In the spring and summer of 1858, 600 blacks moved from San Francisco to the colonies that would eventually become British Columbia. The move was in part initiated by an invitation penned by the governor of the British colonies, James Douglas, who is commonly believed to have had African ancestry, a rumour he neither confirmed nor denied. His appearance was such that he could "pass" for white. By 1871, after swelling to over 1,000, the Black population in BC had dwindled to fewer than 500. But in the late 19th century, and on into the twentieth, Blacks continued to come to BC From the time of the first arrivals, the population and history of BC's Black community has been always in flux. If there is a unifying characteristic of black identity in BC, it is surely the talent for reinvention and for pioneering new versions of traditional identities that such conditions demand. And in all this time, BC's Black citizens created poems and stories and lyrics. Some were written, others spoken. "Bluesprint" is a groundbreaking, first-time collection of this creative output, and includes the work of such individuals as: Rebecca Gibbs, Nora Hendrix (grandmother to Jimi), Austin Phillips, Rosemary Brown, Yvonne Brown, Hope Anderson, Lorena Gale, Mercedes Baines, David Nandi Odhiambo, and many others dealing with issues surrounding race, community, gender, and genre. From the literal writings of James Douglas, a figure whose "Blackness" can only be construed from rumour and speculation, through to the contemporary hip hop lyrics of Rascalz, and including the work of poets, journalists, letter writers, biographers, fiction writers, and speech givers, "Bluesprint" is a comprehensive anthology of literature and orature by black British Columbians.
"Written from the perspective of someone who was born and lives outside of African American culture, it riffs on the concept of Canada as a promised land (or "Canaan") encoded in African American myth and song since the days of slavery. These varied essays, steeped in a kind of history rarely written about, explore the language of racial misrecognition (also known as "passing"), the failure of urban renewal, humor as a counterweight to "official" multiculturalism, the poetics of hip hop turntablism, and the impact of the Obama phenomenon on the way we speak about race itself."--Provided by publisher.
Shortlisted for the Dorothy Livesay Poetry Prize. Now in its 2nd printing. "Wayde Compton's first poetry book: a stunning set of poems documenting the migration of blacks to Canada, specifically when the first black settlers-facing an increasingly hostile racist government-left San Francisco and travelled north to British Columbia beginning in 1858. With recurring themes of the unknowable, the crossroads, the trickster, and entropy, 49th Parallel Psalm jumbles history, time, and the Canadian black literary canon." (From publisher description)
"In 'Performance Bond', Wayde Compton, among the most progressive and experimental poets in Canada, defiantly and eloquently confronts the globalization and commodification of black culture. With poetry inspired by the insistent cadences of hip-hop and jazz, Compton fuses language, history, and contemporary black politics. He deals with black diaspora at the outer rim of geography and culture, concerned with the legacy of the slave trade, the memory and origins of hip-hop, and the ramifications of urban renewal on North America's inner cities. Performance Bond, is supplemented with a CD that is a recording of Compton's musical performance of one of the book's sections, "The Reinventing Wheel," featuring the turntable mixing of his reading of the poem, prerecorded on vinyl, with musical beats, breaks, and samples." (From publisher description).
