Cargo Hold of Stars: Coolitude
Cargo Hold of Stars is an ode to the forgotten voyage of a forgotten people. Khal Torabully gives voice to the millions of indentured men and women, mostly from India and China, who were brought to Mauritius between 1849 and 1923. Many were transported overseas to other European colonies. Kept in close quarters in the ship’s cargo hold, many died. Most never returned home.
With Cargo Hold of Stars, Torabully introduces the concept of ‘Coolitude’ in a way that echoes Aimé Césaire’s term ‘Negritude,’ imbuing the term with dignity and pride, as well as a strong and resilient cultural identity and language. Stating that ordinary language was not equipped to bring to life the diverse voices of indenture, Torabully has developed a ‘poetics of Coolitude’: a new French, peppered with Mauritian Creole, wordplay, and neologisms—and always musical.
The humour in these linguistic acrobatics serves to underscore the violence in which his poems are steeped. Deftly translated from the French by Nancy Naomi Carlson, Cargo Hold of Stars is the song of an uprooting, of the destruction and the reconstruction of the indentured labourer’s identity. But it also celebrates setting down roots, as it conjures an ideal homeland of fraternity and reconciliation in which bodies, memories, stories, and languages mingle—a compelling odyssey that ultimately defines the essence of humankind.
‘For Torabully, coolitude is neither static belonging nor desired return to India. Instead, it is a future-oriented rebirth that weaves connection between migrants from all over the world . . . . In today’s Covid-19 reality of closing national borders, Torabully’s collection takes on renewed appeal as it challenges us to dare to imagine a fragile and yet glittering tomorrow: “The horizon [is] a pink more delicate / than the first seashells’ exquisite skin.”’—World Literature Today. Read the full review here.
‘A clear, prospective dimension accompanies the memory of the forgotten, devoured by history, in this song of love with its Homeric reminiscences.’—Ottmar Ette, University of Potsdam
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