This account of the 2010 Haiti earthquake shows us: People insist

On January 12, 2010, a devastating earthquake struck Haiti, killing an estimated 250,000 to 300,000 people. In the chapter Dying Together in The Art of Dying, a terrifying and wonderful work, Edwidge Danticat writes about watching television coverage in Miami that day, in shock.

Perhaps because of the difficulty of capturing the helpless trapped, much of the television news coverage quickly turned to the professional, foreign-led rescue operations… of the hundreds of people who, individually or in small groups, remained vigil near a pile of rubble and spoke to Trapped loved ones slipping away, dying very soon but out of their reach.

Danticat directly refers to the cacophony that television cannot display, but it quickly transitions into a separate rumination.

It takes a rare rigor to move from deep sadness to the isolation of a literary critic or journalist. Danticate showed former skill. Canadian-Haitian-American writer and researcher Myriam J.A. Chance shows the latter’s skill in the new novel What Storm, What Thunder, and a producer, writes Chancey in thanks for listening to survivors’ stories for six months after the earthquake—and for years afterward.

The novel, moving from one character to the next, skips non-chronologically from 2014 to the day of the earthquake (‘Duz Janvi’ in Haiti Creel) to the preceding days or months following, is as far as possible from Maudlin’s novel A Terrible Tragedy: it is a reconstruction accurate, albeit imaginary, of many individuals and experiences during and after the tragedy; Capturing the lives of people living in Port-au-Prince markets, IDP camps or in a Boston taxi with a sharp, sharp knife.

Last August, the deadliest earthquake since that fateful day hit Haiti, killing 2,200 and injuring many more. Chancy, in a recent interview with NPR’s Weekend Edition, responded to the coincidence of a new disaster as an investigative reporter, criticizing the corrupt NGO infrastructures infiltrating post-disaster Haiti: “The question isn’t much Haiti can learn.” She said. “I think the question is what can we learn from Haiti, which has now gone through two earthquakes in recent history. And people go on.”

Ma Lou, an elderly woman who runs a stall in a Port-au-Prince market, is the fulcrum of What Storm, What Thunder, beginning the book by introducing us to a number of the main characters we’ll meet later with an acquired stoicism. “That’s what we old market ladies do: We watch,” Malow says. “But this time, many of us started in the market of women for work, even as our bones shriveled for lack of cartilage and oils.”

Somehow… Chancy seldom falls into utter despair, nor does she strip the agency of even the most rude people. –

Perhaps the most heartbreaking characters are made up of a family, parents Sarah and Olivier, whose two daughters are instantly crushed into a house, their estranged son, Jonas, missing a leg and found in the borderline space between life and death throughout the book. . Meanwhile, Sarah descends into madness in a camp for the displaced; Olivier seems to have given it up an open question until he comes out in his own chapter later in the book.

Somehow—despite stories of sexually exploited teens in IDP camps and opportunistic liquefaction by a Haitian businessman—Chancy rarely plunges into utter despair, nor does it strip the agency of even the most horrible of people. She has unquestioned credibility — and a clear goal: people persist, not just suffer.

Chancy conjures up to the reader a remarkably sober and intense affinity, perhaps not unlike the people Danticat mentions in The Art of Death—those who sat up late in the aftermath of an earthquake, talking to their dying loved ones through the rubble. No one since WG Sebald had managed to conjure up such a rich sense of the history of the disaster.

Camille is a New Haven-based biologist, historian, and writer. He is an editor at Barrelhouse and his work has appeared in the Los Angeles Review of Books, The American Prospect, Salon, and Chicago Review.

Copyright 2021 NPR. To learn more, visit https://www.npr.org.

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