Notes on Kasia Van Schaik‘s Women Among Monuments author talk, Black erasure, and the trouble with bronze.
By Thandiwe McCarthy, Frye Correspondent
This piece was also published on Mercury Moments, Thandiwe McCarthy’s Substack.
This year I was asked back to be the Frye Literary Festival Correspondent and Artist in residence. Last year I was doing poetry this year I’m adding essays (or just this one y’all know me ahaha) because the depth of conversations requires the fun of long form composing. So lets call these my Frye Festival Puzzle Pieces as I watch all these brilliant authors put their thoughts together and then reflect on parts of the conversation.
Today’s Puzzle Piece looks like a statue and is inspired by the event named ‘Women Among Monuments: A Conversation with Kasia Van Schaik’ moderated by Andrea Cabajsky. Kasia Van Schaik is the author of her debut nonfiction book ‘Women Among Monuments’ (Dundurn Press 2026). Part cultural criticism, part memoir, Women Among Monuments is a meditation on the enduring obstacles women artists and writers face in a world still unaccustomed to recognizing female genius.
Conversations like this are why I love the Frye Festival, who goes above and beyond most literary festivals in curating discussions on topics outside the margins of common conversation. It’s quiet liberating to be an observer and experience the conversations take place at a depth that feels refreshing. I personally am glad the art of conversation is alive and well in this automation age.
The author discussion went through questions like why are there so few women statues? To how do we recognize and appreciate genius? And down to what does a person sacrifice to achieve this status of genius(an who is given the privilege to sacrifice)? All of these are fascinating questions, and the conversation took its time with each.
But the piece that had me puzzled was when the question “why is the benchmark for recognition of important figures in history statues?” came up. I had never thought to look closer at why society generally thinks the height of recognition is a statue. I was left thinking about how we recognize the champions in our community and does it have the lasting intended effect we hoped for.
Kasia Van Schaik mentioned a story where she was at a social gathering and when asked what her novel was on she said “Female genius” to which the person replied “Oh, are there any?”. This was at a gathering of academics, and since there are billions of women we can assume this person replying has worked with a few of them. But this is a bigger issue than just one persons response. It is a signal that we’ve encountered a wicked problem on a large scale.
If we don’t have communities that recognize a diversity of genius, we create environments of apathy and ignorance at scale that can casually turn strangers into spiritual sabers that’ll cleave through personal ambition and confidence. That is now the cost of just responding to a question.
We did not arrive in a world where this happens frequently on accident and wondering how statues play a role in this is incredibly interesting. Honestly the only reason I know Leonardo da Vinci is not because of a statue or painting I’ve seen. But because they named a teenage mutant ninja turtle after him and I watched that every Saturday morning as a kid ahaha. But I assure you watching a giant sword wielding turtle eat pizza in the sewers did not bring recognition, reverence, or even curiosity, to the 1400’s era Italian man’s contributions to society. So clearly we still got ourselves a recognition problem.
As a 7th generation Black Canadian I am haunted by the constant, cruel, and clever erasure of the heritage of Black New Brunswickers. Many dreams of mine have been woven with large bronze statues of Black leaders standing proudly in public spaces. Yet we know what Audre Lorde said of masters tools being unable to dismantle the masters house. From cartoon turtles carrying on the name and statues preserving the image much seems to be lost in the act of preservation. How much story can a stone tell?
Who do we champion? How do we preserve their acts to inspire future generations to show them a diversity of genius so that they may see themselves there. To save those children from the poisonous apathy that keeps their young minds from dreaming and shackles the hopes of adults who may have chosen to build more joy and adventure into this world.
Maybe the solution is to name rooms after greats. To architect the spaces that will facilitate genius. That way the great painters story gets woven into the current generation of painters who use the space. Or it’s a community garden built to continue the persons practice of bringing people together to appreciate the environment. Not some rare earth blockade meant to literally stop and quiz you but a space designed equally to guide your courage and connect you to community.
A finished statue is often seen as the end of the story, the activist work done, and the movement finished. Until just like our city street names it too is forgotten, blurred into the background of daily responsibilities. Perhaps putting people in stone is less important than keeping the stories of those powerful souls alive to inspire. An maybe that is best done by getting together with each other and having conversations
With Love and Respect
This essay was written during my residency as Frye Festival 2026 Correspondent and Artist in Residence, inspired by the event “Women Among Monuments: A Conversation with Kasia Van Schaik,” moderated by Andrea Cabajsky. If you’d like to read the book, I suggest going direct to the publisher, buying through your local independent bookstore, or if you’re in the area coming to the Frye Festival.
To cite this article:
Kasia Van Schaik
Thandiwe McCarthy
Thandiwe McCarthy is a 7th generation African Canadian spoken word poet, writer, public speaker, and the culture correspondent for Maritime EDIT magazine, where he highlights Black community leaders and artists. Known for his unique “Vibe Harvesting” performances, he creates poetry spontaneously at events across the Maritimes.
Thandiwe has co-founded the New Brunswick Black Artists Alliance and organized the provincial event Emancipation Celebration. He played a key role in having August 1st recognized as Emancipation Day in New Brunswick. Though he has stepped back from volunteer work, his contributions have left a lasting impact on the community.
The “Still Here Initiative,” celebrating fifteen generational Black New Brunswick families, is gearing up for a national art exhibition at the Beaverbrook Art Gallery and a globally distributed book published by Goose Lane Editions, both launching in July 2025.
Thandiwe’s memoir, “Social Oblivion: Raised Black in New Brunswick,” is available now.
