Showing posts with label Mariska Taylor-Darko. Show all posts
Showing posts with label Mariska Taylor-Darko. Show all posts

The Pen Is Mightier Than The Sword - Mariska Taylor-Darko

We all know that the pen is mightier than the sword,
But some days ago the sword thought it was mightier than the pen
They lie bad!
The pen is mightier than the sword!

Long after the ra ta tat tat of the guns have echoed away,
The ink from the pen will stay,
The words from the mighty oak will never fade away
The pen is mightier than the sword!

Long after we've forgotten the names of those who wielded the axe,
Long after their names disappear from memory,
The name Awoonor will stay,
The discharges of ink from his pen will remain etched in everyone's minds
His death will open a gateway for others to do what they love
What they feel and what they desire - to be storytellers.

The lie the idiots tried to feed us no go hold
The randomness of their sword chose a wrong victim
Because as long as we live, as long as we breathe, as long as we read,
Our storyteller will live on.

The pen is mightier than the sword,
Professor Kofi Awoonor, your last days were spent storytelling and creating
But your last day was not really your last day,
But an ascendancy into another realm of storytellers long gone.
They lie bad!
Truly, the pen is mightier than the sword.

They lie bad!
Long live the pen of Kofi Awoonor.



Mariska Taylor-Darko is a regular contributor to One Ghana, One Voice

This poem is part of our series of poems in memory of Kofi Awoonor. You can learn more about Awoonor and the series
here.


From the Archives: Harmattan don come again ooooooh - Mariska Taylor-Darko


Cracked lips
Not good for a kiss

Split heels
Not good for the sheets

Dry skin
Not good for man

Static Hair
Not good for the comb

Dry white dust
Not good for the houseproud

Icy nostrils
Very good for shea butter

A hot bowl of light soup
Just right for the insides

Harmattan! Na wa ooooh



Old poems at OGOV don't die, but live on in our archives! Every once in a while we will dust one off for our newer readers to enjoy. "Harmattan don come again ooooooh" was orginally published on OGOV on March 20th, 2010.

Author Profile - Mariska Taylor-Darko

Biography:

Born in Manchester, England in 1956, Mariska attended Holy Child Secondary School in Cape Coast and St. Mary's Secondary School, Mamprobi, Accra. She then returned to the UK and attended Beresford College of English and Commerce, Margate, Kent and later Harrow College of Further Education, Harrow, Middlesex. She has a PhD in Life.

She has two sons, Niinoi and Kwame. She is a motivational speaker, poet, writer, beautician, fire walker and lover of jazz, blues, reggae and old time highlife.


Five Questions with Mariska Taylor-Darko:

1. Your wish came true this year and the Harmattan did not come! How do you feel about this?

I missed the Harmattan. I was looking forward to the cool weather after the heat and I think we had one day where it threatened after some heavy rains and we said, "It's coming oooooo." Alas it never happened and it made me realize that climate change was really affecting us.


2. When you were a child, did you have similar feelings about the Harmattan, or have your feelings changed as you've aged?

When I was a child I didn't like it as much as I do now. I hated having shea butter or cocoa butter smeared over me and I had nosebleeds when the dryness came.


3. This is a very playful poem. Is there something about the Harmattan that draws that playfulness out of you?

The sight of people in Ghana, a warm place with an average of 35 degrees, wearing thick winter jackets and cardigans with ashy white lips always made me smile. I called it "Ghanaian Winter." Just the change in people's mannerisms and the Fan Ice sellers trying to convince you that its not harmful to eat frozen yoghurt while the biting wind was going through your bones!


4. What drew you to writing this poem in short-lined couplets? It seems to be a popular style these days amongst Ghanaian writers.

I wrote in short-lined couplet because that is how it came to me.


5. Is there anything new going on in your life/writing that you'd like to share with our readers? [Editor's Note: This interview was conducted in March 2010]

Still looking for a reasonable priced publisher for my three completed books.



Contact Mariska:

Email: mariska.taylor(at)gmail.com
Alternate Email: arabataylord(at)yahoo.co.uk
Websites: African Woman's Poetry, Mariska's MySpace Page

The Seashore - Mariska Taylor-Darko


Sitting by the seashore when dusk was setting in
And the tide ebbing out
Was a peaceful moment for me.
The sand was damp between my toes.

I could still feel the warmth occasionally
When the wind stilled and all I could hear was
The water gently slapping the rocks besides me.

The sky was red, orange, blue and gray,
A combination that was wonderful to see.
The gulls flew low on their way home
And the boats had their sails down, gently sailing
In no particular hurry to get back, or so it seemed.

The thoughts I had then were peaceful ones.
I sat and absorbed the beauty around me.

The crabs and seaweed seemed intertwined and moved in unison,
One going sideways of its own free will
The other, having no will of its own,
Was rolled about with the rolling sea.

Every grain of sand told a story of one's life

The ups and downs,
The joy and sadness,
But it was the feel of the sand between my toes

That I would have loved to have as the feel
Of life in my hands,
Smooth,
Flowing gently with no obstacles
And just the breeze to slightly change
Its direction before landing and joining
The sand beneath my feet.

Author Profile - Mariska Taylor-Darko

Biography:

Born in Manchester, England in 1956, Mariska attended Holy Child Secondary School in Cape Coast and St. Mary's Secondary School, Mamprobi, Accra. She then returned to the UK and attended Beresford College of English and Commerce, Margate, Kent and later Harrow College of Further Education, Harrow, Middlesex. She has a PhD in Life.

She has two sons, Niinoi and Kwame. She is a motivational speaker, poet, writer, beautician, fire walker and lover of jazz, blues, reggae and old time highlife.


Five Questions with Mariska Taylor-Darko:

1. This poem ends with the beautiful image of the speaker pouring sand on their feet. Did you write this poem while on the beach, or soon after, or did you draw it up from memory?

I wrote this from memory not long after being at the beach.


2. In what locations do you find poems most often "come to you"? Here I don't mean the writing/editing process, but the burst of inspiration, the new idea...


No particular location. It's more likely to be from events I've attended or taken part in.


3. Your last poem on our site, "The Deer Hunt", was the subject of an essay by Dela Bobobee as part of our "How Poems Work" series. How did this make you feel? Did you see the poem in new or different ways afterward?

I must admit that I was proud of myself. I never thought a poem that I wrote straight from the heart could give so much information (to the point that it could be used as an educational piece), and that someone with Dela Bobobee's experience would find so much to write about the poem. I respect the poem more now and visualize it being used to help others understand poetry.


4. Hard to believe, but it's been almost four years since your first poem, "Sway", appeared on OGOV. How do you think your writing has changed in the four years you've been contributing to OGOV?

I find I am more critical of myself and at the same time more confident that others would enjoy what I write. I am proud to belong to such a talented group because I know I can only get better.


5. In the same sense as the last question, how do you think the poetry community in Ghana has changed in the last four years?

The poetry community has grown wings... So many reading and performing groups springing up, more youth interested in poetry, more willing to accept criticism and more women coming out to give performances. Even corporate bodies are sponsoring events that have poets on the programmes. It can only get better.


