About this book
Kara Davis is a girl caught in the middle — of her Canadian nationality and her desire to be a “true” Jamaican, of her mother and grandmother’s rages and life lessons, of having to avoid being thought of as too “faas” or too “quiet” or too “bold” or too “soft.” Set in “Little Jamaica,” Toronto’s Eglinton West neighbourhood, Kara moves from girlhood to the threshold of adulthood, from elementary school to high school graduation, in these twelve interconnected stories. We see her on a visit to Jamaica, startled by the sight of a severed pig’s head in her great aunt’s freezer; in junior high, the victim of a devastating prank by her closest friends; and as a teenager in and out of her grandmother’s house, trying to cope with the ongoing battles between her unyielding grandparents.
A rich and unforgettable portrait of growing up between worlds, Frying Plantain shows how, in one charged moment, friendship and love can turn to enmity and hate, well-meaning protection can become control, and teasing play can turn to something much darker. In her brilliantly incisive debut, Zalika Reid-Benta artfully depicts the tensions between mothers and daughters, second-generation Canadians and first-generation cultural expectations, and Black identity and predominately white society.
From “Pig Head”
On my first visit to Jamaica I saw a pig’s severed head. My grandmother’s sister Auntie had asked me to grab two bottles of Ting from the icebox and when I walked into the kitchen and pulled up the icebox lid there it was, its blood splattered and frozen thick on the bottles beneath it, its brown tongue lolling out from between its clenched teeth, the tip making a small dip in the ice water.
My cousins were in the next room so I clamped my palm over my mouth to keep from screaming. They were all my age or younger, and during the five days I’d already been in Hanover they’d all spoken easily about the chickens they strangled for soup and they’d idly thrown stones at alligators for sport, side-eyeing me when I was too afraid to join in. I wanted to avoid a repeat of those looks, so I bit down on my finger to push the scream back down my throat.
Only two days before I’d squealed when Rodney, who was ten like me, had wrung a chicken’s neck without warning; the jerk of his hands and the quick snap of the bone had made me fall back against the coops behind me. He turned to me after I’d silenced myself and his mouth and nose were twisted up as if he was deciding whether he was irritated with me or contemptuous or just amused.
“Ah wah?” he asked. “Yuh nuh cook soup in Canada?”
“Sure we do,” I said, my voice a mumble. “The chicken is just dead first.”
He didn’t respond, and he didn’t say anything about it in front of our other cousins, but soon after they all treated me with a newfound delicacy. When the girls played Dandy Shandy with their friends they stopped asking me to be in the middle and when all of them climbed trees to pluck ripe mangoes, they no longer hung, loose-limbed, from the branches and tried to convince me to clamber up and join them. For the first three days of my visit, they’d at least tease me, broad smiles stretching their cheeks, and yell down, “This tree frighten yuh like how duppy frighten yuh?” Then they’d let leaves fall from their hands onto my hair and laugh when I tried to pick them out of my plaits. I’d fuss and grumble, piqued at the taunting but grateful for the inclusion, for being thought tough enough to handle the same mockery they inflicted on each other. But after the chicken, they didn’t goad me anymore and they only approached me for games like tag, for games they thought Canadian girls could stomach.
“What’s taking you so long?” My mother came up behind me and instead of waiting for me to answer, leaned forward and peered into the icebox, swallowing hard as she did. “Great,” she whispered. “Are you going to be traumatized by this?”
I didn’t quite know what she meant — but I felt like the right answer was no, so I shook my head. My mother was like my cousins. I hadn’t seen her butcher any animals, but back home she stepped on spiders without flinching, she cussed out men who tried to reach for her in the street, and I couldn’t bear her scoffing at me for screaming at a pig’s head.
“Eloise!” Nana called. My grandmother came into the kitchen from the backyard and stood next to us, her hands on her hips. The deep arch in her back made her breasts and belly protrude, and the way she stood with her legs apart reminded me of a pigeon.
“I hear Auntie call out she want a drink from the fridge. That there is the freezer yuh nuh want that. Yuh know wah Bredda put in there? Kara canna see that, she nuh raise up for it.”
“I closed the lid,” said my mother. “Anyway, it was a pig’s head. It’s not like she saw the pig get slaughtered. She’s fine.”
“Kara’s a soft one. She canna handle these things.”
I felt my mother take a deep breath in and I suddenly became aware of all the exposed knives in the kitchen and wondered if there was any way I could hide them without being noticed. We were only here for ten days and my mother and Nana had already gotten into two fights — one in the airport on the day we landed, the other two nights after — and Auntie had threatened to set the dogs on them if they didn’t calm down.
“Mi thought Canada was supposed fi be a civilized place, how yuh two fight like the dogs them? Cha.”
I wondered if all daughters fought with their mothers this way when they grew up and started to tear up just thinking about it. Nana looked at me.
“See? She ah cry about the head.”
“It’s not about the head,” said my mother. “She just cries over anything.”
“Like I say. She a soft chile.”
About the Author
ZALIKA REID-BENTA is a Toronto-based writer whose work has appeared on CBC Books, in TOK: Writing the New Toronto, and in Apogee Journal. In 2011, George Elliott Clarke recommended her as a “Writer to Watch.” She received an M.F.A. in fiction from Columbia University in 2014 and is an alumnus of the 2017 Banff Writing Studio. She completed a double major in English Literature and Cinema and a minor in Caribbean Studies at University of Toronto’s Victoria College. She also studied Creative Writing at U of T’s School of Continuing Studies. She is currently working on a young-adult fantasy novel drawing inspiration from Jamaican folklore and Akan spirituality.
Awards and Praise
“Zalika Reid-Benta announces herself as an enormous voice for the coming decade (and one that is desperately needed). Not all must-read books are this enjoyable.” — Gary Shteyngart, author of Super Sad True Love Story and Lake Success
“Sharp-witted and sharp-tongued, Frying Plantain is written in the indelible ink of memory. Zalika Reid-Benta is a masterful storyteller with a light touch, a photographic recall, and a pitch-perfect ear for the ephemera we’d like to think of as youthful, but just can’t seem to shake. This is an unforgettable debut.” — Paul Beatty, Booker Prize–winning author of The Sellout
“Each story in Frying Plantain is achingly poignant, insightful, and funny; each a gem unto itself. Ms. Reid-Benta’s fully sympathetic protagonist, Kara Davis, is a girl who belongs to neither Canada nor Jamaica, despite the fact that both places are ‘home.’ Her family — loving, flawed, and wickedly at odds with one another — all demand her loyalty, and her loyal friends aren’t friends at all. As a collection, these stunning stories create a multi-faceted jewel of a book.” — Binnie Kirshenbaum, author of The Scenic Route and Rabbits for Food
“Zalika Reid-Benta’s first book — by turns effortless, vivid, funny, sad, and genuinely like being there — is as shiny as they come. Her spot-on capture of youthful aspiration, folly, and how family members tend to understand one another only in fragments make these stories a real pleasure — full of recognition, humour, and keenly observed lives in the here and now. Frying Plantain, a window into the world of growing upward and onward inside and outside family ties, is an absolute gem.” — Janice Galloway, author of Clara and All Made Up