Create Dangerously: The Immigrant Artist at Work
By Edwidge Danticat
Hardcover, 208 pages
Princeton University Press
List price: $19.95
On November 12, 1964, in Port-au-Prince, Haiti, a huge crowd gathered to witness an execution. The president of Haiti at that time was the dictator Francois "Papa Doc" Duvalier, who was seven years into what would be a fifteen-year term. On the day of the execution, he decreed that government offices be closed so that hundreds of state employees could be in the crowd. Schools were shut down and principals ordered to bring their students. Hundreds of people from outside the capital were bused in to watch.
The two men to be executed were Marcel Numa and Louis Drouin. Marcel Numa was a tall, dark-skinned twenty-one-year-old. He was from a family of coffee planters in a beautiful southern Haitian town called Jeremie, which is often dubbed the "city of poets." Numa had studied engineering at the Bronx Merchant Academy in New York and had worked for an American shipping company.
Louis Drouin, nicknamed Milou, was a thirty-one-year-old light-skinned man who was also from Jeremie. He had served in the U.S. army — at Fort Knox, and then at Fort Dix in New Jersey — and had studied finance before working for French, Swiss, and American banks in New York. Marcel Numa and Louis Drouin had been childhood friends in Jeremie.
The men had remained friends when they'd both moved to New York in the 1950s, after Francois Duvalier came to power. There they had joined a group called Jeune Haiti, or Young Haiti, and were two of thirteen Haitians who left the United States for Haiti in 1964 to engage in a guerrilla war that they hoped would eventually topple the Duvalier dictatorship.
The men of Jeune Haiti spent three months fighting in the hills and mountains of southern Haiti and eventually most of them died in battle. Marcel Numa was captured by members of Duvalier's army while he was shopping for food in an open market, dressed as a peasant. Louis Drouin was wounded in battle and asked his friends to leave him behind in the woods.
"According to our principles I should have committed suicide in that situation," Drouin reportedly declared in a fi nal statement at his secret military trial. "chandler and Guerdes [two other Jeune Haiti members] were wounded . . . the first one asked . . . his best friend to finish him off; the second committed suicide after destroying a case of ammunition and all the documents. That did not affect me. I reacted only after the disappearance of Marcel Numa, who had been sent to look for food and for some means of escape by sea. We were very close and our parents were friends."
After months of attempting to capture the men of Jeune Haiti and after imprisoning and murdering hundreds of their relatives, Papa Doc Duvalier wanted to make a spectacle of Numa and Drouin's deaths. So on November 12, 1964, two pine poles are erected outside the national cemetery. A captive audience is gathered. Radio, print, and television journalists are summoned. Numa and Drouin are dressed in what on old black-and-white film seems to be the clothes in which they'd been captured — khakis for Drouin and a modest white shirt and denim-looking pants for Numa. They are both marched from the edge of the crowd toward the poles. Their hands are tied behind their backs by two of Duvalier's private henchmen, Tonton Macoutes in dark glasses and civilian dress. The Tonton Macoutes then tie the ropes around the men's biceps to bind them to the poles and keep them upright.
Numa, the taller and thinner of the two, stands erect, in perfect profile, barely leaning against the square piece of wood behind him. Drouin, who wears brow-line eyeglasses, looks down into the film camera that is taping his final moments. Drouin looks as though he is fighting back tears as he stands there, strapped to the pole, slightly slanted. Drouin's arms are shorter than Numa's and the rope appears looser on Drouin. While Numa looks straight ahead, Drouin pushes his head back now and then to rest it on the pole.
Time is slightly compressed on the copy of the film I have and in some places the images skip. There is no sound. A large crowd stretches out far beyond the cement wall behind the bound Numa and Drouin. To the side is a balcony filled with schoolchildren. Some time elapses, it seems, as the schoolchildren and others mill around. The soldiers shift their guns from one hand to the other. Some audience members shield their faces from the sun by raising their hands to their foreheads. Some sit idly on a low stone wall.