Contact Mariska:

Email: mariska.taylor(at)gmail.com
Alternate Email: arabataylord(at)yahoo.co.uk
Websites: African Woman's Poetry, Mariska's MySpace Page

Favourite Poems of 2010

Readers' Picks:

TRƆTRƆ by Kwadwo Kwarteng (Issue 4.3, January 16th - 22nd, 2010)
Comments on TRƆTRƆ:

"I love the way Kwadwo Kwarteng explored sounds to paint a vivid picture in the mind of readers, about an experience most of us have witnessed! Whoever reads the poem can imagine what to expect in the "Trotro" on any day." - Oteng Owusu

"Kwarteng has the potential/ability of breathing life into each sound - be it chaotic or serene. And the life-span [of the poem] is long and enduring in the ears of those who cherish rhythm."
- Darko Antwi

Silence by Samuel Adjei Ntow (Issue 4.8, February 20th - 26th, 2010)
Comments on Silence:

"With a very good command of the English language, and the highest order of figurative speech, Ntow uses the trance-like Silence to express both the interior and exterior relationship between a social organism and its environment." - Darko Antwi

"This is a good work. Indeed these [things] do happen through the night in Ghanaian settings and for Ntow to have captured the details in his work makes it wonderful. Well done." - Nana Agyemang Ofosu

The Deer Hunt by Mariska Taylor-Darko (Issue 4.38, September 25th - October 1st, 2010)
Comments on The Deer Hunt:

"I chose this poem based on three broad categories: 1. Its descriptive screenplay quality, appropriate POV and clever use of imagery, 2. Its socio-cultural significance, and 3. Its potential as a reference point in literature books for educational purposes."
- Dela Bobobee (Read Dela's essay on The Deer Hunt here)

"This title stands the chance of being a key literature in any modern Ghanaian collection of cultural importance." - Darko Antwi



Staff Picks:

Swear Note by L.S. Mensah
(Issue 4.29, July 17th - 23rd, 2010)
Comments on Swear Note:

"I love this piece because it addresses a serious and emotional issue in our modern society using various figures of speech and animations that put your mind to work and make you visualize the brutal activities that women under trokosi go through. I am sure any women's organisation would love to use this piece for advocacy" - Julian Adomako-Gyimah

"L.S. Mensah's use of the specular is apt for the theme of mirrors in this poem. She uses the same words in reverse structure to capture an ancient African saying: "if you point at a person with your index finger, remember the rest are pointing at you."" - Prince Mensah

old dust made new by Daniela Elza (Issue 4.11, March 13th - 19th, 2010)
Comments on old dust made new:

"Daniela uses spaces to create a sparse landscape and a staccato of varied emotions in a poem that captures Harmattan in all its glory and grimness. " - Prince Mensah

"I personally haven't experienced Harmattan for a while and this piece brings back memories, particularly of when I was a kid and had little control about the damage that this season caused our hands and lips. Great work. " - Julian Adomako-Gyimah


The Burial of Saint Domeabra by Darko Antwi (Issue 4.36, September 11th - 17th, 2010)
Comment on The Burial of Saint Domeabra:

"Poet and critic Darko Antwi delivers a loaded sermon in his poem about transience. More hidden is his indictment of culture in playing games with a person's reputation. Darko's poem is international in reach, even though it is local in description. "The Burial of Saint Domeabra" is a palatable piece of work: it contains an array of food for thought." - Prince Mensah

How Poems Work #2 - Dela Bobobee on Mariska Taylor-Darko's "The Deer Hunt"

The following is the second installment in our "How Poems Work" series. This series aims to give OGOV readers and poets an opportunity to talk about some of their favourite poems previously featured on the site.  Mariska Taylor-Darko's "The Deer Hunt" initially appeared on our site on September 25th, 2010, and can be read in full here.


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History of the Aboatyer Festival

The poem “The Deer Hunt” showcases the Aboatyer Festival of the people of Winneba. Like most every other festival in Ghana in particular, and Africa in general, the tenacity of the people of Winneba to their indigenous mores is highly commendable.

It is arguable that all African festivals based on rituals are underlain by an attempt to appease or conciliate somebody or something supreme (a deity). This is also known as propitiation, and it is the historical motivation for the Aboatyer Festival. In this case, the Otuano royal house, which is the custodian of the paramount stool of the Effutu state, observed this ritual once in a year. It is believed that in the past during periods of difficulty; the sons and daughters of Gyarteh Gyan Penyin and their descendants were greatly supported by a deity called Otu. History has it that in their quest for a suitable place of abode, they were guided by the deity on a long, tortuous and windy trail through forests and across rivers, down to their present location. In appreciation, a ritual sacrifice was made, which was meant not only as an act of gratitude but also as a consecration of the deity to renew its powers. At a particular time of the year, the people offered propitiation and sanctify the deity and its sons (the lesser gods) with human sacrifices. But as time went by the human sacrifices were replaced by the “wansan” (deer).

Parading Prior to the Hunt
Nowadays, active preparation towards the festival starts soon after the Easter holidays. Since 1965 the date has been permanently fixed for the first Saturday in the month of May. The Asafo companies consult their shrines for clearance, protection and early catch during the week preceding the festival day. The Tuafo invoke their gods on Wednesday and Thursday whiles the Dentsefo invoke theirs during the week apart from these two days. The gods are invoked indoors between noon and sunset. On Friday, the day proceeding the hunting day, both Asafo companies parade through the town on some selected streets.

The capture of a live deer needs many hands and hence the involvement of the militia or “Asafo” hunters’ groups. It was from this point on that the annual sanctification and appeasement became a public affair. The “Asafo” in Winneba was developed from the local militia initially established by King Bondze Abe. This later became the Tuafo “Asafo” No.1 company. Later his successor and son created the Dense “Safe” No.2 company. It is recognized that the creation of the second Asafo company began the competition and rivalry between the Asafo companies. The competitive spirit made each group eager to bring home the first catch which the needed for the annual sacrifice. This was what gave birth to the Deer Hunt or “Aboatyer” festival.


Themes

Based on the general festive depiction of this poem, there can be several levels of interpretations in terms of the contemporary significance of holding fast to one’s cultural heritage. But in my opinion there are some other equally important themes surrounding the uniqueness of Aboatyer Festival in itself.
 
At first glance, the thematic preoccupation of the poet would appear to be a simple showcase of one of the most popular festivals in Ghana, by using the point of view of a child narrator. This would perhaps easily mislead the reader to regard it as only an occasion of great fun and childish fascination recollected from the nostalgic memoirs of a Ghanaian poet who has left the shores of her native country at a tender age. But in terms of the real cultural significance of the Aboatyer Festival of the people of Winneba, the cogent themes derived are the adaptation of ancient rituals based on compassionate grounds as ethical tenets of humanity, freedom and justice. There are also the themes of reunion and royalty (the significance of the particular family house of the narrator being chosen as the ceremonial converging point for preparation, for the hunters to wear their gears and get ready for the task ahead, and the women to cook for the feast; perhaps means that the narrator comes from a regal lineage of some sort). The poem’s third stanza also showcases to the world and the uninitiated some mouth-watering typical Ghanaian delicacies which bring some thrilling gustatory images to the reader’s mind.

