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Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is attorney-turned aid worker and novelist Ted Oswald @Because_We_Are
Haitian culture is intoxicating, a blend of influences transmuted into something utterly unique and notable. Haitian music is no different.
Serving as the perfect fuel for the writing of my first book, Because We Are: A Novel of Haiti – a murder mystery set against the backdrop of modern-day Port-au-Prince – I often drew upon an amazing library of past and contemporary music for inspiration. Here’s the book’s trailer since it fills in a lot of the back story. For those unable to watch, in 2010, I was a law student and interned in Haiti months after the earthquake. The story is set in the community in which I worked, a notorious slum called Cité Soleil, and follows two unlikely detectives—children: brash Libète and brilliant Jak—as they try to solve the mystery behind a murdered mother and her infant child. But more than that, it’s a story about bigger themes: friendship, the struggle for justice in the face of impunity, sacrifice for the community, faith and doubt in light of tragedy, and the foolishness of scarcity in a world of plenty.
During the drafting and revision stages, completed primarily in the US, I relied upon particular albums and songs to snap me right back to Haiti; to again feel the unrelenting sun baking my skin, to get lost in a sea of spoken Kreyol, to recall hours spent walking vibrant city streets. But beyond a cheap return trip, the music often helped to define my characters and themes.
Special mention is reserved for the track used in my book trailer, a song entitled Nibo. This version is inspired by a piece written by Haitian composer Ludovic Lamothe, the original recording of which was captured by famed ethnomusicologist Alan Lomax during a trip to Haiti. Martha Jean-Claude recorded a version with lyrics in the 70s that immediately captured my imagination. More recently, Nibo has been given new life as a choral piece, Gede Nibo, by composer Sten Kellman. Every time I hear the song’s melody — whether brought to life by a plinking piano or a 40-person acapella ensemble — it powerfully captures the mood, tone, and mystery of Because We Are.
Vodou and rock
But I didn’t just listen to this song on repeat. Konpa is a modern-day mérengue played by prominent Haitian artists like Djakout #1, T-Vice, and sometimes Wyclef Jean (of The Fugees fame). Along with MizikRasin (roots music) which blends folk Vodou elements and rock (of which Boukman Eksperyans is one notable group), acts like these could be heard emanating from countless radios across Port-au-Prince. I was particularly moved by Atis Indepandan’s folk album from the mid-70s called Ki-Sa Pou-N Fe? or What is to be Done?. Listening to any of these strains of Haitian music helped to capture the manic intensity, humor, romance, suffering, piety, resilience, ribaldry, pain, joy, and sadness that so often comingle day-to-day.
Lastly, Because We Are is a story of protest. When volunteering in Cite Soleil, I taught a regular English class for young men using socially-conscious rap and hip-hop songs. Though they weren’t Haitian, artists like Talib Kweli (The Beautiful Struggle), Mos Def (New World Water), and The Roots (Dear God 2.0) capture a view of the world from the bottom up, reflecting the lived experience of my characters Libète and Jak and the young men I taught. I often found myself coming back to these artists and songs for inspiration along the way.
While scratching only the surface, I truly hope my Undercover Soundtrack might lead you to explore some new music and delve deeper into the amazing depths of Haitian music and culture.
Ted Oswald is a public interest attorney living in Philadelphia with his wife Katharine. Written while living in Haiti, after taking the bar exam, and before beginning his new job as a lawyer, Because We Are: A Novel of Haiti is Ted’s first foray into fiction. The book is published by Amazon Publishing’s Thomas & Mercer imprint. It’s available on audiobook here. Follow updates about the book and its mission as a ‘nonprofit novel’ on Twitter and Facebook. Ted can be reached by email at firstname.lastname@example.org.
advocacy, Alan Lomax, Atis Indepandan, authors, Because We Are, Boukman Eksperyans, community, contemporary fiction, contemporary music, Desert Island Discs, Djakout #1, drama, education, entertainment, folk, folk music, Gede Nibo, Haiti, Haiti earthquake 2010, Haitian music, hip-hop, human rights, justice reform, Ludovic Lamothe, male writers, Martha Jean-Claude, Mos Def, murder mystery, music, music for writers, music for writing, My Memories of a Future Life, Mystery, Nail Your Novel, playlist for writers, protest novel, protest songs, rap, Roz Morris, Sten Kellman, T-Vice, Talib Kweli, Ted Oswald, The Fugees, The Roots, The Undercover Soundtrack, undercover soundtrack, volunteering, writing to music, Wyclef Jean
Fasten your seatbelts for a trip to Haiti. My guest this week was inspired to write his first novel by a spell as a volunteer after the 2010 earthquake. When he returned to the US he began to write a story of friendship, the struggle for justice in the face of impunity, sacrifice for the community and the foolishness of scarcity in a world of plenty. To recreate that distinctive place and define his characters, he returned to the music he heard pouring out of the radios in Port-au-Prince – folk, rock, rap and hip-hop. He says his work is a protest novel and so he’s donating the proceeds to aid organisations he worked with to help further education, advocacy, justice reform and prosecute human rights abuses. The novel is Because We Are; he is Ted Oswald and he’ll be here on Wednesday with his Undercover Soundtrack.
advocacy, authors, Because We Are, contemporary fiction, Desert Island Discs, drama, education, entertainment, folk, Haiti, Haiti earthquake 2010, hip-hop, human rights, justice reform, male writers, murder mystery, music, music for writers, music for writing, My Memories of a Future Life, Mystery, Nail Your Novel, playlist for writers, protest novel, protest songs, rap, Roz Morris, Ted Oswald, The Undercover Soundtrack, undercover soundtrack, writing to music
- 'Constant murmur of pouring rain, piano chords and a stormy sea'
- 'A spellbindingly good yarn'
- 'Simple, beautiful - gripping'
- 'So original it's in a class of its own'
Kobo featured book, London Book Fair 2013
Seal of Excellence for Outstanding Independent Fiction, Awesome Indies 2013
Underground Book Reviews Top Summer Read 2012
League of Extraordinary Authors Top 10 Indie Elite 2012
Multi-Story Pick of the Month March and October 2012
Alliance of Independent Authors Book of the Month, January 2013
- Carol is a concert pianist until an injury threatens her career. Desperate for a cure she discovers her future incarnation - or is he a psychological figment? And can he help her recover?
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- All content copyright Roz Morris 2011, 2012, 2013, 2014, 2015. Nothing may be reproduced without my express permission in writing beforehand. Photography: Bonnie Schupp Photography, gcg2009 and Roz Morris
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What is The Undercover Soundtrack?Sleeve notes here
For the soundtrack of My Memories of a Future Life, you'll need Chopin's Sonata in B Minor, Rachmaninov preludes, lashings of Grieg's piano concerto in A minor and The Clash's Rock the Kasbah (they go together well).
You'll also need Samuel Barber's Dover Beach on piano, although that doesn't actually exist so do the best you can.
And the novel's undercover pieces. You can find them here
- What's on their soundtracks? Zip down to the footer and you can search by artiste or composer. See who shares your taste in inspirational music
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- 'My Memories of a Future Life is a poignant story steeped with melancholy, edged with a desperate hope, and twisted throughout with darkness and humor'
- 'Some of the sharpest writing I've read in a long while'
- 'The feel of a modern-day witch trial with a tense romance'
- 'Clever when you think about it afterwards; haunting and engrossing while you're reading'