By Eleanor Casson, Archivist and Cataloguer of the Andrew Salkey Archive (Deposit 10310), working in collaboration with the Eccles Centre for American Studies and the British Library. The catalogue will be made available in Autumn 2020. The British Library, in collaboration with The Eccles Centre and Goldsmiths, University of London, are also planning a conference celebrating Andrew Salkeyâs legacy and exploring the Caribbean diasporic networks of today. Details of this will be released soon.
Andrew Salkey, who was born in ColĂłn, Panama, brought up in Jamaica, and later relocated to both the United Kingdom and the United States, was instrumental in developing and refining a diasporic consciousness among Caribbean artists and intellectuals at home and abroad in the latter half of the twentieth century. As a novelist, poet, editor, broadcaster, academic, promoter and activist, he presented the BBCâs hugely important âCaribbean Voicesâ program, where he was also writer-in-residence; he co-founded the Caribbean Artists Movement (CAM); taught Creative Writing at Hampshire College in Amherst Massachusetts; and supported influential publishers Bogle LâOuverture and New Beacon Books. His archive, acquired by the Library in 2005, sheds light on the sheer variety of these roles, and the characteristic intensity and humanity which he brought to each of them.
Photograph of Andrew Salkey, from the Andrew Salkey Archive, Deposit 10310. With kind permission of Jason Salkey.
The Archive is comprised of 158 boxes of correspondence, manuscripts, typescripts (including Salkeyâs poem Jamaica), and ephemera from various events documenting the literary, academic, and political spheres of the Caribbean diaspora, as well as Salkey's important place within them. The diversity of Salkey's correspondence is striking. Notable inclusions range from political figures -- even world leaders like Michael Manley and Cheddi Jagan -- all the way to literary stars such as E.R. Braithwaite, C.L.R. James, Toni Morrison, Maya Angelou, and Beryl Gilroy to name a few. Throughout all of these conversations, though, we see how well respected and regarded Salkey was professionally and personally; as a founding member of the Caribbean Artists Movement, a leading academic, a literary figure, a friend and a mentor.
Storage of the Andrew Salkey Archive, Deposit 10310, showing the scale of the papers at the British Library. With the kind permission of Jason Salkey.
A selection of archival material; typescript of âJamaicaâ poem by Andrew Salkey, manuscript of âJoey Tysonâ by Andrew Salkey and correspondence from the Andrew Salkey Archive, Deposit 10310. Reproduced with the kind permission of Jason Salkey.
The largest body of correspondence in the collection comes from Austin Clarke [1934-2016] a Barbadian novelist, broadcaster, and academic who spent most of his career in Toronto, Canada. The long distance correspondence was so prolific that Clarke asked Salkey whether he could publish their letters together in 1976, referring to it affectionately as a âfrivolous and comical correspondence between two writers who said things that the rest of the world did not feel disposed to knowâ. Clarkeâs letters to Salkey offer an insight in to his own working methods, his relationship with his publishers, and his opinions on Black Power movements around the world, but they are also notable for their evocation of the the deep and personal friendship which the two men shared. âI want to apologise to you my great friend for depressing you with all my sensations and problems", Clarke writes after a characteristic outpouring "but there is no other with whom I can share these feelings. I value your undying friendship and loveâ. Similar currents run through Salkey's correspondence with other leading Caribbean writers and intellectuals, including George Lamming and Jan Carew, and Sam Selvon.
A letter written by Austin Clarke to Andrew Salkey 10 January 1976 from the Andrew Salkey Archive, Deposit 10310. Reproduced with the kind permission of the Estate of Austin Clarke.
A Founding Member of the Caribbean Artists Movement
Salkey played a key role in the community element of the Caribbean Artists Movement. He would respond to correspondence about CAMâs work and maintained contact with CAM members after the movement ended in 1972. He was known for his prompt and courteous replies to anyone that contacted him. He could nurture friendships through his letters and act as a buffer between opposing personalities. He stated in an interview to Anne Walmsley for her book on CAM that âI was the one that most of them got on with. I also made sure that I was of service to friendships.â Many CAM members frequently appear in his general correspondence files including Marina Maxwell, Orlando and Nerys Patterson, and Horace OvĂ© -- all of whom reminisce with Salkey about past CAM meetings and continue to exchange ideas and creative endeavours. Correspondents from the broader world of publishing are also present, perhaps most notably, Salkey maintained close links with John La Rose and Sarah White through his continued support of New Beacon Books. Salkeyâs correspondence also includes a selection of letters with Kamau Brathwaite, one of the co-founders of CAM , which spans the period between 1965-1989. The early letters reveal a close professional and personal relationship between the two men, where Bajan forms and Standard English interact and blend in interesting ways: âFor Christssake, man, they've got my TS [typescript]â, Braithwaite writes in one exemplary letter, âand I can't get a word out of them. Give them a lil ring fuh me, nuh man?â, blending the intimate and the professional, the formal and the informal.
Salkeyâs role in CAM often extended to that of a mentor, especially to the younger members of the movement, including people like Michael Anthony. âI would like to take this opportunity to say how grateful I am for all that you have done for me" Linton Kewsi Johnson writes in one letter, âyou have been of tremendous help to me and I couldn't have done without your encouragementâ. Salkey was naturally fitted to the more pastoral aspects of his role as Professor of Creative Writing at Hampshire College, then, as he advised students taking credits in creative writing, particularly poetry. Through his role as an advisor, Salkey was able to foster great friendships through his personal encouragement and professional criticism. In one of his letters to a friend, he called teaching âa sacred profession, akin to the priesthood.â His correspondence illustrates how encouraging Salkey was with the students on his courses, particularly women. This was because he knew that women writers faced greater obstacles getting their work noticed and he wanted to help. Paule Marshall thanked him in a letter for âhis encouragement, help and general all around prime-movership.â Toni Morrison thanked him in one of her letters for his praise of her novel âI am so pleased about your pleasure. Particularly because several menâŠhave had hard things to say about it.â His studentsâ opinions of him illustrate a nurturing spirit and indicate the depth of trust he created in his friendships, one student wrote in a letter âyour love and encouragement have really nurtured the poet in meâ.
 Anne Walmsley, The Caribbean Artists Movement, 1966-1972: A Literary & Cultural History, (London: New Beacon Books, 1992), p.44
 Ibid, p.44