Hunter's Regalia Adorned with Ammunition Cartridge Casings
As we can all rightly affirm from the backdrop of its antecedence, facts reveal that the previous ritual of human sacrifice associated with this festival has been completely erased and successfully replaced with the symbolic sacred deer that must be caught live without the use of weapons. Yes, this goes a long way to say that society is dynamic and so from time to time it reviews and adjusts its cultural practices to reflect its evolving humane ideals. In other words, the poem has entrenched within it the universal theme of human compassion. This also demonstrates that not all of our indigenous African mores or traditions are fetish and heathen as others unfamiliar with our socio-cultural inclinations would make us to believe. The deer represents a redeeming status in terms of a human life, just like the ram replaced Isaac as an object of sacrifice in the biblical account of Abraham’s obedience to God’s directives. Other significant themes of the poem include hunting prowess, heroism, unity, peaceful coexistence, harmony, the adherence and preservation of the rich cultural heritage of the traditional African people.


Point of View

One of the most magical elements of this poem is the fact that the ceremony being showcased is narrated through the point of view of a child. For this, I give Mariska a plus for exceptional artistry and an apt choice of point of view. Her choice of a child narrator gives the poem a peculiar tone of good cheer, simplicity and festivity. The imagery created by the words of the child narrator evoke an atmosphere that is a mixture of tension, relief and celebration.


The Clever Use of Imagery

Perhaps what makes the poem “The Deer Hunt” exceptional is the clever use imagery, the pictures the poet paints in the mind of the reader.  Imagery in poetry is what the words of the poem make the reader 'see' in their imagination. It is the colours, sounds, and sometimes feelings evoked by the poem. Mariska’s smart use of imagery intensifies the impact of the words of her poem as she “shows” us with her words, rather than just “telling” us what she feels. To put the matter concisely: imagery is the content of thought, where attention is directed to sensory qualities: mental images, figures of speech and embodiments of non-discursive truth.

Psychologists identify seven kinds of mental images — those of sight, sound, taste, smell, touch, bodily awareness and muscular tension.  All these imageries are available to poets, and are used by poets, though rarely to the same extent as Mariska uses them. The effects Mariska achieves are various. She uses imagery to externalize thought, create mood and atmosphere, develop plot, and increase dramatic effects by abrupt changes in imagery. She achieves all this in a very clever way. Let me use an example to explain this. When I mention the effect achieved to develop plot or increase dramatic effect by abrupt changes in imagery, I mean that the poet gives a surprise attack on our emotions: all along she makes us think something different but at the last minute she quickly switches imagery to show us a different scenario. Well, that is what I call clever, isn’t it?

In stanza two, the poet created the imagery of warfare and gore in the reader’s mind:

Dawn was creeping in when the hunters assembled.
They gathered around in their hunting clothes
With sticks, guns, cutlasses, bows and arrows
Looking fierce and frightening
To a young child like me.

What are the images of combat, gore, violence, bloodshed, death, etc? They are sticks, guns, cutlasses, bows and arrows. But the surprise comes at the end –  “Did our men catch the elusive deer!”  Yes, they did. The men “caught” the elusive deer – live (without recourse to any of the kind of weapons listed).

The men came jogging with branches so green
The deer held high looked frightened with big eyes so brown

Perhaps we can rightly compare this clever use of imagery to this short poem, written by Robert Herrick in the 17th century, as it provides us with a very good example:

Here a pretty baby lies
Sung asleep with lullabies:
Pray be silent and not stir
Th' easy earth that covers her.

In the first three lines, the reader is made to believe that the speaker is describing a sleeping baby. But at the fourth line, this understanding is shaken. The baby is covered, not by a blanket, but by earth. That is, the baby is dead.  This realization can produce a sharp emotional reaction, an almost physical pang. And this effect on the reader is the "work" that this "machine of words" is designed to do. Although this poem is not humorous, its "mechanism" is akin to that of most jokes: a sudden alteration of perspective produces an immediate and visceral response.

Other literary techniques, such as metaphor, simile, allegory, personification, metonymy (attribute for whole) and synecdoche (part for whole), all involve imagery. Often the things compared are both images, but one of them may also be a feeling or concept. For example, in stanza nine, apart from gustatory imagery in the first sentence below, which other type of imagery is used in both quotes?

Lick our lips and act like scattered chicks” 

“With their sticks shaped like little whips,”

Simile: a figure of speech in which one thing is compared to another, typically using the word “like” or “as”.  The playful children portrayed in a party mood are being likened to chicks, and their busy mothers lashed out with sticks when the children went near the food.

It should be noted that while Mariska makes frequent use of the various types of imagery mentioned above, she also made sure she does not overuse them. How does she achieve that? She avoids employing any unnecessary clichés that might weaken the overall effect. The imagery comes naturally, and aptly achieves the intended effects.


Conclusions

The Hero of the Day
In the poem “The Deer Hunt”, Mariska paints pictures in the reader’s mind through the use of literary techniques, simple descriptions and a vivid narrative. As shown above we can see that in her use of imagery in the poem, the poet has been very careful not to mix metaphors too wantonly. Shakespeare did that, but we all know that fashions change because society is not static but dynamic. The overall intended effect is brilliantly achieved. How? She uses images that are new-struck and rich. 

Today, the Aboatyer Festival of Winneba can truly be regarded as one of the most popular and spectacular festivals in Ghana in terms of the ever increasing number of tourists that throng yearly to witness it. It is my hope that Mariska Taylor-Darko’s poem “The Deer Hunt” will go a long way in helping to also give the deserved publicity and exposure of the festival beyond the shores of Ghana. On the symbolic level it represents other themes which can be regarded as more complex. The circumstances surrounding the symbol of “wansan” (the Deer) is socio-cultural in nature, an ancient ritual of propitiation as deep as the mystery of earth itself.


References:
1.       Del Tufo, J. P. (1965) What is Poetry? Publication Office: Ateneo de Manila University. 
2.       Drew, E. H. (1933) Discovering Poetry. New York: W.W. Norton & Co., Inc. 
3.       Louise Bogan, The Pleasures of Formal Poetry, in Reginald Gibbons (ed.), The Poet’s Work: 29 Poets On The Origins And Practice Of Their Art (Chicago and London: University of Chicago Press, 1979

The photographs used in this essay are by Kofi Nyan Amoako of Winneba, and are used by permission of the photographer. 


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Dela Bobobee is a frequent contributor to OGOV. You can read more of his work here.

The Deer Hunt - Mariska Taylor-Darko

The night before the deer hunt
There was excitement in the house.
We stood upstairs looking down onto the courtyard
While men and women went in and out,
Sweat pouring off their brows.

This was my family house,
The meeting place where all the hunters came to prepare,
Fixing their hunting gear and choosing what to wear,
Where women came to cook and where the elders assembled
To perform their ancient rituals
Not written down in any book.

Sleep would elude us that night.
We sat up eating plantain and groundnuts,
White corn dough, hot pepper and shrimps
Slices of sugar cane pulled between our teeth,
Drinking cold minerals while the men had their beers
And something that made them spit.

