In Another Place, Not Here

In Another Place, Not Here

by Dionne Brand

View All Available Formats & Editions

Acclaimed by Adrienne Rich as "fierce, sensuous . . . a work of great beauty and moral imagination," In Another Place, Not Here tells of two contemporary Caribbean women who find brief refuge in each other on an island in the midst of political uprising. Elizete, dreaming of running to another place to escape the harshness of her daily life on the island, meets


Acclaimed by Adrienne Rich as "fierce, sensuous . . . a work of great beauty and moral imagination," In Another Place, Not Here tells of two contemporary Caribbean women who find brief refuge in each other on an island in the midst of political uprising. Elizete, dreaming of running to another place to escape the harshness of her daily life on the island, meets Verlia, an urban woman in constant flight who has returned to her island birthplace with hopes of revolution. Their tumultuous story moves between city and island, past and future, fantasy and reality.

Editorial Reviews
Dionne Brand's recently published novel, In Another Place, Not Here, is the gently written debut by a Trinidad-born writer, who manages to create nirvana for two Caribbean women. The women, Elizete and Verila, each come from myriad and murky pasts. Says Elizete, "I never wanted nothing big from the world." Elizete professes her love for Verila early in the book. In writing about homosexuality and African-American women, or in this case Caribbean women, Brand has ventured into new territory for African-American readers.
Glenn Townes
In Another Place, Not Here is a splendid debut by a poet and essays turned novelist. . . Although Brand's book may not become as enormously successful as those of her contemporary predecessors, her novel is certainly worthy of critical praise and recognition. Among other things, readers will enjoy the humility and sensitivity found within [the book]. -- Quarterly Black Review
Publishers Weekly - Publisher's Weekly
Two worlds collide in this intense, sensuous first novel from a filmmaker, poet and essayist who was born in Trinidad and now lives in Canada. Both of the worlds are familiar to Caribbean-Americans: the verdant lushness of the islands, and the large but claustrophobic North American cities that beckon and ultimately disillusion the immigrants who try to make new homes in them. The narrator of the first part of the novel, Elizete, ekes out a miserable existence as a sugarcane cutter on the island of Trinidad. Little has changed for these laborers since the harsh days of sugar plantations. When Verlia, a cosmopolitan Marxist, returns to the island to organize the field hands and spread the word of her Black Power Movement, she captivates Elizete's imaginationand her heart. As the two women become lovers, Elizete's passion for the natural world complements Verlia's vocation as an activist. Verlia narrates the second part of the novel, which chronicles the painful years she endured as an immigrant in Toronto. Brand's faithfulness to island dialect sometimes distracts from the sensuous descriptions and simple politics of her tale. But she evokes the privations of island life and captures the loneliness and constant fear of deportation that define the islanders' immigrant experience; the assimilation of blacks into white culture and the consequent fear of losing their core identities; the camaraderie among the socialist "sisters and brothers." In her hands, the melding of Elizete's dreams and Verlia's fierce pragmatism achieve a powerful resonance. Foreign rights: Women's Press; performance rights: Bukowski Agency. (Oct.)
Library Journal
Elizete lives on an unnamed Caribbean island and has worked the cane fields from morning to night for as long as she can remember. Given to a virtual stranger by a birth-family that could not bear another mouth to feed, she has had a life of hardship and deprivation mediated by occasional small kindnesses. Verlia, another Caribbean-born woman, fled the islands for Canada at 17 and has spent 18 years among left-wing activists hoping to foment social change. Both women share profound feelings of dislocation and disillusion, and for a brief instantwhen Verlia travels to Elizete's island to participate in an incipient revolutionary effortthe two find solace in each other. While the novel follows a jagged course that delves into the tormented souls of both characters, its plot is less compelling than its poetic, dream-filled musings. Brand, a Trinidad-born filmmaker and writer living in Canada, has written a masterful, if nonlinear, expos about Caribbean poverty, cultural displacement, and human need. Both haunting and beautiful, this is recommended for most collections.Eleanor J. Bader, New Sch. for Social Research, New York
NY Times Book Review
A first novel, passionately attentive to nuance, that explores the transit between the Caribbean and North America through a love affair between two women.
Kirkus Reviews
A first novel from Trinidadian-born Brand, now living in Canada, that's more prose poem than conventional fiction, unevenly evoking the relationship of two Caribbean women caught up in a revolution.

