Fresh voices raised in anger
Finds an encouraging boldness in new writing from PNG
THE better part of a decade ago, Papua New Guinean writer Regis Tove Stella said what his country needed was writers, far more of them than there were, to claim, or reclaim, the role of ‘‘visionary’’ and witness. He concluded his 2007 book Imagining the Other with an elegant argument that it was only when the writers and intellectuals served as ‘‘watchdogs’’ alert to the ‘‘bleak’’ political realities and spoke out against corruption and greed — ‘‘the rape of a country’’ — that change would begin where it mattered: in the minds and hearts of a people.
In 2007 in PNG, a time of little publishing and all too few writers, let alone readers, it seemed a frail hope.
But PNG’s people have always been great storytellers and debaters, and while there may not have been many novels published and read since independence in 1975, there have consistently been a few noble souls who have taken the role of witness and poet. Oral storytelling remains a reality for many, the stories that are told folding recent histories into those handed down from past generations. And newspapers do a busy trade in markets across the country. You see them read, and being read to those who cannot read.
So maybe Regis Stella, who died in 2010, would not have been surprised had he lived to see publication of the fourth Crocodile Prize anthology, a celebration of PNG poetry, fiction, essays and heritage writing.
When I reviewed the second anthology, towards the end of 2012, I was celebratory, but also tentative — as were many of the writers. Two years later, in this anthology with 66 writers represented — among them writers from previous years and a heartening number of new, young voices — much of this tentativeness has gone. A new generation of Papua New Guineans is claiming the written as part of their storytelling, debating inheritance — theirs as surely as any technology that comes with a postcolonial modernity. I write and write Like my forefathers before me My blood is the ink on my paper … Bloodlines and dynasties Disrespected and destroyed. Love, respect and honour Erased by the power of rifles.
November 15-16, 2014
This, from Diddie Kinamun Jackson’s Crocodile Prize winning poem, As a writer, opens a meditation on Melanesian expression that would have pleased Regis Stella.
But for the most part the mood of this anthology is less meditative. Anger is a dominant emotion — anger and loss — which could hardly be otherwise for a generation living with high levels of urban dysfunction, violence and corruption.
There are tough stories to be told, and so we read short stories about children finding neighbouring children shot dead; a girl killing herself because she’s pregnant; a widow struggling to raise her children with no money for school fees; a girl in a green dress raped and dumped in a drain. The Crocodile Prize-winning story, Agnes Maineke’s While war raged in Bougainville there was a miracle at Haisi, is about a woman giving birth in a remote hut during the civil war on Bougainville.
With these lines, another Bougainville writer, Marlene Dee Gray Potoura, begins her story of a little girl woken at dawn during that vicious war. As men with guns surround the village she escapes the carnage that follows by The Crocodile Prize Anthology 2014 Edited by Phil Fitzpatrick Pukpuk Publishing, 512 pp, $15 Brokenville By Leonard Fong Roka Pukpuk Publishing, 239pp, $10 running into the forest, the gun-toting ers’’ in pursuit.
‘‘The whole forest was angry,’’ Potoura writes, and in a smooth movement she takes us from the stark realism of the guns to a forest in which trees think, feel and act in unison. And so a ‘‘grandfather tree’’ uproots itself ‘‘in seconds known only to the secrets of the forest’’ and its ‘‘hard old trunk’’ falls on the crawlers and kills them. As it falls, its branches lift the girl to safety. The tree as a talisman for the power of an endangered inheritance.
‘‘Your guardian trees,’’ writes Michael Dom, a previous poetry prize winner. ‘‘ No more you flame.’’
Gary Juffa’s poem on the ‘‘supposed concern’’ and ‘‘pockets filled’’ that accompany the widespread and often illegal felling of the forests, ends each stanza with the refrain: ‘‘And the trees keep falling.’’
It is in the essays that the corruption and greed underlying the violence and the dispossession are named. Where the essays in the earlier anthologies hinted and gestured, here there’s a confidence, a refusal to collude or be silenced. Blogger and social media activist Martyn Namorong writes of counter-corruption, of corrupting the corrupters. Bernard Yegiora questions the voting system, the pork-barrelling, the ‘‘wari-vote’’ that can get a corrupt politician back into power when the voters want the handouts back. ‘‘The race within the race,’’ Bernard Witne calls it, as money outstrips policy, and everyone, in large ways and small, is out to ‘‘thicken their purse’’.
