–55
  • and representations of diasporic Blackness, 9–24, 26–28, 31–34, 57, 109, 130–31, 156–168, 181–88, 191–200
  • representations of writing in the fiction of, 24
  • sociological readings of, 9, 164, 191
  • and style, strategic uses of, 6–24, 163–70
  • support of young writers by, 1, 95–97, 204, 207
  • Toronto homes of, 2, 8, 25, 46, 137–38, 143, 150, 155, 182–88, 204
  • and Trinity College (University of Toronto), 72, 80–84, 94n2, 129–30, 151, 158
  • women in the work of, 2–5, 11–12, 25–28, 30–37, 101–10, 193–95
  • and writing of Toronto, 3–5, 9–11, 20, 26–27, 31–34, 57, 130–31, 156–68, 181–88, 191, 198
  • writings under the name A.A. Chesterfield-Clarke, 80, 94n2. See also specific works
• Clarke, George Elliott: “À St. Matthias,” 189
  • interview with, 190–200
  • on Clarke as international, 196–98
  • on Clarke’s radicalness, 195–97
  • on concept of tolerance, 196
  • on equality in Canada, 196–200
  • reinterpretations of Clarke’s work by, 190–94
• Clarke, Gladys, 2, 3, 6, 21, 35–36, 63, 90, 151
• Clarke, Greville, 68
• Cleaver, Eldridge, 59, 64
• Cockerline, Joanna, 97
• Cohen, Leonard, 13–14
• Coleman, Daniel, 29
• Collymore, Frank, 73
• colonial education: Clarke’s style as subversion of, 21
  • and Growing Up Stupid Under the Union Jack, 21, 158–59
  • violence of, 101–2. See also Harrison College; Clarke, Austin: and colonial education
• colonial subjects, 21, 75
• Coltrane, John: as influence on Clarke, 92, 94, 198
  • and the aural in Clarke’s work, 182–83, 198
  • and Clarke’s artistic traditions, 198
  • and Clarke’s characters, 8
  • and Clarke’s curation of environments, 4
• Compton, Wayde, 207
• “Confessed Bewilderment of Martin Luther King and the Idea of Non Violence as a Political Tactic, The” (Clarke), 93
• Contrast, 16, 132
• cosmopolitanism 14, 157–70. See also Clarke, George Elliott: on Clarke as international
• Craig, Kenneth, 83
• Crean, Patrick, 1, 13, 14, 143–54
• creolization, 20
• cross-dressing, Clarke’s narrative style as, 28
• crossing, Clarke’s aesthetics of, 20–24
• Croutch, Paul, 89, 204
• “Custom House, The” (Hawthorne), 186

• Dabydeen, Cyril, 140
• Davis, Miles, 137, 153, 176, 182, 137
• “Day Thou Gavest, The” (hymn): in Clarke’s fiction, 159
  • in Clarke’s letters, 138–39
  • sung at Clarke’s memorial, 139
• diasporic Blackness in Canada: and Clarke’s literary style, 20–24, 164–70, 156–168, 181–88, 191–200
  • in Clarke’s writing, 9–24, 26–28, 31–34, 57, 109, 130–31, 156–168, 181–88, 191–200
  • and Africadian life, 198–99
• Directions Home (Clarke, G.E.), 190
• “Discipline, The” (Clarke), 32
• “Do Not Come” (Clarke), 94
• “Do Not Let Them Choose the Fragrance” (Clarke), 86, 141
• Dorval Airport, 155
• Duke University, 205
• “Easter Carol, An” (Clarke), 158–59
• Ebo Society (cultural and advocacy group), 162
• Ebo Voice (print publication of Ebo Society), 162
• Edugyan, Esi, 143, 145, 151, 168
• Eliot, T.S., 15, 72, 83, 94, 92n4, 176–77
• Elizabeth II (queen), 7, 136, 151
• Ellison, Ralph, 112
• Equiano, Olaudah, 107
• erasure: of Black people by mapping practices, 175–78
  • of Clarke’s literary contributions, 12
  • of spaces for Blackness in Canada, 15, 163
• Eurocentric geographies, 175–76
• Evidence (little magazine), 83–84

