Her views on Trinidad, the Caribbean and immigrant identity:
布蘭德自稱「逃離」家鄉的，因為當時在千里達她身為一個女孩很受限制 (所以她也是逃離femininity﹔ Silvera 361-63)。但對她而言，她既不住在「那裡」(千里達)，也不住在這裡(加拿大)，而是在兩者之中(Birbalsingh 1996: 122)。
布松達認為多元文化政策造成「一種加拿大式的、溫和的、文化種族隔離政策」(Hutcheon 315);布蘭德也認為它將加勒比海裔分隔開來，「沒有處理真正的〔政治、經濟上〕的權力問題」(Hutcheon 274)。
布松達的立場是同化式的：他否定自己的族裔性，主張應該有一個「統一的加拿大性」(“an across-the-board standard of what it is to be Canadian ” Hutcheon 316)。布蘭德則將自己置於黑人文化的中心寫作：每次寫作都會「回去」：不是回千里達，而是回溯黑人五百年奴隸史(Hutcheon 273)。
Blossom—an obiah woman; her obeah house and speakeasy on Vaughan Road
-- works for a doc on Blamoral: he eyeing she, eyeing she. …Blossom …making sure she ain't in no room alone with he. (33)
the doctor's attempt, Blossom's strong reaction, picketing next day (33-34);
-- do odd jobs, save money to do she own business
|"No rinsed blue sky, no red flower fences"
-- Social constraints embodied in space.
survival in the middle of the city
|"At the Lisbon Plate" -- Allusions
in this story
the narrator's revision of L'etranger, the ending
I think that Blossom's distrust of whites is not based on some personal craziness of hers. It's based on historical practice. It is based on historical events that place her as a black woman in the world at this point in time. …The whites in the story are not Blossom's only antagonists, though whites might read the story that way. Blossom’s also frees herself of an exploiting husband. What B hates is suffering and the suffering of black peoples. (Hutcheon 272)
Birbalsingh's interview 122
Q: The older writers had very solid memories of home to fall back on, and they mined those memories in their writing.
A: I wasn't as nostalgic, I think, as some of them might have been. I was new. Here I was being able to make connections with African-Americans. I saw great hope in that. I didn't long for home at all. I longed for a past, a kind of validation of my history, which I thought I could find in a past that was beyond my grandparents. …It was located somewhere in the consciousness of a people that had to do with slavery, that other exile.
About "Blossom" and African tradition 132
That story is based on fact: I met this woman
running a basement speakeasy in her house, and she had run the speakeasy
for years and years. She was a Jamaican woman without a single tooth in
the front of her mouth, and she would throw people out who were drunk.
Also one day I saw an old man xeroxing something. I thought I'd read over
his shoulder and it was all these little potions he was preparing for people.
He was an obeah man and that was obeah gone modern tech. It's interesting
how our people could come here and adapt things that used to work for them
somewhere else so that they work for them here too.
Gender issue 133
Q: In your stories the women have a certain resilience. The men come and go, like Victor in 'Blossom", but the women go on apparently forever. Is that particularly Caribbean? Was it part of your family? …
A: It's very much what I saw in my family, and what I saw in the other families on MacGillvray Street. …
Q: I should think this [subject not being women] is true for West Indian writing in general. Is it not dominated by male writers?
A: It's not just dominated by male writers but dominated by themselves as subject in it, despite the evidence of their own lives.
Birbalsingh, Frank, ed. Frontiers of Caribbean Literature in English. London: Macmillan, 1996.
Hutcheon, Linda, & Marion Richmond, eds. Other Solitudes: Canadian Multicultural Fictions. Toronto: Oxford UP, 1990.
Silvera, Makeda. “An interview with Dionne Brand: In the company of my work.” The Other Woman: Women of Colour in Contemporary Canadian Literature. Ed. Makeda Silvera. Toronto: Black Women and Women of Colour P, 1995: 356-81.
Dionne Brand Homepage from Canadian Poetry website
Dionne Brand: a selected bibliography from Author Profile at Northwest Passages
Sisters in the Struggle -- intro at NFB
Older Stronger Wiser-- intro at NFB