Dawn was creeping in when the hunters assembled.
They gathered around in their hunting clothes
With sticks, guns, cutlasses, bows and arrows
Looking fierce and frightening
To a young child like me.

The noise and drums and shouts
And scraping of metal on the cement floor
Sent shivers up my spine.
Then suddenly they left,
Marching and shouting out of the yard,
The women standing behind.
Then silence!

A different kind of noise arose,
Women laughing, cooking, sweeping,
Children running around playing, shouting
Trying to get pieces of food when mothers were not looking.
Throughout their work they waited to hear
Did our men catch the elusive deer!

For us the children it was now one big party,
The smells going out into the yard made us
Lick our lips and act like scattered chicks,
Our mothers lashed out when we went near the food
With their sticks shaped like little whips,
But we had no fear the men were not here,
What could our mothers do when their hands were full
With pots and pans and other things too

Time was getting on and all were anxious,
The silence became like the calm before the storm.

A distant shout, the trampling of feet,
The drumming and shouting swept us off the ground.

The men came jogging with branches so green
The deer held high looked frightened with big eyes so brown.

Our colours raised high,
Our men danced full of life.
The women gave shouts in the yard:
We were first! We caught it first!
Good luck will be with us the next year!
We all rushed out and followed the crowd
To the chief’s palace to claim our reward

Now the festival gun was fired,
The hunt was over, the men looked tired.
But this was the beginning for us,
Our Company had won!
There were now so many festivities to be done
Throughout the day we were full of cheer
Going in and out of each others houses
While the men sat around and drank beer

We the children started to doze
As the night brought things to a close.

Author Profile - Mariska Taylor-Darko

Biography:

Born in Manchester, England in 1956, Mariska attended Holy Child Secondary School in Cape Coast and St. Mary's Secondary School, Mamprobi, Accra. She then returned to the UK and attended Beresford College of English and Commerce, Margate, Kent and later Harrow College of Further Education, Harrow, Middlesex. She has a PhD in Life.

She has two sons, Niinoi and Kwame. She is a motivational speaker, poet, writer, beautician, fire walker and lover of jazz, blues, reggae and old time highlife.


Five Questions with Mariska Taylor-Darko:

1. Having grown up in England, did you have the opportunity to witness the festival as a child? If so, how, and if not, why did you choose to write the poem from a child's perspective?

I grew up in England and when I was about six went to Ghana to continue my education there until I took my O'levels. I travelled between families across the globe so I did get to witness the festival first hand and I did observe it from the family house in Winneba. It was a must for all of us to go to the festival - not just for that day but for the three to four days around the festival. I saw it about three times because my Mum wanted us to know our roots, meet family and appreciate where we came from.


2. In the past we have discussed your series of poems on the negative aspects of Ghanaian traditions. Was this poem an outcome of that process - perhaps a counterpoint to the negative poems?

Actually I never thought of this poem as being a counterpoint to the negative poems I just write what I experience be it good or bad, negative or positive. I have had some wonderful positive experiences and these will be published too.


3. This poem could easily have been written as a short prose piece. What inspired you to write it as a poem?

The affair of the heart of the poet: you do what comes to you and if you start editing and changing structure and form you don't get the original feeling, so I wrote it as I poured forth.


4. You close the poem with a rhyming couplet, much like a Shakespearean sonnet. Were you thinking of the Shakespearean sonnet when coming up with that ending?

Not really. I was just doing my thing and it sounded right. I wanted it to end in a fun way, the same way we felt on that day.


5. You snapped the photo that serves as our header for OGOV in 2010. Can you tell us a bit about the photo - where it was taken, and what about it inspired you to send it in to us?

The photo was taken at a friends art gallery (Kofi and Helen) in a lovely restaurant and guest house situated in Accra. The name of the place is Afia Gallery and it is right next to MUSIGA and near the Art Centre. They have wonderful food, scenery and crafts. I just loved the way it was carved, the feel of the wood, and the theme - and took the picture. I thought it would make a good header... apparently I was right. I used a basic Fuji camera and took at at dusk, hence the shadows.



Contact Mariska:

Email: mariska.taylor(at)gmail.com
Alternate Email: arabataylord(at)yahoo.co.uk
Websites: African Woman's Poetry, Mariska's MySpace Page

Harmattan don come again ooooooh - Mariska Taylor-Darko


Cracked lips
Not good for a kiss

Split heels
Not good for the sheets

Dry skin
Not good for man

Static Hair
Not good for the comb

Dry white dust
Not good for the houseproud

Icy nostrils
Very good for shea butter

A hot bowl of light soup
Just right for the insides

Harmattan! Na wa ooooh



"Harmattan don come again ooooooh" is the third of our series of poems on the Harmattan. New entries will be posted each week, and collected here.

Author Profile - Mariska Taylor-Darko

Biography:

Born in Manchester, England in 1956, Mariska attended Holy Child Secondary School in Cape Coast and St. Mary's Secondary School, Mamprobi, Accra. She then returned to the UK and attended Beresford College of English and Commerce, Margate, Kent and later Harrow College of Further Education, Harrow, Middlesex. She has a PhD in Life.

She has two sons, Niinoi and Kwame. She is a motivational speaker, poet, writer, beautician, fire walker and lover of jazz, blues, reggae and old time highlife.


Five Questions with Mariska Taylor-Darko:

1. Your wish came true this year and the Harmattan did not come! How do you feel about this?

I missed the Harmattan. I was looking forward to the cool weather after the heat and I think we had one day where it threatened after some heavy rains and we said, "It's coming oooooo." Alas it never happened and it made me realize that climate change was really affecting us.


2. When you were a child, did you have similar feelings about the Harmattan, or have your feelings changed as you've aged?

When I was a child I didn't like it as much as I do now. I hated having shea butter or cocoa butter smeared over me and I had nosebleeds when the dryness came.


3. This is a very playful poem. Is there something about the Harmattan that draws that playfulness out of you?

The sight of people in Ghana, a warm place with an average of 35 degrees, wearing thick winter jackets and cardigans with ashy white lips always made me smile. I called it "Ghanaian Winter." Just the change in people's mannerisms and the Fan Ice sellers trying to convince you that its not harmful to eat frozen yoghurt while the biting wind was going through your bones!


4. What drew you to writing this poem in short-lined couplets? It seems to be a popular style these days amongst Ghanaian writers.

I wrote in short-lined couplet because that is how it came to me.


5. Is there anything new going on in your life/writing that you'd like to share with our readers?

Still looking for a reasonable priced publisher for my three completed books.



Contact Mariska:

Email: mariska.taylor(at)gmail.com
Alternate Email: arabataylord(at)yahoo.co.uk
Websites: African Woman's Poetry, Mariska's MySpace Page

New Look

Per OGOV tradition, a new year means a new template. We hope you enjoy it, and if not, don't worry: it will be replaced in 12 months!

Thanks to Mariska Taylor-Darko (pictured here) for providing the header photo (more of Mariska's photos and poems can be seen on her blog). If you'd like to submit photos for consideration for next year's header, please check our Submissions Guidelines.

Here's to a great 2010!