A young white priest in a long robe walks out of the crowd with a prayer book in his hands. It seems that he is the person everyone has been waiting for. The priest says a few words to Drouin, who slides his body upward in a defiant pose. Drouin motions with his head toward his friend. The priest spends a little more time with Numa, who bobs his head as the priest speaks. If this is Numa's extreme unction, it is an abridged version.
The priest then returns to Drouin and is joined there by a stout Macoute in plain clothes and by two uniformed policemen, who lean in to listen to what the priest is saying to Drouin. It is possible that they are all offering Drouin some type of eye or face cover that he's refusing. Drouin shakes his head as if to say, let's get it over with. No blinders or hoods are placed on either man.
The firing squad, seven helmeted men in khaki military uniforms, stretch out their hands on either side of their bodies. They touch each other's shoulders to position and space themselves. The police and army move the crowd back, perhaps to keep them from being hit by ricocheted bullets. The members of the firing squad pick up their Springfield rifles, load their ammunition, and then place their weapons on their shoulders. Off screen someone probably shouts, "Fire!" and they do. Numa and Drouin's heads slump sideways at the same time, showing that the shots have hit home.
When the men's bodies slide down the poles, Numa's arms end up slightly above his shoulders and Drouin's below his. Their heads return to an upright position above their kneeling bodies, until a soldier in camouflage walks over and delivers the final coup de grace, after which their heads slump forward and their bodies slide further toward the bottom of the pole. Blood spills out of Numa's mouth. Drouin's glasses fall to the ground, pieces of blood and brain matter clouding the cracked lenses.
The next day, Le Matin, the country's national newspaper, described the stunned looking crowd as "feverish, communicating in a mutual patriotic exaltation to curse adventurism and brigandage."
"The government pamphlets circulating in Port-au-Prince last week left little to the imagination," reported the November 27, 1964, edition of the American newsweekly Time. "'Dr. Francois Duvalier will fulfill his sacrosanct mission. He has crushed and will always crush the attempts of the opposition. Think well, renegades. Here is the fate awaiting you and your kind.'"
All artists, writers among them, have several stories — one might call them creation myths — that haunt and obsess them. This is one of mine. I don't even remember when I first heard about it. I feel as though I have always known it, having filled in the curiosity driven details through photographs, newspaper and magazine articles, books, and films as I have gotten older.
Like many a creation myth, aside from its heartrending clash of life and death, homeland and exile, the execution of Marcel Numa and Louis Drouin involves a disobeyed directive from a higher authority and a brutal punishment as a result. If we think back to the biggest creation myth of all, the world's very first people, Adam and eve, disobeyed the superior being that fashioned them out of chaos, defying God's order not to eat what must have been the world's most desirable apple. Adam and eve were then banished from eden, resulting in everything from our having to punch a clock to spending many long, painful hours giving birth.
The order given to Adam and eve was not to eat the apple. Their ultimate punishment was banishment, exile from paradise. We, the storytellers of the world, ought to be more grateful than most that banishment, rather than execution, was chosen for Adam and eve, for had they been executed, there would never have been another story told, no stories to pass on.
In his play caligula, Albert camus, from whom I borrow part of the title of this essay, has caligula, the third Roman emperor, declare that it doesn't matter whether one is exiled or executed, but it is much more important that caligula has the power to choose. even before they were executed, Marcel Numa and Louis Drouin had already been exiled. As young men, they had fled Haiti with their parents when Papa Doc Duvalier had come to power in 1957 and had immediately targeted for arrest all his detractors and resistors in the city of poets and elsewhere.
Marcel Numa and Louis Drouin had made new lives for themselves, becoming productive young immigrants in the United States. In addition to his army and finance experience, Louis Drouin was said to have been a good writer and the communications director of Jeune Haiti. In the United States, he contributed to a Haitian political journal called Lambi. Marcel Numa was from a family of writers. One of his male relatives, Nono Numa, had adapted the seventeenth-century French playwright Pierre corneille's Le cid, placing it in a Haitian setting. Many of the young men Numa and Drouin joined with to form Jeune Haiti had had fathers killed by Papa Doc Duvalier, and had returned, Lecid and Hamlet-like, to revenge them.
