Author Archives: Susan Brigham

About Susan Brigham

Susan (Susie) M. Brigham is a mother of two young daughters, with whom she loves to travel around the world. She is a voracious reader and wishes she had more time to do creative writing and art. She is Professor in the Faculty of Education at Mount Saint Vincent University, and a board member of the Delmore “Buddy” Daye Learning Institute (DBDLI). Susie has conducted research and presented her work in Africa, Asia, Europe, the Caribbean, and North America. She has published several books, numerous chapters, and peer-reviewed journal articles.

A Message from DBDLI (June 2020)

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On May 25, 2020, in Minneapolis, USA, George Floyd was videoed being brutality asphyxiated by a police officer kneeling on his neck for nearly nine minutes while no one stopped the horror. Two days later in Toronto, Ontario, Regis Korchinski-Paquet was killed falling from a balcony; she had been with police in her apartment after her mother called 911 out of concern for her daughter’s health. These are only two of far too many incidences of anti-Black racism that have led many of us to feel overwhelmed with disgust, frustration, despair, trauma, pain, fear, and anger.

Persistent state violence against Black people and systemic anti-Black racism in our workplaces, communities, and institutions here in Canada and around the world underscore the urgent need for change. It also highlights the need for an amplification of Black voices, perspectives, and stories.

In the time of a global pandemic and the resurgence of the Black Lives Matter movement, people of all backgrounds are seeking and listening more carefully for Black counter-stories. We are craving the rhythm of poetry, looking for the respite that visual art can offer, and yearning for the familiar sounds of African Nova Scotian voices of every timbre to help us feel we are not alone. In these pages, you will find breathing spaces and resonance. You will be reminded that we are “bound together with threads of compassion” (Wanda Robson), that we can critically hope to “build more capacity to find the courage to give back, despite the adversities we face” (Wanda Thomas Bernard), and that we do indeed “belong to a crowd that would not negate your very existence” (Késa Munroe Anderson).

As a board member of the Delmore “Buddy” Daye Learning Institute (DBDLI) and Chair of the Alexa McDonough Institute for Women, Gender and Social Justice, which partners with Understorey Magazine, I thank the talented women featured in this edition. The contributors—young and old, aspiring and seasoned—express their stories through art, poetry, and essays, covering such topics as critical hope, healing, home, racism, exclusion, body-image, family, loss, and beauty.

I also want to express my appreciation for all those who enabled the contributors to share their creativity in a beautiful and accessible way. Thanks to Katherine Barrett, Editor-in-Chief of Understorey Magazine, for her unwavering commitment to providing a platform for women and girls to express their stories and for her foresight for this special edition. Thank you Lindsay Ruck for guest-editing this outstanding edition. The DBDLI, which is committed to advancing Africentric education, is proud to have collaborated with Understorey Magazine and fund the print edition and the re-issuing of this edition at this critical time.

Remember: “Your truth is powerful” (Guyleigh Johnson).

Please enjoy and share this brilliant “African Nova Scotian Women” publication.

Island Girl

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Everyone in their Sunday best for ship day on the wharf, she boards a fishing boat that reeks of diesel and rotting tuna. The slapping waves. Her parents’ reluctant blessing. The boat bobs out to meet the Southampton Castle—a looming ship of solid metal that reaches from the black depths to the steely sky. She is pulled up the gang plank and lifted aboard by a sympathetic man who pats her arm. Chin up, lovey.

For sixteen nights she sleeps fitfully in her berth, the contents of her stomach rolling like the ocean. Always on the harsh edge of seasickness but never turning down the elegant evening feasts of foods so savoury, so sweet and thick, she sometimes weeps, though she isn’t sure if it’s the delicacies or the sharp memories of her beloved donkey or her stern Mum.

In a homemade cotton dress, a matching crocheted skull cap on her frizzy black curls, billowing panties of flour sacking, and her too tight slip-on shoes, she finds herself on the docks in the country of the new young Queen. Unsteady on her legs, her inner ears sure she is still at sea, she bids farewell to the other young women, each scattering toward waiting cars.

A tall chauffeur with a white moustache calls her by name in an accent she has only heard on the BBC. In one proficient move, he takes her nearly empty canvas satchel from her shoulder while opening the back door to the purring Rolls Royce. Her first car ride.

Embarrassed that she doesn’t know how to get in, she crouches to a squat before stepping one foot at a time into the car, kneeling on the floor and raising herself up onto the seat, sliding cautiously backward against the soft leather.

Taffeta Apron by Deborah Stephan

Greenery, tall brick buildings, vehicles of all sizes, pale-faced people with grim expressions. All this whizzes by at a speed she has never known possible. A brooding watercolour painting, a haze, a mist, then darkness.

Hours later, the car slows and turns past a gatehouse with warm yellow lights in the windows. And then, in sudden silence, they float up an impossibly long driveway to a brick mansion and into the glaring brightness of electric bulbs.

Clattering, deafening clattering. Three flights up narrow wooden steps, led by a busty woman with a mouth that moves nonstop, rearranging itself under a bulbous nose. She is finally deposited into a room with a ghostly white iron headboard and a flat feather pillow. Cold white sheets and a lilac counterpain. The smell of a new country, of wind and dampness and strange soap. A slosh of warm tea fills the saucer as she bends her face over the steam and squeezes her eyes shut.

In this house, she will learn the workings of indoor plumbing, Hoovers, and specialized polishes. She is given two maid’s uniforms—a day uniform of blue and white gingham and an evening uniform of black and white with a lace-trimmed cap—soft underwear, a pair of sensible black leather shoes that almost fit. Eventually, she will earn a winter coat of Navy blue wool and shiny buttons.

Slowly, she settles in, becomes less homesick, makes friends with the cooks, the governess, another maid, the gardeners, and tries hard to speak as poshly as she can but only when she isn’t too tired to remember. She stands out in the village, the only black girl, and at the post office where she buys stamps and mails carefully wrapped brown paper parcels.

She is welcomed into the church, though congregants turn in surprise as she sings with strong faith and conviction from the back pew the familiar hymns and recites the Apostles’ Creed in her best articulation.

I believe in the Holy Spirit
the holy Catholic Church,
the communion of saints,
the forgiveness of sins,
the resurrection of the body,
and life everlasting. Amen

They remember her birthdays with a leather-bound Bible, pages crisp as onion skins. A box of blue “Avion” writing paper and a heavy Cross pen. And in her third and final year with them, a coveted transistor radio.

She knows her place as a servant yet she marvels at her four pounds a week. Twice as much as her dad earns in the flax mill back home.

The wonder of it. Life. Everlasting. Amen.