The account of Elizete and Verlia's meeting, their love, and their tragic parting is told in sections that are an uneasy mix of poetic dreams on the one hand and politics on the other (Marx, Che, Fanon, and other Left-ish idols are quoted). Elizete, abandoned by her mother, begins with her memories of being brought up by a childless woman who told her stories of the slaves and their secret rebellions. When the woman died, Elizete was "given" to Isaiah, a brutal farmworker who beat and raped her. But her miserable life spent satisfying Isaiah by night and cutting cane by day changes when Verlia arrives from Canada. Verlia has come to organize the local cane-workers. (The island is nameless, but it's history resembles that of Grenada.) The two women fall in love, and after the uprising fails, Elizete heads to Toronto in search of Verlia, who by then has disappeared. In Toronto, she experiences anguish and repeated (and melodramatic) indignities. The rigidity of the political subtext—the wickedness of whites and the inadequacies of men—repeatedly subverts the story. After many travails, Elizete arrives at a center run by Abena, a former lover of Verlia's. Verlia, also Caribbean-born, in turn describes her feelings of alienation from her birthplace; her journey to Canada, which ended not in a college education but in service in of the political movement; the comfort of Elizete's affection; and the failure of the revolution she helped make. Love like theirs is doomed, and as the revolt is quashed, Verlia, it turns out, has come to a bitter end.

Luminous prose and some on-target insights into the immigrant experience, but the polemic and the passion seem more contrived, however artfully addressed, than fresh and persuasive.

From the Publisher
"A fierce, sensuous novel of women in migration, political and emotional. Concrete and visionary as a dream, relentless as the history it reveals, In Another Place, Not Here is a work of great beauty and moral imagination." —Adrienne Rich

"With this book, this marvellous love letter, Brand emerges as a writer of the first rank.... She combines folklore with poetry in a manner that recalls Michael Ondaatje, and she writes reportage like Mavis Gallant. This book is one of the classics of our culture." — Halifax Chronicle-Herald

"...One of the best Canadian [novels] that I have read in the last ten years. [It] touches the centre of Canadian experience, dealing with our racism, embracing the possibility of confrontation and of cure." —Austin Clarke, The Toronto Star

"This is simply a stunning book." --The Globe and Mail

"A sensuous, lyrical work of fiction in the tradition of one of [Brand's] favorite American authors: Nobel Prize winner Toni Morrison." —Toronto Star

"A beautiful book that moves the reader with its evocative language, often closer to poetry than prose, and its insights in the immigrant experience of Caribbean women." —Montreal Gazette

"Brand's style intoxicates.... [She] is one of the freshest, fiercest voices in Canadian letters... There are dizzying, intoxicating verbal acrobatics on almost every page, passages of painfully lyric beauty." —Edmonton Journal

" sensuous as the smooth coral pulp of mangoes." —Ottawa Citizen

"Brand's mesmerizing voice lures the reader through a plot that oscillates between past and present. Her rendering of the island's slave history is sublimely evocative...The novel reinforces Brand's status as a significant voice for the Caribbean-Canadian experience." —Maclean's

"At times almost a poem with snatches of breathtakingly beautiful language, this is no work of a beginner...Brand's prose takes up residence on your tongue, demanding to be read and spoken aloud." —The Financial Post

"Startling, as if we had entered the heart of another human being." —Books in Canada

"Two worlds collide in this intense, sensuous first novel from a filmmaker, poet and essayist ... powerful ..." —Publishers Weekly

"Dionne Brand's debut novel is a work of artistic boldness ... a must-read book ..." —MS magazine

"Her debut novel reads with the urgent intensity of a wail that continues to echo." —The Washington Post Book World

"Passionate in its attention to emotional nuance and vusual detail, In Another Place, Not Here weds beauty and a fierce intelligence in a work that offers a syncretic and multiple sense of place. —The New York Times Book Review