• Fanon, Frantz, 2, 64, 75, 198
• Feinberg, Abraham (rabbi), 162
• “Fern Hill” (Thomas), 83
• financial survival, and writing, 18–20, 56, 64–68
• First Floor Club, Toronto, 143
• “Fishermen Looking Out to Sea” (Clarke), 81–82, 93, 94n2
• “Five Poems from Barbados” (Clarke), 94n2
• “Flamenco Sketches” (jazz composition), 182. See also Davis, Miles
• flâneur, 87–88, 93, 178. See also Baudelaire, Charles
• food: in Clarke’s letters, 58–59, 62–68
  • in Growing Up Stupid, 104
  • and Kensington Market in Clarke’s work, 4
  • and Pig Tails ’n Breadfruit, 56–58, 62, 67, 97
  • political significance of in Caribbean cultures, 56–68
  • and slavery, 57, 62–63
  • and St. Lawrence Market in Clarke’s work, 165–66
• Forget, André, 7, 14
• Four Banks of the River of Space, The (Harris), 177
• “Four Stations in His Circle” (Clarke), 164
• fragmentation: and Clarke’s archives, 18
  • and Clarke’s literary style, 7, 9–11, 15, 18–24, 50
  • as material necessity, 18–20
  • and Clarke’s marginalia, 76
• “From My Lover’s Home” (Clarke), 81, 94n2
• “From the Poets in the Kitchen” (Marshall), 99
• Frye, Northrup, 13, 155

• Gates, Henry Louis, 162
• General Publishing, 143
• Georgetown Journal (Salkey), 61
• geography: and Clarke’s bookshelves, 175–78
  • and diasporic Blackness, 175–78
  • in Clarke’s writing, 3, 4, 84–85, 176, 183–88. See also literary geography
• Gibson, Graeme, 46, 134, 163
• Giller Prize: and More, 153
  • and novels edited by Patrick Crean, 143
  • and The Polished Hoe, 12, 13, 149–52, 156
  • and writers of colour, 168
• Gilmore, David, 29–30, 31, 33
• Gilroy, Paul, 163
• global South, 206–7
• Globe and Mail, 8, 161
• Godfrey, Dave, 163
• Gold (Clarke, G.E.), 190
• Governor General’s Award, 137
• Grand Hotel: and Clarke’s daily routine, 8
  • and “sessions” with his circle, 137–38
• Gray, Charlotte, 13
• “Green Door House, The” (Clarke), 165–67, 181–88
• Growing Up Stupid Under the Union Jack (Clarke): and Clarke’s meeting with the Queen, 151
  • and colonial education, 21, 157–58
  • ’Membering as building out from, 165
  • sexuality and women’s bodies in, 98–108
• Guardian, 29

• Hage, Rawi, 168
• Half-Blood Blues (Edugyan), 143
• Harewood, John, 1
• Harris, Claire, 206
• Harrison College (Barbados), 7, 15, 128–29, 136. See also colonial education
• Harris, Wilson, 60, 177
• Hawthorne, Nathaniel, 186
• Heath, Edward, 61–62
• “Her Hair is Plaited Tight” (Clarke), 35–36
• “He Walks Beside the Sea” (Clarke), 82–83
• Hill, Lawrence, 145
• “Hollow Men, The” (Eliot), 72
• “Honouring Austin Clarke” (event), 138
• Houston, Whitney, 182
• “How He Does It” (Clarke), 38
• Hughes, Langston, 102, 184
• Hurston, Zora Neale, 176
• hybridity, and Clarke’s style, 8–9, 20

• immigration 10–11, 26, 131, 144, 152, 166, 168, 195, 206, 207. See also Canadian immigration system
  • West Indian Domestic Scheme.
• improvisation: and Clarke’s letters, 58–68
  • and Clarke’s style, 18–20, 49–50, 165, 183–88
  • and financial survival as a writer, 18–20, 56, 64–68
• “In my barefoot days” (Clarke), 83–84
• Innis, Roy, 162
• interiority, in Clarke’s poetry, 71–77, 93
• intimacy: as political act in Clarke’s letters, 63
  • and Black diasporic people, 167, 207
  • and insider status in Canadian Literature, 13
  • and Clarke’s writing, 1–5. See also Sharpe, Christina
• Invisible Man (Ellison), 112
• In Your Crib (Clarke), 23, 30–31, 35–37, 80, 81, 91, 92, 93
• Isaacs, Camille, 12, 94n4
• “I Wanna Dance with Somebody” (song), 182

