A lot of my recent writing has been an attempt to gain understanding of Ewe and Haitian vodou, without being disrespectful or misrepresenting these already maligned and misunderstood religions. I’m Ewe, but have not been initiated into nor do I practice vodou. I didn’t grow up listening to our creation myths, or folktales about why certain animals behave a certain way, and so on. One of my most persistent fears is to turn these beautifully fearsome spirits and gods into glossy and easily consumed half-versions of themselves, or to co-opt imagery with little care for its origin or significance. I haven’t yet been able to get over the discomfort of trying to tap into a heritage that I know mostly in name and phrases mixed with English only. I’m also careful not to idealize pre-colonial ways of being and of understanding the world as some sort of utopia as yet unsullied or destroyed by European colonialism.
I feel as though I’m always seeking approval or permission to be curious about these things, even though they are the very things that have made me and my imagination possible. So, I’ve been reading and researching as much as I can about Anlo-Ewe spirituality, and about life before and during European conquest in my part of what is now Ghana. I’ve been asking my relatives a lot of questions, and trying to be as careful a student as I can be. I’ve been writing characters and settings, as well as praise songs and prayers that seem authentic to these spiritualities, while making a conscious effort to avoid copying elements wholesale into my work. I’m trying to write a world that appears as though it would fit into the universe my forebears imagined and created for themselves.
I’ve also been thinking a lot about love, partly because of Erzulie Freda– lwa of love, luxury, and sensuality– who is always trying to take up more space in my work than I have given her. The rhetoric around love being a superior response to rage, and a cure-all for oppressive structures has also been on my mind a lot, mostly because it frustrates me so much. Most of the “well-meaning” people who try to bludgeon the (rightfully) enraged with this sort of rhetoric do not usually mean love in any meaningful or transformative way. They simply mean “Lie down and die quietly; your protests are a nuisance and make me uncomfortable.”
In an attempt to keep writing in spite of my current anxieties about the general state of the world/career/debt/life/relationships, I’ve been picking quotes or passages as prompts for my posts, and it’s been a pretty productive exercise. Here is a praise song/prose poem in response to two quotes, one from Sula, and the other from Terence Nance’s 2012 film An Oversimplification of her Beauty.
“Love: an art form slightly removed from its intended context.”
-from an Oversimplification of Her Beauty
“Like an artist without an art form, she became dangerous.”
And so Erzulie Freda’s lastborn sings:
Love has chosen my own head as a seat for her crown.
I am gilded fury hardened in the heat of clenched fists, and I am sweet joy whispered in your ear on the night side of dawn. I come from beyond the Universe’s horizon, sweeping across the sea in a hot wind, troubling the water, and the sand, and the flimsy cloth in your windows, and the tufts of hair and dust in the corners of your room.
Love has lent me her face and the better one of her eyes that shines mischief and liquid silver when I laugh.
I am everywhere you look and, and especially where you hide. I live on your heaving shoulders after a healthy cry, and in the curves of your ears where the salt from your tears turned crystal.
Love has blessed my hands with enough power.
I am firm fingers scrubbing stubborn sweat and grit from your scalp each evening, and I am lifting your work-weary arms to tie your sleeping scarf –careful like– so my nails won’t catch on the threads that have fallen loose from its weave.
I am of Erzulie Freda’s dangerous charm.
I am of colossal proportions.
I am everything.