The Texture of Fiction

Jamaican writer Kei Miller talks about writing “Fiction”:

If you ask me why I write stories, or novels, or poems, I would tell you it is because things that are real in my country, things that are factual, things that have happened and that continue to happen, have always had for me the quality of the unreal –the texture of fiction. This is what happens when you live in a country that is not the centre of the world; you become blessed with a kind of double vision. You see your life from the inside, and also from the outside — both locally and globally. You are conscious always of the reality of what you are living, and also the strange narrative of it. You become conscious of how this might be observed — sometimes unlovingly and without empathy –if you do not find a way to tell it right. In a way, this is how every writer the world over lives –this quality of being inside and outside at the same time — of living a life while floating above it, observing, taking notes. Often times I find there is not need to invent or to create. There is only the need to see, and then to tell.

Extract from The Texture of Fiction, by Kei Miller. Published in Writing Down the Vision: Essays and Prophesies. 2013.

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Shibboleth

GD4925419@'Shibboleth',-by-Colo-1682

Colombian artist Doris Salcedo is the first Latin American to be invited to work in the Turbine Hall of the Tate Modern. In her piece Shibboleth, which was her response to this invitation, she draws attention to issues of racial intolerance and segregation. The title of the piece, “Shibboleth” is an essential hint to understanding Salcedo’s intentions and is explained in this passage from the Bible:

“Therefore Jepthah gathered all the males from Gilead, and warred against Ephraim, and the Gileadites defeated Ephraim […] and occupied the margins of the Jordan, through where Ephraim’s people would have to pass on their return. And some of them arrived there and prayed to be let through, they asked him, Aren’t you from Ephraim? And as he answered, No, I am not, they replied: Then, say “shibboleth,” which means wheat spike […] And they pronounced it “sibbolet,” as they were unable to pronounce the same letters […] and were beheaded […] so that forty thousand men from Ephraim died in that war”. (Judges 12,4-6)

Shibboleth is a Hebrew word with multiple meanings, wheat spike, river, and olive branch, but beyond that it is a symbol of a strong cultural identity, since knowing how to pronounce it can indicate belonging or exclusion, or in the case of the biblical story, it can mean life or death. Being the first Latin American artist to be invited to work in the Turbine Hall, Salcedo felt strongly about making a piece which represented her personal perspective as a Third World person in the First World. Salcedo created a huge crack in the floor of the Turbine Hall. Breaking, penetrating, and invading the space. She said, “I think the space defined by the work is negative space, the space that, ultimately, Third World persons occupy in the First World” (Doris Salcedo, October 9, 2007). The work reveals a division that many people would rather ignore, an abyss between two worlds that do not touch and is a comment on the right wing European’s insistence that immigrants represent the loss of cultural heritage. Salcedo’s violent and bold action of creating a crack in the floor of the Tate Modern creates an impact on the viewer and leaves an important message, and even when the crack is filled there is a scar to show that this struggle continues.