• James, C.L.R., 176
• jazz: Clarke’s poetry and, 92
  • Clarke’s prose and, 148, 182, 185. See also Coltrane, John; Davis, Miles; musicality
• Jeje, Akinsola, 97
• Johnson, Albert, 16, 86, 141
• Johnson, Lemona, 86, 141
• Johnson, W. Chris, 60
• Jolson, Al, 90
• Jones-Lecointe, Althea, 60
• Jones, LeRoi. See Baraka, Amiri
• Jordan, Winthrop, 176
• Joseph, Clifton, 8
• Joyce, James, 149, 158, 191–98. See also stream of consciousness
  • Ulysses (Joyce)

• Keats, John, 82, 94, 94n4
• Kensington Market, Toronto, 4, 8
• King, Martin Luther, 93
• Kingston, Jamaica, 202
• “Kirkland, North by North” (Clarke), 83–85, 93, 94n5

• L’Abbé, Sonnet, 1, 12
• Lai, Larissa, 207
• Lam, Brian, 207
• Lamming, George, 60, 98
• Laurence, Margaret, 176
• Layton, Irving, 13, 197
• Lee, Dennis, 1, 15, 49–51, 163
• Lee, John R., 179–80
• Lenin, Vladimir, 178
• “Let Me Stand Up” (Clarke), 69, 87–88
• letters: in Clarke’s fiction, 22–24, 36
  • of Clarke, 18, 20, 57–68, 95, 131–39
• light, in Clarke’s work, 20, 167, 181–88
• literary establishment in Canada: Clarke’s exclusion by, 6–24, 151, 156, 191–200, 205–10: racist exclusivity of, 6–24, 65, 95–96, 109–11, 131, 151, 156, 163–70, 181, 191–200
• literary geography: and Clarke’s bookshelves, 175–178
  • and diasporic Blackness, 175–78
  • in Clarke’s writing, 4, 84–85, 176, 183–88. See also geography
• Loblaw’s, Clarke’s protests of, 130

• MacEwen, Gwendolyn, 163
• Maclean’s, 130, 170n1
• Malahat Review, 96
• “A Man” (Clarke), 38
• “Mangrove Nine” trial, 60
• Map to the Door of No Return, A (Brand), 178
• Marcuse, Herbert, 59
• Marley, Bob, 92, 94
• Marshall, Paule, 98–108, 134
• Marx, Karl, 59
• Mary-Mathilda (fictional). See Paul, Mary-Mathilda (fictional)
• martinis, 2, 4, 7, 8, 14, 97, 136, 210
• Massey College, 147
• Mathur, Ashok, 207
• Matrix Magazine, 190
• McAloon, Jonathan, 29, 37
• McClelland and Stewart, 143, 145, 161, 191
• McClelland, Jack, 134, 145
• McGill University, 155
• McKittrick, Katherine, 1, 8
• McMaster University, 17, 20, 109, 201
• McMurtry, Roy, 144
• Meeting Point, The (Clarke): and anti-Blackness in Canada, 110–11
  • and Black life in Canada, 206
  • and domestic immigration scheme, 206. See also Toronto Trilogy (Clarke)
• Mehta, Brinda, 62–63, 67
• ’Membering (Clarke): development of, 153–56
  • and “The Green Door House,” 165–67, 181–88
  • longlisting for prizes, 203
  • and recollections of reading Chaucer in school, 21, 82
• memory: and bells in Clarke’s work, 159–60
  • and Clarke’s narrative style, 99
  • and Growing up Stupid, 104–5
  • in Clarke and Marshall, 106–08
  • in “The Green Door House,” 165–67, 181–88
  • and style in More, 9–11, 21
  • and style in A Passage Back Home, 21–22
• Mercedes-Benz, 8, 9, 30, 91
• Middle Passage, 20, 167
• Miller-Corbaine, Joshua (fictional): 29, 38
• misogynistic elements, in Clarke’s work, 3, 12, 28, 29–37
• Mistry, Rohinton, 168
• modernism, 15, 20, 72, 191. See also Eliot, T.S.; Joyce, James; Smith, A.J.M; stream of consciousness
• More (Clarke): development of, 17–18
  • difficulty of as source of meaning, 164–65
  • opening sentence of, 9–10, 166
  • publication of, 152–54
  • and St. James Cathedral, 9–10, 159
  • structure of, 133–34
  • and writing of Toronto, 3–4, 9–10, 159. See also Morrison, Idora (fictional)
• Morrison, Idora (fictional): Clarke’s earlier characters, relationship to, 30–32
  • narrative inhabitation of, 28
  • and narrative style, 9–11, 21–22, 166–68
  • on improvisation, 19
  • and sexuality, 33–38
  • and St. James Cathedral, 159, 165–68
  • as unreliable, 154
  • and the writing of Toronto, 3–4. See also More (Clarke)
• Morrison, Toni, 107, 178, 186
• Moses Ascending (Selvon), 64
• Moss Park, Toronto, 22, 85, 88, 93, 128, 155
• “Motor Car, The” (Clarke), 30, 31
• Mount, Nick, 12, 156, 163
• movement: as a concern in Clarke’s writing, 74–75, 77
  • fantasy of in More’s opening, 10–11, 22
  • and narrative form of The Polished Hoe, 149
  • produced by empire, 157. See also circularity, of Clarke’s prose style
• multiculturalism: and Clarke’s interpretation by critics, 156
  • Clarke’s works’ anticipation of, 4
  • and comparisons of Canada to the US, 110
  • and concept of Canada as “welcoming,” 167. See also Clarke, Austin: label as “Canada’s first multicultural” writer
• Munro, Alice, 198
• musicality: and bells in Clarke’s work, 159–60
  • and Clarke’s curation of environments, 4
  • and Clarke’s poetry, 72, 83, 92–94
  • and improvisation in Clarke’s work, 20, 181–88
  • in the prose of The Polished Hoe, 148, 154
• “My Mammy” (racist song), 89–90

