Diary of a mothering worker
DR GABRIELLE JAMELA HOSEIN
ON DEWY mornings, my mother’s white car slowly crept under the poui trees. They were mostly lilac and pink, but sometimes yellow. I lay on the back seat on a pillow listening to 1950s music, and looking up at the endless blue sky out of the back windows. I was eight years old, and the traffic from St Augustine to Port of Spain meant being guided for a little way by the soft colours and even softer petals carpeting the hollowed grass between the north- and south-bound lanes.
Along the highway, the pouis towered like hallowed deities surely no one would put God out of their thoughts to desecrate. Thousands of people passed them each day, twice, their wearied spirits lifted by the flagrant flounce of such exuberant blush and dry-season bloom.
Those trees were a backdrop to my childhood. I knew their scalloped, slender bark, and their branches reaching like a breath of fresh air, like oxygen for bodies and minds slumped and dying in daily exhaustion, tension and car fumes.
The resilient green of the Northern Range filled the landscape on the right, Kay Donna slowly inched closer and then passed on the left. Poui trees lined the middle, reliably beautiful like ladies bejewelled in yellow afternoon light, or like the sweetness of being serenaded by your beloved on lavender-hued evenings of patient, gentle courtship.
I don’t know if the past gifted you these memories, but that’s all they are now. The pouis are gone, the gutted scars in the ground where they once stood tell a story of loss of the sacred for the generations for whom these trees were as close as family, a rare thing in a country which finds common solace in concrete.
It’s the same neglected promise of care that lets Port of Spain’s most beautiful buildings collapse under the weight of modern ambitions, and abandonment of beauty as a public good. It’s the same disregard that would have Pres-T-Con replace iconic iron bridges with slabs that stubbornly block the pleasure of looking at the rivers as families drive over, as if nothing matters in the entire surrounding ecosystem but the authority of soulless engineering.
It’s the same disinvestment in a higher good that meant Maracas is somehow uglier, the view of the sea shortsightedly blocked from those passing the beach, and the mangroves abandoned like cheap trash rather than rehabilitated with science displays for children to run through with sandy feet, and a small boat tour that can explain why trees are more sacred than contractors’ profits.
The pouis, torn from the ground for a planned interchange, feel like anyone of us is dispensable, without mercy, nostalgia or tears. In the normal, crushing march of progress, it’s just a matter of when your time comes. And, when it does, will anyone care?
Did you ever bring us beauty? Did your soft petal fingers gently stroke thousands of heavy hearts trying to get through a hard day? Did we know you like we know our own childhoods as you stood by, pink, lilac and sometimes yellow, for decades?
A whole generation of little children will never share these memories. Maybe it’s better they will neither understand nor care what they’ve lost. It’s unlikely any pouis will ever be planted again along our highways unless their planting was budgeted in the interchange’s plans. That aesthetic is for long-time, like an old Hunter Hillman car which today would feel quaint and obsolete, or like a teacher riding a bicycle to school in the cool, early dew.
I don’t know when I reached the age when nostalgia aches in your chest, but I now know how it feels. Perhaps, thousands of others also look at the emptiness left, unprepared for the turn of time from colour to black and white. Once, I could renew my childhood memories of lying in the back seat of my mother’s white car every morning, connect to a small self that once looked up at the sky.
Those moments were already in the past, and the poui trees were all that was left. Now, when I look, I still see them, like mourning ghosts, though there’s nothing there but my own soft grieving.