One of the central tensions in Austin Clarke’s work is between his depiction of very real, accurate movement & imagined movement. The places characters go & the places they imagine they might go.
Clarke’s attention to movement is at the heart of his diasporic poetics: he captures the black Atlantic ethos of movement across borders alongside the regulation of the movement of black people by the state and the police. Clarke’s most recent novel, More, for instance, begins with a sentence that extends four pages where the main character describes moving through her Toronto neighbourhood. As the sentence ends we learn that all of her movement has been imagined and she is actually lying still & silent in her dark basement apartment.
Part of my postdoctoral project has been to map out these numerous depictions of movement throughout Clarke’s work. This is partially to examine the ways in which he borrows from the (under-examined) themes of movement that structure Fanon’s representation of the colony. But its also to provide a visual representation of Clarke’s movement, what Rinaldo Walcott has called a ‘blackening’ of Canada. Where do Clarke’s characters go? What routes do they take? How does their movement transform their relationship to the city & the nation?
A few interesting recurring questions and problems have emerged from this mapping. First there is the constant theme of circuitous routes. Clarke’s characters regularly go in circles: starting out somewhere, trying to get somewhere else & ending up where they started. Often it is the police, their own anxiety, the transit, or their failings that lead them back to where they began.