Like most creation myths, this one too exists beyond the scope of my own life, yet it still feels present, even urgent. Marcel Numa and Louis Drouin were patriots who died so that other Haitians could live. They were also immigrants, like me. Yet, they had abandoned comfortable lives in the United States and sacrificed themselves for the homeland. One of the first things the despot Duvalier tried to take away from them was the mythic element of their stories. In the propaganda preceding their execution, he labeled them not Haitian, but foreign rebels, good for nothing blans.
Excerpted from Create Dangerously: The Immigrant Artist at Work... by Edwidge Danticat. Copyright 2010 by Edwidge Danticat. Excerpted by permission of Princeton University Press.
WE ARE UGLY, BUT WE ARE HERE
By Edwidge Danticat
The Caribbean Writer, Volume 10 (1996)
One of the first people murdered on our land was a queen. Her name was Anacaona and she was an Arawak Indian. She was a poet, dancer, and even a painter. She ruled over the western part of an island so lush and green that the Arawaks called it Ayiti land of high. When the Spaniards came from across the sea to look for gold, Anacaona was one of their first victims. She was raped and killed and her village pillaged in a tradition of ongoing cruelty and atrocity. Anacaona's land is now the poorest country in the Western hemisphere, a place of continuous political unrest. Thus, for some, it is easy to forget that this land was the first Black Republic, home to the first people of African descent to uproot slavery and create an independent nation in 1804.
I was born under Haiti's dictatorial Duvalier regime. When I was four, my parents left Haiti to seek a better life in the United States. I must admit that their motives were more economic that political. But as anyone who knows Haiti will tell you, economics and politics are very intrinsically related in Haiti. Who is in power determines to a great extent whether or not people will eat.
I am twenty six years old now and have spent more than half of my life in the United States. My most vivid memories of Haiti involve incidents that represent the general situation there. In Haiti, there are a lot of "blackouts," sudden power failures. At those times, you can't read or study or watch TV, so you sit around a candle and listen to stories from the elders in the house. My grandmother was an old country woman who always felt dis- placed in the city of Port-au-Prince where we lived and had nothing but her patched-up quilts and her stories to console her. She was the one who told me about Anacaona. I used to share a room with her. I was in the room when she died. She was over a hundred years old. She died with her eyes wide open and I was the one who closed her eyes. I still miss the countless mystical stories that she told us. However, I accepted her death very easily because in Haiti death was always around us.
As a little girl, I attended more than my share of funerals. My uncle and legal guardian was a Baptist minister and his family was expected to attend every funeral he presided over. I went to all the funerals he presided over. I went to all the funerals in the same white lace dress. Perhaps it was because I attended so many funerals that I have such a strong feeling that death is not the end, that the people we bury are going off to live somewhere else. But at the same time, they will always be hovering around to watch over us and guide us through our journeys.
When I was eight, my uncle' s brother-in-law went on a long journey to cut cane in the Dominican Republic. He came back, deathly ill. I remember his wife twirling feathers inside his nostrils and rubbing black pepper on his upper lip to make him sneeze. She strongly believed that if he sneezed, he would live. At night, it was my job to watch the sky above the house for signs of falling stars. In Haitian folklore, when a star falls out of the sky, it means someone will die. A star did fall out of the sky and he did die.
I have memories of Jean Claude "Baby Doc" Duvalier and his wife, racing by in their Mercedes Benz and throwing money out of the window to the very poor children in our neighborhood. The children nearly killed each other trying to catch a coin or a glimpse of Baby Doc. One Christmas, they announced on the radio that the first lady, Baby Doc's wife, was giving away free toys at the Palace. My cousins and I went and were nearly killed in the mob of children who flooded the palace lawns.
All of this now brings many questions buzzing to my head. Where was really my place in all of this? What was my grandmother's place? What is the legacy of the daughters of Anacaona? What do we all have left to remember, the daughters of Haiti?
Watching the news reports, it is often hard to tell whether there are real living and breathing women in conflict-stricken places like Haiti. The evening news broadcasts only allow us a brief glimpse of presidential coups, rejected boat people, and sabotaged elections. The women's stories never manage to make the front page. However they do exist.