"You have to read the power of Dionne Brand's language to appreciate just how much life poetry it expresses... In Another Place Not Here breaks new paths in fiction." —Morning Star (UK)

Product Details

Grove/Atlantic, Inc.
Publication date:
Edition description:
Product dimensions:
5.50(w) x 8.20(h) x 0.80(d)

Read an Excerpt

GRACE, IS GRACE, YES. And I take it, quiet, quiet, like thiefing sugar. From the word she speak to me and the sweat running down she in that sun, one afternoon as I look up saying to myself, how many more days these poor feet of mine can take this field, these blades of cane like razor, this sun like coal pot. Long as you have to eat, girl. I look up. That woman like a drink of cool water. The four o'clock light thinning she dress, she back good and strong, the sweat raining off in that moment when I look and she snap she head around, that wide mouth blowing a wave of tiredness away, pulling in one big breath of air, them big white teeth, she, falling to the work again, she, falling into the four o'clock sunlight. I see she. Hot, cool and wet. I sink the machete in my foot, careless, blood blooming in the stalks of cane, a sweet ripe smell wash me faint. With pain. Wash the field, spinning green mile after green mile around she. See she sweat, sweet like sugar.

I never wanted nothing big from the world. Who is me to want anything big or small. Who is me to think I is something. I born to clean Isaiah' house and work cane since I was a child and say what you want Isaiah feed me and all I have to do is lay down under him in the night and work the cane in the day. It have plenty woman waiting their whole blessed life for that and what make me turn woman and leave it I don't know, but it come. Bad spirit they say, bad spirit or blessed, it come, what make me notice Verlia' face spraying sweat in the four o'clock heat.

Because you see I know I was going to lose something, because Verl was surer than anything I see before, surer than the day I get born, because nothing ever happen to me until Verl come along and when Verl come along I see my chance out of what ordinary, out of the plenty day when all it have for a woman to do is lie down and let a man beat against she body, and work cane and chop up she foot and make children and choke on the dryness in she chest and have only one road in and the same road out and know that she tied to the ground and can never lift up. And it wasn't nothing Verl do or say or even what Verl was or what Verl wanted because even now I can't swear but is just that I see Verl coming, like a shower of rain coming that could just wash me cool and that was sufficient and if God spite me for this, is so things is.

I abandon everything for Verlia. I sink in Verlia and let she flesh swallow me up. I devour she. She open me up like any morning. Limp, limp and rain light, soft to the marrow. She make me wet. She tongue scorching like hot sun. I love that shudder between her legs, love the plain wash and sea of her, the swell and bloom of her softness. And is all. And if is all I could do on the earth, is all.

She would say, "Open your eyes, I want to see what you're feeling." I don't know what she see in my eyes but she stare into me until I break. Her look say, "Elizete, you is bigger than me by millennia and you can hold me between your legs like rock hold water. You are wearing me away like years and I wonder if you can see me beyond rock and beyond water as something human that need to eat and can die, even as you dive into me today like a fish and want nothing or so you say." Something say to me, Elizete, you is not big enough for nothing you done live and Verlia is your grace.

Isaiah gone mad catching me lying underneath Verlia, and even the sure killing in him couldn't sweep me away from the sweetness of her. I didn't even raise my head. I finished loving Verlia taking she face and she skin black as water in my hand so I was to remember what I lose something for. I never see him after that. They say he sit under a fishing net in Las Cuevas now and he talk to himself, they say he don't remember me but call out the name of the Venezuelan woman what first was his wife and what make him carry she fishing one night and when day break she was not there. They say he is like a jumbie, and is best for me and he to leave that way for it have too much between we, and is vindication what make him open the door. Isaiah was a hard man, a hard man down to his skin. Is best I didn't kill him as I plan, is best I didn't pour the milk of buttercups in his eyes and blind him, is best I didn't sling his neck off, is best I didn't rub his head with killing root. Is best I see this woman when I raise up in my swing, when the sweat was falling like rain from she. I say is grace the way it happen and is grace.

He and me story done right there, one time. It have nothing to say else about it.

