George Goddard launches new poetry collection

The Monsignor Patrick Anthony Folk Research Centre (FRC) is proud to announce its collaboration with Saint Lucian poet George Goddard for the launch of his second poetry collection, Let the Flute Lead Your Spirit (Kite Flit-la Menen L'Espwi-Ou). This milestone event celebrates the convergence of poetry and art, as the collection features an artistic collaboration with Saint Lucian visual artist, Alwyn St. Omer. Following his debut collection, Interstice (2016), George Goddard continues to captivate audiences with his evocative poetry that delves into themes of identity, culture, and heritage. His work has been featured in several esteemed journals and anthologies across the Caribbean, Europe, and India, including BIM: Arts for the 21st Century, The Caribbean Writer, and Re-Markings. Writing in both Saint Lucian Kwéyòl and English, Goddard's voice remains a powerful reflection of the island’s linguistic and cultural diversity. Let the Flute Lead Your Spirit is more than a collection of poems—it is a harmonious blend of literature and visual art. The book is beautifully complemented by the artistic genius of Alwyn St. Omer, whose illustrations add depth and dimension to Goddard’s verses. St. Omer, a celebrated artist and storyteller, has dedicated his life to preserving Saint Lucia’s rich cultural heritage through his art. His work includes iconic contributions such as the design of Saint Lucia’s National Independence Monument and the Semi Dome Mural in the historic Riviere Doree Anglican Church. St. Omer’s passion for Saint Lucian folklore, traditions, and history resonates deeply in this collaboration. Known for his Moon Dancer Series and Soucouyan graphic novel, he continues to innovate and inspire, earning accolades such as the Saint Lucia Medal of Honour (Gold) for his contributions to art and culture. In a review of this work, Saint Lucian writer John Robert Lee has commented that “Both the poet and artist have explored through their arts representations of that folklore tradition, “borders of memory” that not only tap into their childhood remembrances of a certain authentic ritual that existed years ago, but trace the tradition to the African roots of Saint Lucians. The masqueraders are aging, the rituals sketched here are deeply remembered and recalled, though a weariness within the reality of the fading of the authentic tradition is frankly captured in the poems. Modern distractions are part of the mix that have helped to make the old masquerade culture more diluted and of less interest to new generations. Both the art and poems are a valuable record of memory of that cultural tradition.”