After the Storm - Mariska Taylor-Darko


It is dawn and all is still,
The smell of settled dust and washed leaves fills the air.
The sky, once dark and threatening, turns blue.
The birds sing and chickens cluck over upturned food.
When the storm came, all was lost,
Nothing seemed right,
No movement was heard in the night except the beating of rain on every
surface, like drums beating the war cry.
All night long the rain came down, the once welcomed trickle turned into a nasty storm.
What was once beautiful turned into a nightmare
It was a great storm, a turbulent time that one thought would never end
Everything changed the day my heart died
Eyes lost their sparkle,
Smiles disappeared,
Laughter stopped,
Happiness faded into a distance.
The dull ache stayed permanently just below the womb
Now the storm was over,
The calm that followed was a shock.
The effects of the storm showed in various ways:
Things that were up-rooted were things that were washed away.
Others were destroyed
Some so far gone that there was no repair.
Others like the seeds just floated along, settled and started to flourish.
The strong became stronger.
The rays of light touched the heart, melting away all fear,
The terror that once held one captive disappeared
What was the purpose of the storm? We will never know,
But out of it all came a certain understanding,
A certain peace, a certain calm, a certain strength
And determination to go on and on and on.

Author Profile - Mariska Taylor-Darko

Biography:

Born in Manchester, England in 1956, Mariska attended Holy Child Secondary School in Cape Coast and St. Mary's Secondary School, Mamprobi, Accra. She then returned to the UK and attended Beresford College of English and Commerce, Margate, Kent and later Harrow College of Further Education, Harrow, Middlesex. She has a PhD in Life.

She has two sons, Niinoi and Kwame. She is a motivational speaker, poet, writer, beautician, fire walker and lover of jazz, blues, reggae and old time highlife.


Five Questions with Mariska Taylor-Darko:

1. Did this poem come to you immediately during or after a storm, or were the images pulled from memory?

The poem actually came after the storm "the loss of my husband". I think it was about two months after the event and these words just came to me.


2. A major theme of this poem is dealing with living in a state of uncertainty and unknowing: "What was the purpose of the storm? We will never know". For you, how much of the process of writing a poem is about becoming comfortable with a state of unknown - being comfortable with not knowing where the poem comes from or where it is going?

The poem is a catharsis - a cleansing process. I am sure most will agree that healing comes through different mediums.


3. You participated in Laban Hill's video archive project, reading your poem "I Love Ghana". How did you find that experience, and how do you believe we can best use such an archive to promote Ghanaian poetry?

First of all I must say Laban Hill is a very approachable person and I am sure he made many nervous poets relax. The experience was a learning one - How to read in public in all situations - my chair kept swinging the wrong way and we just continued filming. If it is publicised more, and promoted more, other poets around the world will come to appreciate what Ghana has to offer which is a lot. If possible there should be a follow up. The film should not be "archived"!


4. In a recent Roundtable Discussion on how poets can contribute to peaceful election, you noted: "Poets in Ghana do not have a strong voice yet but what we can do is talk about peace and corruption during recitals." "After the Storm" seems to me to comment on a number of elements of life, including politics, in an allegorical way. This is a strong contrast to last week's poem by Julian Adomako-Gyimah, which deals with its issues very directly. When it comes to Ghanaian poets spreading a messsage about "peace and corruption", which strategy - the more direct or the more metaphorical - do you think is more productive?

Both ways are productive. You can touch different people in different ways. Some may find the more direct approach a bit threatening - like disturbing their comfort zone while others who are more militant may love it. Likewise the more sensative ones would like a more subtle indirect approach while hitting the nail on the head.


5. In your last profile, you noted that you were working on "a series of poems on certain negative aspects of tradition". Have you been making progress on this? Have you been finding any resistance from people who don't want you discussing difficult or taboo subjects?

I have written a couple more but I must say getting some people to talk about certain experiences was hard, more so with the elderly women, and I had to keep reassuring them that i would not mention their names. It is not going to be an easy task. It seems like it is a taboo to talk about about taboos.


Contact Mariska:

Email: mariska.taylor(at)gmail.com
Alternate Email: arabataylord(at)yahoo.co.uk
Websites: African Woman's Poetry, Mariska's MySpace Page

Favourite Poems of 2008

Readers' Picks:

Dry Season in Eremon by Edith Faalong (Issue 2.39, September 27th - October 3rd, 2008)
Comments on Dry Season in Eremon:

"First it makes me miss Ghana. It also brings to mind a poem by Kwesi Brew titled The Dry Season. Most important, it evokes the Harmattan, my favourite season. Despite the hardships, dry seasons evoke cycles and returns, and everyone is assured that something better is on the way." - L.S. Mensah

"It brings back fond memories of my visit to extended family members at James Town."
- Giles Kangberee

"Beautiful and touching." - Reggie Kyere


A Flake of Rain by L.S. Mensah (Issue 2.46, November 15th - 21st, 2008)
Comments on A Flake of Rain:

"I love the poem. The use of repetitive words is very effective. It has a sacred mood that immediately demands contemplation of who and where we are as Africans. I must add, however, that it contains a universality that is emphereal. Congrats, L.S Mensah." - Prince Mensah

"The use of metaphor and imagery is well done. It produces a direct and intended affect. It is as crafted as the wooden masks the poet speaks of." - Benjamin Nardolilli

Anansesem by Emma Akuffo (Issue 2.42, October 18th - 24th, 2008)
Comment on Anansesem:

"There are so many wonderful poems that have been published this year on One Ghana, One Voice. But since I have to choose one, it has to be Emma Akuffo's "Anansesem." Her first two lines are some of the best I've ever read. I so want to have lived in this time when a spider ruled the world."
- Laban Hill


Staff Picks:

Without Roots by Edith Faalong
(Issue 2.1, January 5th - 11th, 2008)
Comment on Without Roots:

"My favourite poem for 2008 is Without Roots by Edith Faalong. My goodness, what a splendid way to have begun the year. Edith is so original that I can only ask why she is waiting on her writing career. The tone and themes of this poem captivated me from the first line: 'through the journey i rode behind the jolting bus and reminisced.' The nostalgic essence of Edith's poem is applicable to everyone who misses the land of their birth. I miss Ghana very much and Edith's poem is a time machine for my imagination. Her concluding line:'where does a girl without roots go?' summarizes the sense of loss when you try to reconnect to memories of people and places that no longer exist." - Prince Mensah


Ananse's Grave by Kae Sun (Issue 2.41, October 11th - 17th, 2008)
Comment on Ananse's Grave:

"Kae Sun is an incredibly talented writer and performer, and this is the finest of his poems that I have encountered to date. His efficiency with words and his effective use of rhyme, especially slant rhyme, are truly admirable. The poem rises off the page like a song, but a more adult and sophisticated song than the songs of youth. Add on top of that a powerful message, emphasised so strongly in the closing line, and you have one of the most compelling poems we've published to date." - Rob Taylor


Mother's Touch by Mariska Taylor-Darko (Issue 2.31, August 2nd - 8th, 2008)
Comment on Mother's Touch:

"Mother's Touch deals with a very "touchy" Ghanaian issue: witchcraft and women. It goes to the root cause of our society's readiness to blame whatever is wrong with us upon those who care the most about us. Our lack of commitment to our own goals, together with our willingness to give up, cannot be foisted on our mothers in the name of witchcraft. Mariska's ultimate challenge is for people to own up to their own mistakes. A splendid use of prose poetry!" - Prince Mensah


My Mother's Heart by Reggie Kyere (Issue 2.19, May 10th - 16th, 2008)
Comment on My Mother's Heart:

"A 21 year old writer with little training, Reggie's work shows a formidable amount of intelligence and skill. Reggie knows how to make a poem - how to build his readers up and then send them to the floor, astonished. "Some women love once," he says, then leaves us hanging at the enjambment before landing the closing line "they confess." Wow. Everyone at OGOV is excited to see what will come from him in the future." - Rob Taylor

OGOV Roundtable Discussion #4 - Poetry and Election 2008

Our fourth Roundtable Discussion is focused on the intersection of poetry and politics, more specifically on how poets can influence this year's and future Ghanaian elections. This discussion was moderated by Julian Adomako-Gyimah, and features Vida Ayitah, Prince Mensah, Martin Pieterson, and Mariska Taylor-Darko, and was moderated by Edith Faalong.

After you are done reading, please be sure to use the comment section to join the conversation yourself - and may you have a peaceful, celebratory election day on Sunday, regardless of who you cast your vote for.



Julian Adomako-Gyimah:

As poets, what can we do to ensure a peaceful election in Ghana? How do we work to eliminate corruption, as this is a key to peace during elections?


Prince Mensah:


There is little we can do. However, we can draw attention to the elections by using tech tools such as YouTube and SoundLantern to broadcast our poetry.

The Greek philosopher Epictetus said, 'You know yourself what you are worth in your own eyes; and at what price you will sell yourself. For men sell themselves at various prices.' Many are the books, articles and essays written about corruption but it continues to permeate global politics. Corruption is an abuse of good will and office. We cannot erase this blight amidst the nagging socio-economic divide between rich and poor. Poverty pushes people to put aside their principles. Survival is the essence of human actions.

It is often said that a country's psyche is showcased in the kind of leaders it elects to power. If Ghana wants accountability and probity, we have enough noble men and women to embark on a cleansing of the body politic. However, corruption will go on if good people choose to do nothing. The secret to the eradication of corruption is the adequate pay for workers. If people are paid well, the government can attain the moral right to put people behind bars for corruption. Aside from that, it is a sore that will continue to spread.


Mariska Taylor-Darko:

Poets in Ghana do not have a strong voice yet but what we can do is talk about peace and corruption during recitals. I was at the Bless the Mic launching and two of the young poets actually handled these topics and the response from the audience was great. We can but try to get the message across by writing and reading on the subject.

We as a country should pick leaders who have a conscience and who think of the nation rather than themselves. So far, since independence we have not had any leaders who have proved themselves worthy of the job.

Corruption is like cancer, it needs aggressive treatment to be eradicated and we seem to be far from achieving that just yet.


Martin Pieterson:

During times like this, we, as poets, should all write to promote peace. Our writings during periods like this should talk about the beauty of our country (our rich history and culture, our hospitable attitude, our great resources etc.) and the need not to destroy it. We could refer to other countries that have had their beauty destroyed through elections and thus sensitize people about the need for us not to follow the same route. We should also in our writing urge all political parties to work together in peace to ensure a peaceful transition into a new democratic era. We should remind them that the success or failure of the election depends to a large extent on them so in challenging each other care must be taken not to exceed certain boundaries which could lead to war or disturbances. If possible, poets could come together to organise recital evenings which will focus on the theme talked about above.

Talking about corruption, our writings during this period could appeal to the incumbent leaders to deal with it. But on an ordinary day or a period other than an election period, I think we should be radical with it. We should write to expose any form of it.

Let us therefore begin to write for peace especially at this time.


Julian:

Martin, you do make a point about us being radical with issues such as corruption.We need to put Ghana first before any political party.

Brilliant idea re: "the YouTube concept" etc, but how do we make this medium known to the populace and the poetry fraternity?


Martin:

Yeah, we should be radical with corruption but in this election period. I would prefer appealing to our incumbent leaders to deal with the problem when they take their positions. I think we should publicize our poems on the elections so as to reach a very wide audience.


Vida Ayitah:


In my knowledge, it is only recently that interest is being given to poetry. There are, have always been, lots of small pocket book stories available for purchase in nearly every street in Ghana. And the public actually buys that. But how many, or how often do we see poetry booklets on the market? They say poetry does not sell. But here we are trying to reach the people through poetry.

For starters we as poet have to invest funds into this project if our focus really is to get to the people. In this regards, maybe we should consider this: raising funds to publish a small book of collective poems that will be available in the streets of Ghana.

Then also, the educational sector has to get involved. We could try appealing to the school authorities to invest a little more in the art, letting the young minds realise that poetry is more than just a romantic notion. It is only then that we can begin to expect people, the youth of today, to realize and understand the importance of poetry. Growing up in the village and attending the local school, I had no means of knowing the existence of this art. Then I finally got my hand on a poetry book and it was by a foreign author; Robert Browning. As writers, our duty does not end with our creativity. We have to go the extra mile of putting our works into the hands of the people. As much as students are being encouraged to read stories and novels, let us also inform them that poetry can as well be informative and educative. So, all I am saying is, let the educational sector get involved. In the long term, this will be beneficial, a fine way of sending out messages to both the young and old.

Too late to start? I do not think so. Three years from now a leader in public office will reach for a poetry book and get the message that we are here today trying to send across.

In this same regard, if we are trying to be have our voices heard, then we should also try to speak the simple language of the ordinary person. Fancy words and big terminologies may look good on paper and sound interesting to the ear but our goal is not to show the public how good we are with words or highly educated we are. We are trying to make people understand the value of poetry and the importance of the message it carries. So, let us speak the language that everyone understands.

This idea of posting stuff on YouTube may be good for reaching people that actually have available access to the internet. How many Ghanaians go online in a day? The office people? Yes. But are those our only - main target? What about the market women? Pupils in towns and villages? The farmer whose only means of getting the news is from the newspapers and the local radio stations? YouTube is as useful to them as a vacuum cleaner is to a family of five living in a hut in the village, with no electricity. If we are here trying to inform the ordinary Ghanaian on the necessity of peaceful election, then we have to get to them through the medium that is actually available to them. After all, the ordinary Ghanaian makes up the majority of the populace.

The "Daily Graphic" currently features poets and poems in its pages every day. This is proof enough that the reading public is ready to embrace the art and give it considerable attention. Perhaps then, we should get in touch with those other poets and invite them to join our course.

That will be the best thing we can do at this moment. In time, with the collaboration of these other writers on home ground who are able to get themselves into the pages of the newspapers, we can plan a bigger move ahead. The greater our number, the more feasible the idea of TV, Radio and recitals will be.

I hope I've not managed to sound discouraging here, but the fact still remains: we need a plan that works. So far there has been a great number of positive postings on OGOV. This is really good. But here it comes again: the average person does not know of our existence. In much the same way that the founders were able to organize and run this, to this successful stage, shouldn't we also try other avenues of getting our message across? If we really want to take our campaign further, let us then get the dailies on our side. Let us have them allocate space for us in their pages so our message to the people, get to the people.