Everything make sense from then the way flesh make sense settling into blood. I think to myself how I must be was sleeping all this time. I must be was in a trance because it was as if Verl wake me up to say, "Girl, put on your clothes. Let we go now." It have ways of trancing people and turning them against they very self and I suspect Isaiah now with his prayer book and his plait hair but I have no time with him. I suspect the woman I grow with and she hands that can't stop growing things. I suspect the cane. I suspect Moriah. I suspect my life. I suspect the moon. Everything. What don't meet you don't pass you.

Verl was sure. Sure of everything. And sure like that was not something in my life. I was sure that I would wake up each day, I was sure that I had to work cane, I was sure that the man they give me to was Isaiah Ferdinand. I was sure that he would illtreat me. I was sure that each night I would dream of miles of cane waving. Things like this. I was sure iguana would be thirsty enough to cross the road if the dry season was too long, I was sure birds would fly across the house in the morning. I was sure of what anybody would be sure of. Spite, hunger, rain. But Verl is sure of what she make in her own mind and what she make didn't always exist.

I like it how she leap. Run in the air without moving. I watch she make she way around we as if she was from here, all the time moving faster than the last thing she say. It come so I know where she standing in the field without looking for she. Because she moving, moving, moving all the time without moving. If I didn't like it she would frighten me.

There is a heat that looks like glass waving if you make your eyes look far. Everybody didn't like that moving but everybody eyes was on she the first time she come. She was walking in that heat and we was all in the shed eating. Some was laying down for the while and she reach and start busy busy giving out papers. She look like the transport drop she by the junction and she walk in. People get up and start going but the old ones listen to she. I know why they listen. Is not often that some young one with soft hands and skin smelling of the kind of sweat they make in the town come talking to them. They touch up she clothes and she hands and she face and say "Who child is you?"They play with she and kiss she up. And it give them a softness like how they might have been if they live in town and if they had money and if their life was different. They give she water and they give she fry fish. They tell she don't drink fast. They love it when she just eat as if she don't scorn them but they laugh when she say what she want. They laugh long. And then they hush.

Nobody here can remember when they wasn't here. I come here with Isaiah. He show me the room and he show me the washtub and he show me the fire and he show me the road. He tell me never let him catch me at the junction. I didn't believe him but I find out soon when I catch the end of his whip. That was long time now. No need to remember. I don't even remember when I stop trying to run away, stop trying to make that junction. It was long. He would always be at that junction when I get there. I tried for a long time. I think to myself one day he is going to miss, one day. One day when he think I train, he is going to miss. But I stop. He get his way. When I see that it was his play, I resign. He stop watching me but then I could not remember why I was trying to get there. Didn't have no place to go anyway when I think of it. Trying to get to the junction so much I forget where I was going. I know every track leading to it but when I get there and see Isaiah, it come like he was the end of it. I used to have some place in mind I know but... One time, I plotting my way through the mangle, one of these old ones I never expect ask me "Where you running running so all the time?" The spite of the thing hit me and it take me by surprise, and I suppose I didn't have nowhere in mind except not here. Cold water just run in my feet then. You trust old people to know better. Why they wouldn't want good for me? If you can't see a way for yourself, see it for somebody else nah? So all of that is how I wear away.

Not a bone in she like that. Verlia. Hatred and anger, but not spite. Spite is loving to see people suffer. She say to me that you could get used to suffering. She say is what curve we back to the cane. Is all we know. Hatred you could out and out deal with, and anger, but not spite. It was her speed though, the way she could make the junction still standing in front of you, the way she could move fast in she head. People say this is not people to trust, people who know what you saying before you say it, people hurrying you up to move, them kinda people busy busy going someplace soon but I was ready for Verlia. She get send for me.

She was burning. You could see she burning bright. Before you know it they making sweet bread for she, before you know it washtub full of ice cream done plan. Before you know it she invite for Sunday. I suppose not only me see rescue when she reach.

I used to wonder who she went home to; watch she walk to the junction in the evening half dead and wonder if her quickness fall away on the transport, wondered if she was the same in town, what she kitchen smell like, and if she plant okra and what she think. Soon I was only wondering about she. I watch she disappear up the junction and I wait for she to break it in the mornings. Is nothing that draw me to she but that and the way she want nothing from me and the way she brand new and come from another life.

