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Black Voices: Donna-Michelle St. Bernard
For Black History Month, we’re featuring black authors, their latest work, and their writing process. Today playwright and emcee Donna-Michelle St. Bernard, whose latest published play A Man A Fish (Playwrights Canada Press) explores environmental sabotage, shares her writer’s block coping strategies, what she can’t live without, and other interesting insights, below.Photo by Denise Grant.
This Black History Month, we’re interviewing writers of colour every Thursday, here on the All Lit Up blog.
ALU: Who’s a writer of colour you always recommend?DMS: I don’t speak well of what moves me, so I can only say your life will be better with these writers’ words inside of you:
Yvette Nolan
Marilyn Dumont
Djanet Sears
Nalo Hopkinson
Dionne Brand
ALU: Who are your favourite fictional characters?DMS: Wolverine. He’s not really good. He’s only as good as he can be, as good as he should be, and when he isn’t you can only say, “fair enough.” Or, Loker from Lie to Me is almost certainly not a nice man, but I’m inspired by his commitment to the inconvenient practice of radical honesty. Or, Detective Lilly Rush on Cold Case—her hair is a constant disaster, and she’s so good at her job.ALU: What was your most rewarding moment as a writer?DMS: In 2009 I finished Gas Girls, a play about young sex trade workers at a truck stop on the Zimbabwe border. At the time, I was a vocalist with The Awakening, a strange and wonderful band committed to the creation of good energy. The height of intensity, we called “spirit rising”—a phrase I attribute to drummer/guitarist Michael Clark aka Dr. Chaos. When Michael accompanied me in a performance at the 2012 AGM of the Ontario Coalition for International Cooperation, we didn’t know what to expect. Arriving early, we sat at the back of the room as a gathering of NGO leaders discussed their efforts to reverse infant mortality rates in different developing nations. Then they introduced us. Full to the brim with these stats and stories, I had a shaky start, and soon asked Michael to play something for the people while I gathered breath. Michael nodded, strummed a few lazy notes on his guitar and began to sing a song he’d written for the “gas girls” of Zimbabwe, in response to my play. When the Trucks Come In is the best song I ever heard; the most fulfilling response to my work; a generous act of caretaking by a friend who covered for me while experiencing emotions of his own; a great gift to those listening, understanding how much their work meant to us. That day, I truly saw the spirit rising. Thank you, Michael.ALU: If you wrote a memoir, what would it be called?DMS: I would have several to choose from, including:- The Girl Who Thought She Was Helping
- Offkey, Onpoint
- God Was Listening
- Passing Damascus
- Impatiens