Corruption indeed, is like cancer, as Mariska pointed out. But unlike cancer, there is no hope of corruption ever being cured. As long as there is a government, corruption stays. All we can do is let our leaders know that the people are aware of what is going on. Let us give them a conscience. Nudge them in the ribs and say we are not blinded to their actions. Trying to turn our political leaders into good, pure-hearted beings is folly.


Mariska:

Go Girl! Vida has said most of what I was feeling but not expressing. If we cannot touch the leaders in 2008 then we could start with the young ones in school now. Volunteering to read poetry to them even once a week (pick a school of your choice), even once a month, could enlighten them to the beauty of poetry and then when they grow up the voice of the poet would not be ignored. These are my thoughts on how to build peace and unity during elections - start with the young as it's quite late for 2008.

As for this year’s election, I am hoping that the peace we had during the previous elections would repeat itself again. At present Ghana is held in high esteem with regards to peaceful elections and handing over from one political party to the other, unlike our neighbouring countries, and for it to happen again would seal the belief that we are peaceful and democratic people. It would bring both financial and social interest into the country.

As poets we can only continue to make people aware by our writings and hopefully it will hit the point. We are a peace loving people and should not let the bad elements turn us off track.

I wish you all a peaceful 7th December 2008.


Prince:

It is my hope that Ghanaians realize that the error of voting for the wrong party is a mistake that exists for four more years. As poets, our hands are tied from making explicit commentaries on who and what is the best for Ghana. What I know is that we can encourage our countrymen to exercise their democratic rights with respect and reciprocity towards divergent ideas. This is the essence of poetry; to illustrate the fact that opposites can exist in complete coherence. Ghana is a beacon of hope, in politics and civics in Africa. We cannot allow that distinction to morph into nonchalance. Our relationship with democracy is an on-going process that should not be halted for any reason, major or myopic.

Roundtable Discussion #3 - Ghanaian Women Writers

In this, our third Roundtable Discussion here at OGOV, we are focusing on the unique perspective brought to the writing community by African women writers. This discussion features Emma Akuffo, Vida Ayitah and Mariska Taylor-Darko, and was moderated by Edith Faalong. After you are done reading, please be sure to use the comment section to join the conversation yourself!


Do you feel there are certain attributes women writers bring to their craft that are unique and necessary for telling the story of Ghana, or is gender not a factor?


Edith Faalong:

Personally, I believe women bring more to the table in all spheres of life. Just this morning I was watching a North African movie where there was friction between men and women due to inequality. At the end of the day however, it ended by acknowledging the disparity between the role and status of women in society, but sounded that it will never change!

I say that the extent of this disparity is determined by society. Gender is and will always be determined by society. But in this writing field, the issue of gender does not matter much. Yet women have a broader and richer coverage of emotion than their male counterparts. Their writings especially when it comes to social issues, are hence denser and more specific.

Lets take a book like Une Si Longue Lettre by Mariama Bâ. It recounts the personal narrative of a recently widowed Senegalese woman, Ramatoulaye, in the form of a letter to her best friend from childhood. Following the death of her husband, Ramatoulaye writes to her friend during the period of mourning mandated by her Islamic faith. It goes on to expose the trials of women in the typical African society. I say that a man would not have done as much justice to this story. As a woman born and raised in such a society, Mariama Bâ is able to pull readers to feel what the main characters feel.

Lets also consider the works of Ama Ata Aidoo, Efua Sutherland, or our very own Mariska Taylor-Darko and Emma Akuffo, and we will understand that women bring certain attributes to writing that are unique and indispensable in telling the African and for that matter, the Ghanaian story.


Emma Akuffo:


I agree with Edith. Women are generally more intuitive, more sensitive and more inquisitive than men. We tend to focus on detail whilst men tend to look at the bigger picture. It's nice to see on OGOV that we have captured and blended these gender differences quite nicely!


Edith:

Exactly. The emotions women bring to writing are dense and run too deep to ignore.


Mariska Taylor-Darko:

I also agree. Men tend to focus on the technical side of writing, whereas women tend to write what is in their hearts and I think that tends to have a greater impact on the reader. Sometimes I find it difficult to understand a poem after the first reading because of the elaborate and technical language used by the writer and these often seem to happen when reading male poetry (sorry guys!). I even heard one man comment that I did not have symbolism in my poems and that I was too direct and he went on and on about stanzas and all that. Excuse me, but poetry is an affair of the heart. It is to be read and understood at a glance, not to be analysed and theorised about.


Vida Ayitah:

Good point there, Mariska! A man once commented that I tend to be too "moralistic" in my poems. A kind of executioner thing, he said. But come on! If men can write about cars and call it a genuine "boy thing" why cant women write flowery, flowing girl-poems that speak of and defend their sisters? And yes, poetry is meant to be beautiful and easy, not some math equation to be analysed and brooded over for weeks. Without female writers, this whole world will be one sad grey slate.



Why has Ghanaian writing historically been so male dominated?



Edith:

Honestly I do not have a definite conclusion on this. I however think that Ghanaian writing has been historically male dominated because, in earlier years, the African writer was reacting to strong and sometimes violent social issues which our women were not encouraged to meddle in. It's in actuality a world phenomenon as it applies to early Rome and other modern countries, as well.

Education and socialisation also plays a role in writing and our women were well inadequately prepared in both areas. How then could they put their natural intelligence and sentiments into words? We realise that the advent of gender development and equality coincided with the emergence of the most well known female writers in our world today. I believe men dominated the writing scene because women were not given the opportunity to break in.


Mariska:

Ghanaian writing has been male dominated in the past because to be honest women were relegated to the kitchen and bringing up kids and learning home science, etc. The woman's voice was and is powerful and yet was stifled. Instead of listening to it, people concentrated on what the "learned" men had to say. There is a group in London called "Find your Voice" and I think that is what Ghanaian women are doing today.


Vida:

Honestly, I do not know why Ghanaian writing has been historically so male dominated. Maybe writing had been considered as some kind of "sport" that only the men could participate in. Or it was deemed unfit for women to venture out of the kitchen and waste valuable time on something like that. Don't forget though, that girl-child education had also been strongly opposed around that time, and even the most talented and gifted women do need some form of formal education to express their thoughts.

But I agree with Edith that in earlier times the African writer was reacting rather strongly and violently to social issues and women, as I suppose we all know, are said to be the demure type. But then again, maybe the world just never expected women to be so darn intelligent.


Emma:

We should encourage our girls, through word and deed to aim higher than is expected culturally. They should grow up with the mindset that nothing is impossible if they work hard and are determined. I think it is also a social class issue. The poorer, less literate, families will not prioritise education and may actively discourage girls from pursuing education to a significant level. Therefore, we must not forget to reach out/communicate to these less visible parts of our society. Certain traditions remain but there should me some means of compromise.


Edith:

True talking, Emma. It's all about what we put into the spirit from infancy. Encouragement always goes a long way. Nothing beats the gift planted in the mind, so that should be the target. We can infuse this into our writings from time to time.


