Una Marson: Selected Poems (Caribbean Modern Classics)

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Kinky Hair Blues” by UnaMarsonis about a woman who is clearly struggling with not only her skin tone but also with the texture of her hair. At the beginning of the poem she is happy or at least satisfied with her hair texture and her skin tone. The connection between hair, skin tone and finding and keeping a man is also explored. Straight hair and a lighter skin tone equal a family and happiness to the woman in the poem. There is a clear feeling of inadequacy based solely on one’s appearance and the notion of light skin being “better” or somehow superior to darker skin. The woman seems to believe she will be accepted by her male counterparts simply by turning away fromwho she really is, which is a dark skinned woman with natural hair. This notion that she is not beautiful or undeserving of a family because of her skin and hair appears to not be ingrained but an adaptation.

In 1935, Una Marson became the editor of The Keys and focused on championing the works of female authors. The objective of The Keys was to some money will be available from a private source for social work in the villages on rural institute lines and Miss Marson has been asked to help with the organisation. She hopes that she may start this work in January and we wish her the fullest possible measure of success, as all who have heard her speak about conditions in Jamaica know a great need.’West Indies Calling,” a 1943 newsreel featuring Una Marson introducing other West Indian public figures on the BBC Nanton, Philip; Walmsley, Anne (20 March 2004). "Henry Swanzy". The Guardian . Retrieved 25 October 2020.

Although Marson’s poetry has been available online since 2002 as part of the Digital Library of the Caribbean ( www.dloc.com), there was no easily accessible volume until now. I was heartened to learn that Peepal Tree Press, based in England, was about to publish Marson’s poems as part of their Caribbean Modern Classics Series, and I provided them with the cover photo of Marson at the BBC, which I had discovered in my own research, as well as some unpublished poems. Donnell has included others as well, along with scrupulous bibliographic information on every poem. This is truly a publishing landmark for Caribbean women’s literature; Marson’s friends and supporters can only hope that her plays and essays will presently be available to the public as well. Fortunately, conversations around the life and work of Una Marson have been kept alive and archived in a few libraries throughout the world. Writers such as Erika Smilowitz, Honor Ford Smith, and Alison Donnell have also written critical essays on Marson’s literary and political involvement inside and outside of Jamaica. Additionally, her biographer Delia Jarrett-Macauley has provided a comprehensive documentation of Marson’s life and writing. Therefore, their works are most instructive in offering more information concerning Marson’s life and activism. Anna Snaith, ‘”Little Brown Girl” in a “White, White City”: Una Marson and London, Tulsa Studies in Women’s Literature , 27:1 (2008), 93-114, p.97.

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To say women do not play a significant role in the arts sounds not only strange but problematic. This is sadly the case when speaking of the role women play in the arts in the Caribbean. Women are placed in “traditional” roles in the Caribbean such as wives, mothers and homemakers but their counterparts are placed in the role of breadwinner. The role of the Caribbean woman has been steadily changing and evolving. Women are finding themselves increasingly in the role of head of the household. As more and more men find themselves connected to organized crime and imprisoned the role of the woman must evolve and cease being silent. In 1926, Marson was appointed assistant editor of the Jamaican political journal Jamaica Critic. Her years there taught her journalism skills as well as influencing her political and social opinions and inspired her to create her own publication. In fact, in 1928, she became Jamaica's first female editor and publisher of her own magazine, The Cosmopolitan. The Cosmopolitan featured articles on feminist topics, local social issues and workers' rights and was aimed at a young, middle-class Jamaican audience. Marson's articles encouraged women to join the work force and to become politically active. The magazine also featured Jamaican poetry and literature from Marson's fellow members of the Jamaican Poetry League, started by J. E. Clare McFarlane. The child using books which upheld the glory of Empire grew to manhood and womanhood knowing nothing and caring less for the land of his forefathers, Africa and the race to which he belonged. Duty to one’s own country and people should be taught before duty to an Empire that took little interest in their children. They grew up with identity complex…” 1