After the woman I lived with die on me I was given to Isaiah. She passed on when I was not yet a young lady. It seem to me that one day I wake up under Isaiah. Isaiah ride me every night. I was a horse for his jumbie. His face was like the dead over me on the floor when he cry out for the woman who leave him as he ride me to hell. Each night I hear him say these words as if I should pity him. "When I meet that Venezuelan woman it was the last day of my life. She sail me like a ship. That woman could tell stories. It was through one of her tales that I arrived at this sandpit with my back breaking and my eyes burning with this sweat, with her fine clothes and her fine ideas; I laid every brick on that stone house where she take man in front of me. My hair turn red and I never scream in this place yet." With that he ride me again. These times I wander, I turn my head to the wall and travel in the dust tunnels of wood lice. I cover my self in their fine, fine sand, I slide through the tunnel and I see all where I have to go, and I try to reach where they live and I try to be like them because try as I did when I was little I never see one of them yet only the rifts on the walls. Is so they work in secret and in their own company. Is so I travel the walls of this room catching hell and Isaiah' advantage till morning. I dream every day to break a shovel over his head which he plait in braids for he read in the Bible that he should not cut his hair. Every evening when they was in season he would climb the land above the quarry to pick cashew fruit and nuts. I would stand at the bottom looking at him hoping that the bitter juice from the fruit burn him to death for I know that it is poison. I carried a mountain inside of me. The thought of him and his hardness cut at the red stone in me from sun-up to sundown. I went in the evenings after work to the sand quarry while he sleep. The salmon dank sides rise up around me and I was silent there. It was a place where I had peace, or I wouldn't call it peace but calm, and I shovelled, the sweat drizzling from my body as I think and think of escaping him. I did not sympathize with him, no matter what he said that red woman do to him. What she make him eat, how she tie his mind. It could not compensate for what he do to me. There in the damp, it make me calm, calm, calm and hollow inside me. If I dig enough it cool me and take my mind off the junction. I feel my body full up and burst. All my skin split. Until I was so tired I could not run. I dream of running though, to Aruba or Maracaibo. I hear about these place. Yes, Maracaibo. I love the sound of it yet I have never seen it. I dream of taking his neck with a cutlass and running to Maracaibo, yes. I imagine it as a place with thick and dense vine and alive like veins under my feet. I dream the vine, green and plump, blood running through it and me too running running, spilling blood. Vine like rope under my feet, vine strapping my legs and opening when I walk. Is like nowhere else. I destroying anything in my way. I want it to be peaceful there. The air behind me close thick as mist whenever I move and Maracaibo open rough and green and dense again. I dream I spit milk each time my mouth open. My stomach will swell and vines will burst out. I dream it is a place where a woman can live after she done take the neck of a man. Fearless. I dream my eyes, black and steady in my black face and never close. I will wear a black skirt, shapely like a wing and down to my toes. I will fly to Maracaibo in it and you will see nothing of me but my black eyes in my black face and my black skirt swirling over thick living vine. I dream of flying in my skirt to Maracaibo. I want to go to Maracaibo if it is the last thing I do. This black skirt will melt like soot if it get touched. And my face too. One day I will do it, for Isaiah don't know my mind in this. He too busy in his own mind now. He make his heart too hard to know anyone else. One day I will done calculate him.

