Berry by Kimmisha Thomas

 Card Drawn:

I say, oh little, oh little, darling, don't shed no tears, No woman, no cry.

LGBTQ+ occupies a very limited space in a postmodern Caribbean literary context. Kimmisha Thomas, a Jamaican-born writer, offers a counter discourse to Western/Eurocentric constructions of gender and sexuality through queerness in her short story Berry, which centers on the relationship between two Afro-Caribbean women. Although she aims to reposition queer sexual identity within a hyper-masculine Caribbean space (literally and figuratively), it is important to note that Thomas is making an unapologetic political statement when she explicitly writes about lesbianism. Jackie’s complex relationship with Berry underlines the ideological position that cultural representations of gender and meanings of sexuality should not be fixed within a male hegemonic framework; rather, sexual identities are much more fluid and do not coincide with patriarchal structured identity formations. Kimmisha Thomas belongs to a new generation of progressive Caribbean female writers that critique heteronormative and male-centered narratives, giving voice to an otherwise marginalized group.

The general effacement of queer Caribbean narratives is taken up by authors like Kimmisha Thomas who aim to dismantle the structural discourses surrounding gender and sexuality. Moreover, female queerness not only becomes a subversive force in ‘decolonizing’ male hegemony but also asserts a more inclusive Caribbean vision of cultural identity. Yet, this story is keen to emphasize the arising difficulties and anxiety often experienced by queer Caribbean woman when navigating through these male heteronormative spaces. The opening paragraph is quite telling of the protagonist’s anxious psychological state of mind regarding her sexual identity and romantic relationships: 

“I got a way with me where I always fall for the wrong person, for the wrong reason. Sometimes it’s both. Now it’s a different brand of fuck-up altogether. This time it’s a musician. Sweet Jesus and all the saints, Mam would just go into a state if she found out--after she broke my head” (185). 

Early on, the reader is uninformed about the protagonist’s queerness. However, in retrospect, it makes sense that she would be overwhelmed with anxiety and guilt regarding her sexual orientation. She refers to her new relationship as a “different brand of fuck-up” but again, it only becomes apparent later when it is revealed that she is in love with this musician who also happens to be female that such a harsh criticism towards herself makes sense.

Deep rooted feelings of shame and alienation are often associated with those struggling with their queer identity and Jackie is no exception here. She also fears the physical wrath of her mother if it is ever discovered that she is dating a woman. This kind of reactionary violence towards those who identify as queer speaks towards the rampant discrimination often imposed by the patriarchal and male hegemonic order. Jackie and Berry experience violent discrimination for being in a homosexual relationship when they are accosted by a group of young men who are offended by the lesbian couple kissing in public. One of the youths even throws a glass bottle at them in total disgust.

Therefore, while Jackie comes across as a strong, educated, and liberated woman, she hide her queerness from others (especially the mother) for her own survival. Even at the end of the story when Jackie explicitly comes out as having a “girlfriend” (203), the mother remains perpetually confounded and there is a clear sense that she is not entirely accepting of her daughter’s queerness. The story provides an insightful examination of Jackie’s struggle to embrace her queerness alongside the societal pressures associated with conforming to patriarchal norms. She remains strategically ambivalent towards her own sexuality, which puts a strain on the relationship with Berry, a woman who is totally comfortable in her queerness. Jackie experiences a kind of transcendent sexual awakening after kissing Marque and realizing that she made a mistake breaking-up with Berry. If Marque exemplifies black male Caribbean masculinity, then it stands to reason that Jackie and Berry’s queerness is antithetical to the heteronormative power structure. 

This story celebrates queer culture within a Caribbean space, directly challenging these structural discourses of gender and sexuality.

This story is from Pepperpot: Best New Stories from the Caribbean, edited by Olive Senior, Leeds: Peekash Press, 2014, pp. 185-204.