A Map to the Door of No Return is a timely book that explores the relevance and nature of identity and belonging in a culturally diverse and rapidly changing world. It is an insightful, sensitive and poetic book of discovery.
Drawing on cartography, travels, narratives of childhood in the Caribbean, journeys across the Canadian landscape, African ancestry, histories, politics, philosophies and literature, Dionne Brand sketches the shifting borders of home and nation, the connection to place in Canada and the world beyond.
The title, A Map to the Door of No Return, refers to both a place in imagination and a point in history—the Middle Passage. The quest for identity and place has profound meaning and resonance in an age of heterogenous identities.
In this exquisitely written and thought-provoking new work, Dionne Brand creates a map of her own art.
About the author
Dionne Brand is internationally known for her poetry, fiction, and essays. She has received many awards, notably the Governor General’s Award for Poetry, the Trillium Award (Land to Light On), 1997), the Pat Lowther Award (Thirsty, 2005), the City of Toronto Book Award (What We All Long For, 2006), and the Harbourfront Festival Award (2006), given in recognition of her substantial contribution to literature. She is a professor in the School of English and Theatre Studies at the University of Guelph.
Leslie C. Sanders is a professor at York University, where she teaches African American and Black Canadian literature. She is the author of The Development of Black Theatre in America, the editor of two volumes of Langston Hughes’s performance works, and a general editor of the Collected Works of Langston Hughes. She has written essays on African American and Black Canadian literature.
- Winner, Harbourfront Festival Prize
Excerpt: A Map to the Door of No Return: Notes to Belonging (by (author) Dionne Brand)
A Circumstantial Account of a State of Things
My grandfather said he knew what people we came from. I reeled off all the names I knew. Yoruba? Ibo? Ashanti? Mandingo? He said no to all of them, saying that he would know it if he heard it. I was thirteen. I was anxious for him to remember.
I pestered him for days. He told me to stop bothering him and that he would remember. Or stop bothering or else he would not remember. I hovered about him in any room in which he rested. I followed him around asking him if he wanted me to do this or that for him, clean his glasses, polish his shoes, bring his tea. I studied him intently when he came home. I searched the grey bristles of his moustache for any flicker which might suggest he was about to speak. He raised his Sunday Guardian newspaper to block my view. He shooed me away, telling me to find some book to read or work to do. At times it seemed as if Papa was on the brink of remembering. I imagined pulling the word off his tongue if only I knew the first syllable.
I scoured the San Fernando library and found no other lists of names at the time. Having no way of finding other names, I could only repeat the ones I knew, asking him if he was sure it wasn’t Yoruba, how about Ashanti? I couldn’t help myself. I wanted to be either one. I had heard that they were noble people. But I could also be Ibo; I had heard that they were gentle. And I had followed the war in Biafra. I was on their side.
Papa never remembered. Each week he came I asked him had he remembered. Each week he told me no. Then I stopped asking. He was disappointed. I was disappointed. We lived after that in this mutual disappointment. It was a rift between us. It gathered into a kind of estrangement. After that he grew old. I grew young. A small space opened in me.
I carried this space with me. Over time it has changed shape and light as the question it evoked has changed in appearance and angle. The name of the people we came from has ceased to matter. A name would have comforted a thirteen-year-old. The question however was more complicated, more nuanced. That moment between my grandfather and I several decades ago revealed a tear in the world. A steady answer would have mended this fault line quickly. I would have proceeded happily with a simple name. I may have played with it for a few days and then stored it away. Forgotten. But the rupture this exchange with my grandfather revealed was greater than the need for familial bonds. It was a rupture in history, a rupture in the quality of being. It was also a physical rupture, a rupture of geography.
My grandfather and I recognized this, which is why we were mutually disappointed. And which is why he could not lie to me. It would have been very easy to confirm any of the names I’d proposed to him. But he could not do this because he too faced this moment of rupture. We were not from the place where we lived and we could not remember where we were from or who we were. My grandfather could not summon up a vision of landscape or a people which would add up to a name. And it was profoundly disturbing.
Having no name to call on was having no past; having no past pointed to the fissure between the past and the present. That fissure is represented in the Door of No Return: that place where our ancestors departed one world for another; the Old World for the New. The place where all names were forgotten and all beginnings recast. In some desolate sense it was the creation place of Blacks in the New World Diaspora at the same time that it signified the end of traceable beginnings. Beginnings that can be noted through a name or a set of family stories that extend farther into the past than five hundred or so years, or the kinds of beginnings that can be expressed in a name which in turn marked out territory or occupation. I am interested in exploring this creation place – the Door of No Return, a place emptied of beginnings – as a site of belonging or unbelonging.
The rufous hummingbird travels five thousand miles from summer home to winter home and back. This hummingbird can fit into the palm of a hand. Its body defies the known physics of energy and flight. It knew its way before all known map-makers. It is a bird whose origins and paths are the blood of its small body. It is a bird whose desire to find its way depends on drops of nectar from flowers.
Water is the first thing in my imagination. Over the reaches of the eyes at Guaya when I was a little girl, I knew that there was still more water. All beginning in water, all ending in water. Turquoise, aquamarine, deep green, deep blue, ink blue, navy, blue-black cerulean water.
To the south of this island on a clear day you could see the mainland of South America. Women and men with a tinge of red in the black of their faces and a burnt copper to their hair would arrive from the mainland to this island fleeing husbands or the law, or fleeing life. To the north was the hinterland of Trinidad, leading to the city which someone with great ambition in another century called Port-of-Spain. To the west was the bird’s beak of Venezuela and to the east, the immense Atlantic gaping to Africa.
“This book is a world, a triumph of art and thought, a compass for the ages.” —David Chariandy
“The depth of Brand’s love for her people is matched only by the honest luminosity with which she writes her account of our lives. This book’s profound understanding of the world that chattel slavery has made invites us to see this life alchemized into a more magnified vision of our being. It confirms Brand’s ceaseless foresight and the greatness of her gift.” —Canisia Lubrin
“The influence of A Map to the Door of No Return cannot be quantified. More than canonical, it has played a singular role in shaping the words, thinking, and craft of generations of Black writers across the diaspora, and will continue to do so for a long time to come.” —Robyn Maynard
"Open it anywhere and start reading and it makes sense. . . . her true home is not Africa, the Caribbean or Canada, but poetry." —Ottawa Citizen
"Moving and evocative. . . . Brand’s examination of her own personal odyssey is fascinating." —The Edmonton Journal
"Brand's is a voice both brave and beautiful." —NOW
"Dionne Brand—exults in the power of language and deploys it to lure us from harsh reality to metaphysical heights—[her] prose, so close to poetry, [is] almost musical." —National Post
"Brand has two gifts that are incendiary in combination: a concise and intelligent grasp of the subtleties of emotion and an apparently effortless facility with the language. The result is an extraordinary ability to capture the flicker of experience." —The Globe and Mail
"Brand's prose pays sharp attention to detail, with sensual, often playful descriptions. She injects a rhythm into her language and creates characters who burst with colour. This is a delicately structured, beautifully written novel, infused with rare emotional clarity." —The Independent, UK
Other titles by Dionne Brand
And Other Stories
Nomenclature: New and Collected Poems
Laurier Poetry Pack #5
An Autobiography of the Autobiography of Reading
What We All Long For / Love Enough
Two Toronto Novels
Laurier Poetry Pack #4
Wilfrid Laurier University Press
Bread Out of Stone
Recollections, Sex, Recognitions, Race, Dreaming, Politics
The Blue Clerk
Ars Poetica in 59 Versos
Writers on Writing in Canada