• Naipaul, V.S., 60, 134, 176, 178
• National Post, 156
• nation language, 38, 112, 164, 206. See also Barbadian dialect; vernacular
• “Negro Speaks of Rivers, The” (Hughes), 184–85
• New York City, 98, 144, 162–67, 197–98
• Nine Men Who Laughed (Clarke), 27, 29, 38, 194
• Nolan, E. Martin, 7, 171–72

• OCM Bocas Prize, 203
• O’Connor, Flannery, 198
• Odysseys Home (Clarke, G.E.), 190, 199
• “Old Pirates, Yes, They Rob I” (Clarke), 92
• Ondaatje, Michael, 176, 198
• Ontario Progressive Conservative Party, 15, 144, 209
• Origin of Waves, The (Clarke), 133
• Ottawa Citizen, 13

• Passage Back Home, A (Clarke), 21, 58, 65–66
• paradoxicality: and Clarke as a person, 144, 150
  • and Clarke’s style, 15
  • and the colonial relationship to a foreign master, 130
  • and the constructions underlying CanLit, 156
  • and Fanon’s conception of colonial subjects’ hopes, 75
  • in Clarke’s politics, 144
  • and racist literary renderings, 110
• pastoral, 86, 72–73, 83, 86
• patriarchalism, 3, 9, 12, 95–97
• Paul, Mary-Mathilda (fictional), and editing of The Polished Hoe, 148–49
  • and lack of evolution of women characters, 30, 31–33
  • narration of, 23–24, 165–68
  • and sexuality, 34–35
  • and unreliability, 154, 165, 166–68
• Philip, M. NourbeSe, 206
• Phillips, Caryl, 176
• Pig Tails ’n Breadfruit (Clarke), 56–67, 97
• Pilot Tavern, Toronto, 50, 192, 194
• Playing in the Dark (Morrison), 178
• Poe, Edgar Allan, 82
• police violence: and Albert Johnson’s murder, 16–17, 86, 141
  • and Andrew Salkey’s activism, 60
  • in Clarke’s poetry, 69, 80, 86–88
  • in The Meeting Point, 206. See also Clarke, Austin: activism of
• Polished Hoe, The (Clarke): and Black life in Barbados, 23, 165, 167
  • and the British Empire, 168
  • circular quality of, 149
  • and confession as form, 23, 168
  • and creation of narrative from fragments, 23–24
  • editing of, 145–49
  • and the Giller Prize, 12, 13, 149–52, 156
  • in contrast with More, 133–34, 152–53
  • and jazz, 148
  • sexuality in, 33–35
  • and slavery, 23, 152, 166–67
  • women in, 28, 30, 33. See also Paul, Mary-Mathilda (fictional)
• political resistance: in Clarke’s poetry, 89–91
  • to imperialism, by Black people, 157
  • and the Toronto Trilogy, 110
• political verse, 72–73, 86
• polyphony, 92, 94
• Portnoy’s Complaint (Roth), 194
• Pound, Ezra, 75
• Prime Minister, The (Clarke), 1, 143–45
• Proud Empires (Clarke), 133, 176
• “Public Enemies: Police Violence and Black Youth” (Clarke), 86
• Purdy, Al, 163
• Puritan, 7, 16