Is a Westminster system developed over centuries on the other side of the world the best model for a country of 800 languages and tribes? What would, or could, a Melanesian
‘‘crawl- democracy look like? And so the question is reopened, first raised in 1980, of whether there is, or can be, a ‘‘Melanesian Way’’ out of this mess.
What system of government would, or could, give back to its people the resource-rich wealth of opportunity? Is it neo-colonialism that rules, as Namarong suggests? He ends one of his essays with the hope that his colleague Nou Vada, who appeared in the earlier anthologies, will one day be prime minister. ‘‘The day a boy from Hanuabada becomes prime minister will be the end of colonisation,’’ he writes. Another frail hope? There’s been many a local boy, though not from Hanuabada, who have taken the role. Some of them did it well, but were too often replaced by those who fill their pockets from the coffers of state.
On the other hand, if anyone doubts change is possible, contemplate Gary Juffa, who has 10 pieces in this anthology. His story of going on a picnic as a child with a saved packet of noodles, picking tomatoes and shallots in the gardens as the picnickers walked to the river, is one of the best in the collection. The clouds come over and the group scrambles up the rocks to the road. They make it home to discover two children shot outside their father’s tradestore.
Juffa is now a member of the PNG parliament and, since 2012, governor of Oro Province that takes in Kokoda and its famous track. One of his first acts as governor of a once deeply corrupt province was to put a moratorium on all land deals, logging and resource extraction pending audit and review. ‘‘The days of watching our resources be shipped out for whatever scraps have been throw at us is over,’’ he said.
His essays are tough and fearless, impressive by any standard and from a politician remarkable. From a politician in PNG, they could also be considered foolhardy. His first term in parliament showed him how reluctant his fellow members were to speak on national issues for fear of losing access to government funding needed to keep their electorates happy. In Tribe Versus Nation: Observations on PNG’s Core Challenge, he writes of being warned ‘‘by a particular minister’’, and it indeed proved the case that when this year’s budget was handed down, he saw that he and his province had been well and truly ‘‘punished’’.
There are those who urge him to keep quiet, to think only of what he can do for Oro with the money silence buys, but he says he will not. While tribalism ‘‘is necessary for the preservation of culture, language, [our] unique identities’’, the future of PNG — the ‘‘core challenge’’ if there is to be any possibility of a better way, a Melanesian way — depends on a leadership willing to renounce the power of playing tribe
The Crocodile Prize Anthology 2014 against tribe, and speak for the wider collective consciousness.
Even if it costs him the next election, he will continue to speak out, he says, because something has begun, ‘‘the stirrings of change’’ are afoot. ‘‘The concern is now a small seed, but it is growing and growing fast.’’
We can only hope he is right. Change will not come easily, and it will not come fast. At the time of writing Juffa, halfway through his, was facing a vote of no-confidence, orchestrated, according to media reports, by corporate interests. ANOTHER sign of PNG’s literary stirrings is that this year there were two new categories in the Crocodile Prize. One was for children’s writing, sponsored by Buk bilong Pikinini, the children’s library organisation that is growing apace, bringing books and stories to children from impoverished urban settlements. The other was an overall award for the book of the year, the inaugural winner of which was Leonard Fong Roka for his memoir Brokenville, which brings a child’s eye view to the civil war on Bougainville.
The war, for him, began in class 2A at Arawa Community School. There was a commotion along his row of desks: the son of a policeman reported fighting in the mountains. There had been rumours and strange behaviour among the adults, and this time even the teacher stopped to listen. The division was right there in that classroom, between the dark-skinned children of Bougainville and the ‘‘redskin’’ children of parents from the mainland.
At first it is clear enough for the young Roka. It’s us against them. Our island. Their government. Our land. Their mine. The reality, of course, proves less clear cut for a boy whose father was a ‘‘redskin’’ from West New Britain and whose mother is from Bougainville. He has relatives on all sides. There are those who depend on the economy generated by the mine; there is his uncle, Joseph Kabui, a senior man in the militant interim government. Over the next years, before he can return to school, Roka will learn a great deal about war and tribalism, the contradictions of a nation drawn from colonial borders, about moral ambiguity, about betrayal and possibility. ‘‘I owe much to [that] crisis,’’ he writes in his acknowledgments. ‘‘It made me who I am.’’
It is in such writing from Bougainville, perhaps not paradoxically, that the pulse of change ticks most strongly.
Detail from the cover of