Zong!

Acknowledgments

Acknowledgments A work like Zong!, although apparently authored by one person, only comes into being and to fruition with the assistance and support of many others. It is with great joy, therefore, I embrace this opportunity to recognize, acknowledge, and thank the many individuals who have, in one way or another, walked with, or helped, me along the seven-year journey that was the making of Zong! My deepest appeciation and thanks to all of them. More specificically, I would like to thank Paul Chamberlain who has oJered continued and generous support over the years, without which this work would not have been possible. He has been particularly helpful in computer matters, and his contribution to the conceptualization of the cover has been invaluable. I first found reference to the Zong incident in James Walvin’s Black Ivory, published in 1990. This was the inspiration for Zong! Diane Roberts recognized the worth of Zong! from its inception,and her support has been steadfast. Ian Baucom very kindly shared his archival research on the Zong massacre with me. Suzanna Tammimen’s interest in, and support of, my work, as well as her patience over the years I have been working on Zong!, have been been indispensable to the completion of the work.Cristanne Miller has always brought an informed and critical eye to my work; she oJered sound advice on the manuscript at a time when it was greatly needed. Sue Houchins oJered a forum for me to read from and talk about Zong! Her engagement with the formal issues of Zong! in conversation with me has helped, over the years, to clarify the theoretical foundations of Zong! Tonya Foster generously read the manuscript and offered skilled and helpful suggestions.Robin Pacific’s long-standing support of my work has been significant.Hercomments on, and responses to,the manuscript have been invaluable.Joss McLennan’s ideas and graphic skills were vital to the final resolution of the cover image. Marc Walker generously let me have the use of his farm at various times so that I could work on the manuscript. Hardie Philip-Chamberlain provided invaluable advice on graphxi ics and design issues particularly with respect to the cover design. Hesper PhilipChamberlain ’s responses to Zong! have been extremely helpful in clarifying many of my ideas around the work. Bruce King has always kept it real. Kofi Anyidoho guided and assisted me in obtaining spiritual permission for this work. Rainos Mutamba generously mined the text to find words and expressions from the Shona language. The Grip Group, including Natalie, Kike and Avril, provided a cultrual framework and foundation that allowed me greater insight into the nature of the work that is Zong! Margaret Christakos reminded me of my presence and through her pathbreaking series, Influency, provided me a venue for a critical response to Zong! Brent Edwards’ and Pat Saunders’ critical interest in Zong! and support of my work have been significant contributions to the process of writing this work. One does not often thank an author for his or her work, but Modupe Oduyoye’s Yoruba’s Names was vital to my understanding Yoruba and helped me to construct many of the phrases and names that float through the text. I would also like to thank the Canada Council, the Ontario Arts Council, The Chalmers Fellowship Foundation, the Rockefeller Foundation (Bellagio Residency ), for their support. Over the years the following journals have published excerpts from Zong!: Fracture, boundary 2, Mangrove, Hambone, and The Capilano Review. Finally, I thank the Ancestors for bestowing the responsibility of this work on me. Àse. xii ...