• queerness, repressed, 26
• Quill and Quire, 12, 92
• Quirt, Maggie, 90

• racism (anti-Black): and Clarke’s critical neglect, 12–24, 65, 149–50, 155–56, 163–70, 190–200, 205–10
  • Clarke’s personal experiences of, 48, 151, 155
  • in Canada, 16, 12–24, 109–111, 130, 162–163, 168, 170n1, 190–200
  • in Clarke’s works, 26, 69, 88, 89–94, 131, 162, 168
  • in the UK, 61
  • in the USA, 61–62
• RBC Taylor Prize, 203
• Reagan, Ronald, 61–62
• “Redemption Song” (song), 92. See also Marley, Bob
• Redhill, Michael, 150
• reggae, 92
• Renan, Ernst: on forgetting as essential to creating nations, 155
• repurposing of artistic work as survival, 18–19
• “Review of In Your Crib” (Beattie), 92
• “Review of More” (Grainger), 12
• Review (Trinity College, University of Toronto), 80–84, 94n2
• Riccio, Giovanna, 52–55
• Richler, Mordecai, 15, 168, 194
• “Rogue in Me, The” (Clarke), 82
• Romantic poetry, 72, 82
• rondeau redoublé (poetic form), 81–82
• Rooke, Connie, 96
• Roth, Philip, 194
• Rowley, Keith, 56–57

• Salkey, Andrew, 9, 57–64, 66–68, 134, 196–97
• Sanders, Leslie, 1, 11–12, 93, 210
• Saunders, Patricia, 203
• Sears, Djanet, 176
• Selvon, Samuel, 17, 21–22, 57–60, 63–66, 196–98, 206–7
• Senior, Olive, 202
• Sharpe, Christina, 108, 167
• Shields, Carol, 13, 149
• “Short Drive, A” (Clarke), 36
• Shuter Street, Toronto, 2, 137–38, 155
• Sibelius Park, Toronto, 46, 143
• Siemerling, Winfried, 20
• Siklosi, Kate, 85–86
• “Site of Memory, The” (Morrison), 186
• slavery: and Clarke’s and Marshall’s works, 105–7
  • and Clarke’s oeuvre, 111, 163
  • and food, 57, 62–63
  • and “The Green Door House,” 165–67, 183–88
  • and manhood, 26
  • and ’Membering, 165–67, 183–88
  • and Pig Tails ’n Breadfruit, 57
  • and The Polished Hoe, 23, 152, 166–67. See also transatlantic slave trade
• Smith, A.J.M., 20
• spaces for Blackness: in Canada, 15, 163–64
  • and Clarke’s insistence on making, 109
  • and mapping, 175–78
• spatiality, in Clarke’s poetry, 80–94
• Spillers, Hortense:, 188
• Springer, Jennifer, 34–35
• St. James Cathedral, Toronto, 10–11, 139, 159
• St. Lawrence Market, Toronto, 137, 165–66
• St. Matthias Church, Toronto, 150–51
• St. Michael’s Hospital, Toronto, 201–202
• Storm of Fortune (Clarke), 110, 131. See also the Toronto Trilogy (Clarke)
• stream of consciousness, 9–10, 51, 164–66, 191. See also Joyce, James; “Ulysses” (Joyce)
• Survivors of the Crossing, The (Clarke), 20, 22–23, 30, 35, 130, 161–62, 203
• Sutton Place Hotel, Toronto, 4