Vida:

While I agree with both Emma and Edith, I must also say that from infancy, children should be taught self-reliance. I do not speak for everyone, but from my own family and close friends, I realize that we tend to believe and expect too many miracles. The old saying still rules: that God helps those who help themselves.

We have to, as a people, learn to fight and stay focused on what we want. We must learn to invest the appropriate time and effort into achieving our goals, not spend nights and nights in churches praying and thinking that things are going to happen just because we believe.

Life is no bed of roses, anyone who dreams of being successful must accept the plain fact that opposition is all around. It may come from within or outside. All I am saying is, childhood, for many, is difficult, but this does not mean we're bound to fail. Let us believe that as a people with abilities, we are meant to succeed no matter our background or history. All it takes is hard work. Then more hard work.

Mother's Touch - Mariska Taylor-Darko

In the village compound which
was cleanly swept and tidy,
a compound not easily accessible by road,
a group of old women sat huddled together.
Sticks and pipes jutted out of their mouths
which occasionally moved in unison.
A sigh here and a look to the sky there.
Some sat with their chins in their palms,
a look of sadness about them,
they spoke:

"This is the time that I should
be with my sons and their wives,
with my daughters, and their husbands.
My children should be looking after me now,
after all the blood, sweat and tears
that I shed for many days and nights
in their time of illness,
their time of pain,
their time of sorrow.

"I felt pain when they were born,
but it was such sweet pain when I looked
into the faces of the new life that I had borne,
I felt joy when they were growing up
and happiness when they became adults,
I felt pain when they left home to set up their new lives
but joy when they came to visit, sitting and laughing
while they enjoyed their mother's cooking,
I felt pain when they were going through difficulties,
but joy when they overcame their hurdles.

"Now I sit alone,
some stranger, a prophet, in the name of religion,
put their struggles and problems on my head –
"Your mother is a witch, she wants to destroy you"
Just because I am old, a widow, helpless and defenseless,
just because my poverty and suffering is drawn on my face,
I am the scourge of my village.
Would I destroy my life?
Life that came out of me?
I may have lost my youth but not my mind.

"Now I don't see my children,
don't know some of my grandchildren,
my husband's family don't remember me.
There is a pain that never goes,
it just stays there in the heart, in the womb,
and gradually eats away at life itself -
oh the pain.

"When I die it will be too late
for anyone to say "I am sorry,"
But I continue to love my children,
I continue to feel them in my arms,
I continue to see their laughter and joy,
I continue to live for the day
when I would be called "Maame" again -
Aye! The pain.

"Old men don't get called witches,
they just marry younger women and continue with life.
What is it that women do wrong in their lives?
Maybe they love and care too much,
maybe they sacrifice too much,
feel too much."

One day, someone somewhere will weep,
because they can no longer get back
that mother's touch, that mother's love,
that mother's smile -
oh the pain.

Author Profile - Mariska Taylor-Darko

Biography:

Born in Manchester, England in 1956, Mariska attended Holy Child Secondary School in Cape Coast and St. Mary's Secondary School, Mamprobi, Accra. She then returned to the UK and attended Beresford College of English and Commerce, Margate, Kent and later Harrow College of Further Education, Harrow, Middlesex. She has a PhD in Life.

She has two sons, Niinoi and Kwame. She is a motivational speaker, poet, writer, beautician, fire walker and lover of jazz, blues, reggae and old time highlife.


Five Questions with Mariska Taylor-Darko:

1. Do you think that poetry can provide a voice for the voiceless, even though most of the most disenfranchised people in Ghana cannot read or write? If so, how?

Spoken word touches all. Poetry can be read by the educated and for the disenfranchised can be narrated either in English or in the local dialects. When a poet uses this form of communication they cover all areas so no one is left out.


2. What share of the plight of grandmothers do you think has to do with sexism (i.e. the fact that they are women) and what share has to do with ageism (i.e. the fact that they are elderly)? How do you think these factors interact to worsen the position of the women you speak of?

I would say 40% for sexism. 30%, for ageism and 30% for being uneducated. I don't think I can say more than that the cocktail of the three definitely makes life hard and worsens their plight.


3. In a recent profile of Vida Ayitah I mentioned that I viewed her as a "poet of witness" - observing and recounting the stories of the people, especially the underprivileged. I think such a title could apply to you, as well - especially when considering this poem. Is being a "witness" a conscious goal for you when you write?

Being a "poet of witness" is not my main intention but whenever I see or observe something that touches me and especially when the voiceless cannot stand up for themselves, I just get the urge to write about it. The words flow easily because I have the photographic image already imprinted in my mind. Like Vida I would say that sensitivity is within us. Thank you for the title.


4. In your last profile, you noted how frustrated you are with the slow movement of Universities in leading the rebirth of poetry in Ghana, and noted that, "I think the present poets should be the ones to play a central role. The freelancers, the untrained and the lover of poetry and verse are very important, too." What are your suggestions for how the "present poets", such as yourself, can take the lead?

During our forum many suggestions were raised and discussed and all of them good. My intention is to set up a poetry-open mic night in my area and I have started putting out "feelers", i.e the venue, the availability of a P.A. System etc. It takes time but I am determined to get it going. So this is my way of taking the lead and not waiting for the Universities. My dream is for the TV and radio Stations to have section for poetry from known and unknown readers and narrators in English and all dialects.


5. Have you embarked on any new writing projects lately? If so, what?

I am still working on my book and have started writing a series of poems on certain negative aspects of tradition. I'm sure to step on peoples toes but what must be said must be said. The truth hurts. But then we also say "the truth shall set you free."


Contact Mariska:

Email: mariska.taylor(at)gmail.com
Alternate Email: arabataylord(at)yahoo.co.uk
Websites: African Woman's Poetry, Mariska's MySpace Page

Overseas - Mariska Taylor-Darko

From an early age we hear the phrase,
"When you grow up you should do well
and then you could go overseas."

What is this overseas that we hear so much about?
Those who come from there seem to have so much money to spend,
they buy cars and build houses,
but, in the end, do they tell the truth about this overseas?

From morning to night, if you are lucky,
you get to work like a stupid monkey,
you are at their beck and call,
afraid of losing that bad job at all,
because the next one would be harder to get
because your skin is not the right shade, or your
words don't sound right or you just don't fit.

No time to rest, no time to play,
no time to see your children,
no time
no money to send, but you do it anyway,
after all what would your friends and family say?

You are lucky, You have a permit,
hell is for those who don't,
dodging police, and sleeping on friend's floors,
when there are guests around you are sent outdoors.
Finding all means to marry a woman to stay,
a woman who will make hell a better place to be.

After many years when you finally get settled,
someone dear to you dies over the seas from where you came,
you take a bank loan; make the trip, and come back home,
and the cycle starts again.

They think you are rich, you pay the bills,
you smile and laugh but you know the
hell you will go back to when the plane lands
overseas.

The bills are waiting for you,
the debt collector is on your door,
a delayed plane means no job.
You owe more than when you came
and yet people here look with envy.
When you fly away on a plane,
to the place of their dreams…..
overseas.