Linton Kwesi Johnson honoured

Father of dub poetry wins 2012 Golden PEN Award

The father of dub poetry, Linton Kwesi Johnson, has won the 2012 Golden PEN Award, awarded annually to an accomplished writer, resident in Britain, whose work has had “a profound impact on readers, and who is held in high regard by fellow writers and the literary community”. Previous recipients have included Salman Rushdie, Harold Pinter and Margaret Drabble.

Speaking to the Independent over the weekend, the 60-year-old poet and musician noted his shock upon hearing the news. “I’m not exactly in the mainstream of the British literary scene; I’m nearer the periphery,” he said, going on to explain that he hasn’t, in fact, written a line of poetry in years. “If a poem happens to come to me, I write it. But I am not bothered. If I never write another poem, so be it.”

Johnson has written profoundly on civic unrest, race and police brutality in Britain. His poetry collection, Mi Revalueshanary Fren, was published in the Penguin Modern Classics series, and his albums – notably Dread Beat an’ Blood (1978), Forces of Victory (1979), Bass Culture (1980) and Making History (1983) – which blend reggae, toasting and rhythmic, haunting spoken word, did so much to bring the language, culture and concerns of British Afro-Caribbeans to cultural prominence, particularly in times of difficulty.

“Di Great Insohreckshan” was written in response to the 1981 Brixton riots, at a time when The Spectator claimed Johnson's phonetic rendering of English-Jamaican patois “wreaked havoc in schools and helped create a generation of rioters and illiterates”. Another powerful poem, “Sonny’s Lettah”, is spoken from the perspective of a young Jamaican, writing to his mother from Brixton jail, after his brother is randomly apprehended by police: “Jim start to wriggle / di police start to giggle…”

Johnson sees poetry and music as vehicles for liberation, available to all, something he explained in an interview before performing at the Festival des Libération in France last year (see below). Perhaps the timing of the award, so recently after PEN’s Catechism: Poems for Pussy Riot was published, hopes to offer a reminder of what poetry and music have done for the oppressed throughout history.

Below are some choice performances by Johnson and the Dub Band, live and on the Old Grey Whistle Test. To read a short interview with Johnson, published in the NS in 2008, click here.

Linton Kwesi Johnson. Photo: Getty Images.

Philip Maughan is Assistant Editor at the New Statesman.

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"Samphire": a poem by Alison Brackenbury

"Yet how it waved, in coast’s late light. . . ."

My grandmother could cook it, for
she grew up by that dangerous shore
where the sea skulked without a wall

where I have seen it, tough as grass,
where silent men with rods trooped past
its salty ranks, without a glance.

Lear’s gatherer hangs perilously.
Why? So much is closed to me.
Did Shakespeare ever hear the sea?

Once, said my father, far inland,
from friend or stall, one clutch was found,
steamed, in my grandmother’s great pan.

Once, a smooth leaflet from a shop
claimed they could “source it”, but they stocked
bunched, peppered cress – Another gap.

Yet how it waved, in coast’s late light,
stalks I will never taste, could make
tenderly dark, my coast’s sly snake,
salt on my tongue, before I wake.

Alison Brackenbury is an award-winning poet. Her ninth collection, Skies, will be published by Carcanet in March

This article first appeared in the 11 February 2016 issue of the New Statesman, The legacy of Europe's worst battle