The time in between as I say I don't remember but it must have been there because by the time I recognize myself I was a big woman and the devil was riding me. How I reach here is one skill I learn hard. The skill of forgetfulness. So I shovel in this pit from morning till night, cut cane when it in season and lie under this man at night until one day I see this woman talking, talking like she know what she is saying and everybody around listening. I walk past because I have no time for no woman talking. It don't mean nothing. It don't matter what woman say in the world, take it from, me. This woman with her mouth flying. .. cheups. I hear something about co-operative. Black people could ever cooperate? This little girl too fast again. Her mouth too fast, she tongue flying ahead of sheself. Face plain as day, mouth like a ripe mango and teeth, teeth like a horse. I en't talk to she then. They tell me she is for the revo, that she is for taking all the land and giving it to people who work it all their life. Revolution, my ass. Let foolish old people believe she. Is only them have time to sit down and get wrap up in her mouth and think Oliviere and them will let go any land. Is only one thing will fix Oliviere and them and is the devil because them is the devil' son self. I pass by her going my way and didn't that woman skin she big teeth for me and look at me so clear is as if she see all my mind clear through to Maracaibo. Her look say, "I know you. I know you plan to sling off a man' neck and go to Maracaibo." I brazen she look and I pass she straight. Smelling vetiver and salt, fresh ironed clothes I pass she. Nobody from no town coming to look me in my face so. Nobody coming here to tell me what I done know. Anything she do could help me? Who she think she is come preaching here? Revolution, my backside. Then, she say "Sister." And I could not tell if it was a breeze passing in that heat-still day or if I hear the word. "Sister." I know I hear it, murmuring just enough to seem as if it was said but not something that only have sense in saying. I know I hear it silver, silver clinking like bracelets when a woman lift her arm to comb hair. Silvery, silvery the wind take it. It hum low and touch everything on the road. Things in me. I feel it cuff my back. I have to take air. A spirit in the road. It make a silence. It feel like rum going through my throat, warm and violent so the breath of her mouth brush my ear. Sweet sweet, my tongue sweet to answer she and it surprise me how I want to touch she teeth and hold she mouth on that word. I keep walking. I don't answer. But I regret every minute until I see she next.

The next time she come playing she trying to swing cutlass with she mouth moving as fast as you please about strike. Strike and demand a share in the estate. Well, look at bold face. We navel string bury here, she say, and we mother and we father and everybody before them. Oliviere use it up like manure for the cane, and what we get, one barrack room and credit in he store until we owe he more than he owe we, and is thief he thief this place in the first place. The people listen to she and smile because they know she make sense but she don't know what a hard people these Oliviere is. Is not just people navel string bury here is their shame and their body. They churn that up in the soil here too. It have people they just shoot and leave for corbeau to eat them. What left make the cane fat and juicy. She come from town and God knows where light, light and easy so. She not ready yet. One for she, she work hard. She body en't make for this, well who body make for it, but she do it.

She break my swing. It was the quiet. When I get used to she talking as I bend into the cane, when I done add she up for the swing so I wouldn't miss doing how much I need to do to make the quota, when I make she voice count in the stroke, I don't hear she no more. I swing up. What she doing now, like she tired talk at last. Good Lord! I say to myself, God wasn't joking when he make you girl. She was in front of me, staring my way, sweating as if she come out of a river. She was brilliant. I could see she head running ahead of we, she eyes done cut all the cane, she is not here, she dreaming of things we don't dream. I wanted to touch the shine of her, to dry off she whole body and say "Don't work it so hard," show she how to swing, how to tie up she waist so that she back would last, shield she legs so that the sheaf wouldn't cut. That is the first time I feel like licking she neck. She looked like the young in me, the not beaten down and bruised, the not pounded between my legs, the not lost my mother, the not raped, the not blooded, the not tired. She looked like me fresh, fresh, searching for good luck tea, leave my house broom, come by here weed. It ease me. It sweet sweet. A woman can be a bridge, limber and living, breathless, because she don't know where the bridge might lead, she don't need no assurance except that it would lead out with certainty, no assurance except the arch and disappearance. At the end it might be the uptake of air, the chasm of what she don't know, the sweep and soar of sheself unhandled, making sheself a way to cross over. A woman can be a bridge from these bodies whipping cane. A way to cross over. I see in she face how she believe. She glance quick as if unimportant things was in she way, like Oliviere, like fright. She eyes move as if she was busy going somewhere, busy seeing something and all this cane all this whipping and lashing was a hindrance. Then like a purposeful accident she eyes rest on me, and she face open, them big teeth push out to laugh for me, sweat flying, she fall again to the cutlass.

Meet the Author

Dionne Brand was born in Trinidad and has lived in Canada for twenty-five years. Her last book of poetry, No Language Is Neutral, has sold more than 6000 copies since its publication in 1990 and was shortlisted for a Governor General's Award. She lives in Toronto.

Customer Reviews

Average Review:

Write a Review

and post it to your social network


Most Helpful Customer Reviews

See all customer reviews >