I know women who, when the soldiers came to their homes in Haiti, would tell their daughters to lie still and play dead. I once met a woman whose sister was shot in her pregnant stomach because she was wearing a t-shirt with an "anti-military image." I know a mother who was arrested and beaten for working with a pro-democracy group. Her body remains laced with scars where the soldiers put out their cigarettes on her flesh. At night, this woman still smells the ashes of the cigarette butts that were stuffed lit inside her nostrils. In the same jail cell, she watched as paramilitary "attaches" raped her fourteen-year-old daughter at gun point.
Then mother and daughter took a tiny boat to the United States, the mother had no idea that her daughter was pregnant. Nor did she know that the child had gotten the HIV virus from one of the paramilitary men who had raped her. The grandchild the offspring of the rape was named Anacaona, after the queen, because that family of women is from the same region where Anacaona was murdered. The infant Anacaona has a face which no longer shows any trace of indigenous blood; however, her story echoes back to the first flow of blood on a land that has seen much more than its share.
There is a Haitian saying which might upset the aesthetic images of most women. Nou led, Nou la, it says. We are ugly, but we are here. Like the modesty that is somewhat common in Haitian culture, this saying makes a deeper claim for poor Haitian women than maintaining beauty, be it skin deep or otherwise. For most of us, what is worth celebrating is the fact that we are here, that we against all the odds exist. To the women who might greet each other with this saying when they meet along the countryside, the very essence of life lies in survival. It is always worth reminding our sisters that we have lived yet another day to answer the roll call of an often painful and very difficult life. It is in this spirit that to this day a woman remembers to name her child Anacaona, a name which resonates both the splendor and agony of a past that haunts so many women.
When they were enslaved, our foremothers believed that when they died their spirits would return to Africa, most specifically to a peaceful land we call Guinin, where gods and goddesses live. The women who came before me were women who spoke half of one language and half another. They spoke the French and Spanish of their captors mixed in with their own African language. These women seemed to be speaking in tongue when they prayed to their old gods, the ancient African spirits. Even though they were afraid that their old deities would no longer understand them, they invented a new language our Creole patois with which to describe their new surroundings, a language from which colorful phrases blossomed to fit the desperate circumstances. When these women greeted each other, they found themselves speaking in codes.
How are we today, Sister?
-I am ugly, but I am here.
These days, many of my sisters are greeting each other away from the homelands where they first learned to speak in tongues. Many have made it to other shores, after traveling endless miles on the high seas, on rickety boats that almost took their lives. Two years ago, a mother jumped into the sea when she discovered that her baby daughter had died in her arms on a journey which they had hoped would take them to a brighter future. Mother and child, they sank to the bottom of an ocean which already holds millions of souls from the middle passage the holocaust of the slave trade that is our legacy. That woman's sacrifice moved then-deposed Haitian President Jean Bertrand Aristide to the brink of tears. However, like the rest of us, he took comfort in the past sacrifices that were made for all of us, so that we could be here.
The past is full of examples when our foremothers and forefathers showed such deep trust in the sea that they would jump off slave ships and let the waves embrace them. They too believed that the sea was the beginning and the end of all things, the road to freedom and their entrance to Guinin. These women have been part of the very construction of my being ever since I was a little girl. Women like my grandmother who had taught me the story of Anacaona, the queen.
My grandmother believed that if a life is lost, then another one springs up replanted somewhere else, the next life even stronger than the last. She believed that no one really dies as long as someone remembers, someone who will acknowledge that this person had in spite of everything been here. We are part of an endless circle, the daughters of Anacaona. We have stumbled, but have not fallen. We are ill-favored, but we still endure. Every once in a while, we must scream this as far as the wind can carry our voices: We are ugly, but we are here! And here to stay.
Edwidge Danticat, from Haiti, published Krik? Krak (1995) and Breath, Eyes, Memory (1995). She won a Pushcart Prize for a story in the Caribbean Writer in 1994 and also was a recipient of the Canute A. Brodhurst Prize for fiction.