• Taylor, Charles, 206
• Thatcher, Margaret, 144
• thematic criticism, 196–97
• “They Heard a Ringing of Bells” (Clarke), 158–160
• They Never Told Me (Clarke), 92
• “They’re Not Coming Back” (Clarke), 32
• Thien, Madeleine, 168
• Timmins Daily News, 161, 164
• thirsty (Brand), 77
• “Three Years” (Clarke), 94n2
• Thomas Allen (publisher), 145
• Thomas, Dylan, 83, 94
• “To Da-Duh, in Memoriam” (Marshall), 98, 107–8
• tolerance, 196
• Toronto Book Award, 153
• Toronto International Authors’ Festival, 138
• Toronto, Ontario: Black community in, 16, 130–31, 141
  • Clarke’s activism in, 162
  • Clarke’s arrival in from Barbados, 155–58
  • and Clarke’s rendering of as Caribbean, 20
  • Clarke’s writing of, 3–5, 9–11, 20, 26–27, 31–34, 130–31, 156–68, 181–88, 191, 198
  • and police violence, 16–17, 86, 141
  • visit to by Andrew Salkey, Kamau Brathwaite, and Paule Marshall (1981), 134. See also specific locations
• Toronto Police, 16–17, 86, 141. See also police violence
• Toronto Reference Library, 138
• Toronto Star, 130
• Toronto Telegram, 130
• Toronto Trilogy (Clarke): as making diasporic Blackness visible, 131
  • and Clarke’s women characters’ lack of evolvement, 30, 34
  • food in, 57
  • and models of Blackness, 110
  • women as central to, 27–28. See also The Bigger Light (Clarke); The Meeting Point (Clarke); Storm of Fortune (Clarke)
• transatlantic slave trade, 163–67, 183–88
• transitivity, of Clarke’s style, 9
• transposition, in Clarke’s writing, 20, 183–88. See also improvisation
• “Trees, The” (Clarke), 94n2
• Triangular Road: A Memoir (Marshall), 98–108
• Trillium Prize, 165
• Trinidad and Tobago, 56–57, 59–61, 66, 68n2, 176, 201
• Trinity College, University of Toronto, 72, 80–84, 94n2, 129–30, 151, 158
• Trudeau, Pierre, 198
• typewriters: and Clarke’s drive to write, 200–205
  • as Clarke’s preferred writing tool, 137–38

• Ulysses (Joyce), 25
• University of Calgary, and Sam Selvon, 65, 206
• University of Guelph, 95–97
• University of Toronto, 72, 94n2, 129–30, 151, 155, 158
• University of the West Indies, 201
• University of Western Ontario, 203
• “Unpacking My Library” (Benjamin), 175, 177
• “Unpacking My Library Again” (Bhabha), 175

• Varadharajan, Asha, 8, 12
• vernacular: use of in Clarke’s writing, 26, 91. See also Barbadian dialect; nation language
• vertical imagination, 181–88
• vertical mosaic, 195
• vertical reading, 178
• voyeurism: in Clarke’s writing of women, 11: in people’s relationships to “the political,” 207

• “Waiting for the Postman to Knock” (Clarke), 27
• Walcott, Derek, 162, 196–97
• Walcott, Rinaldo, 11, 25, 109, 175, 196, 201, 205, 210
• Washington Black (Edugyan), 143, 151–52
• “We Are the Half-Born Men” (Clarke), 72
• Wentzell, Emily: on “composite masculinities,” 30
• West Indian Domestic Scheme, 11, 26, 152, 166, 206, 207.
• “West Indian Immigrant in Canada, The” (Clarke), 33
• West Indian Literature Conference: (1992, Georgetown, Guyana), 201
  • (2016, Montego Bay, Jamaica), 201
• “When the Bough Breaks” (Clarke), 193
• “When He Was Free and Young and He Used to Wear Silks” (Clarke): Dennis Lee’s editorial notes for, 49–51
  • reinterpretations of by G.E. Clarke, 190–94
• When He Was Free and Young and He Used to Wear Silks (Clarke), 27, 46–48, 92, 158
• When Women Rule (Clarke), 29, 32–33, 35
• Where the Sun Shines Best (Clarke), 80–81, 84–92, 128, 204
• White Over Black: American Attitudes Toward the Negro, 1550–1812 (Jordan), 176
• white supremacy, 16, 110, passim. See also racism (anti-Black)
• “Why I Call Johnson Killing Murderous” (Clarke), 16–17
• Wicary, Stephen, 97
• Williams, Eric, 59
• Willis, Tyler, 7
• Winks, Robin, 162

• X, Malcolm, 63–64, 143–44, 162, 181, 192, 197, 198
• X, Marvin, 192–93

• Yale University, 36, 162, 205
• York University, 175

• Zong massacre, 104