I’ve realized that the more anxious and helpless I feel about the horrific state of the world, the more hyperbolic my writing becomes. I feel compelled to stretch my imagination as far as it will go and even further still, but I usually end up with the same “colossal Black woman towers over the world” images, which I fear are still unsatisfactory, in light of the tired and tiring tropes around Black women’s supposed superhuman strength, or Black women’s diminished humanity in relation to just about anyone else. Maybe I have a childish desire to find or to be my own superhero, or to escape. It’s also likely that this influence comes from my obsession with an Ewe worldview which includes a giant snake holding up the entire universe with its coils as a perfectly reasonable thing to exist. It’s never just “either/or,” and there are several other things– including the aforementioned horrific state of the world– that contribute to my inclination to write this way, or to write at all.
We are all here with each other, with an immense amount of work to do.
“She pulled in her horizon like a great fish-net. Pulled it from around the waist of the world and draped it over her shoulder. So much of life in its meshes! She called in her soul to come and see.”
-from Their Eyes Were Watching God by Zora Neale Hurston
doesn’t she wear
the world well?”
-from “Ugly” by Warsan Shire
It went down much easier than I expected, except around my ribs where it stuck for a while.
I coughed up volcanic ash and black smoke for days. The fire swelled and spread fast across the floor of my stomach before settling in my thighs. I became the fire–
you who deserve are not prepared for my wrath–
I tucked some of the spilled over rays inside my cloth so that they could not fall where they shouldn’t, onto
born with some blame and some liquid gold coating the wisps in the middle of your heads.
The rest I poured over you and you all, honeyed light spilling between the spaces in my fingers and onto your heads, over your shoulders, pooling around your feet.
I was not satisfied, so I ate greed for dessert with a dusting of sugary after-rain clouds on top.
Then, I turned the sky untouched side up, and used it to wipe the corners of my mouth clean.
I trampled murder beneath my feet, and laid my head to rest on a bed of all our several tomorrows.
It went down much easier than I expected, and I have the sweet yellow stains of our future feasts to show for it.
[Initial thoughts from 2:40am, essay for school abandoned hours ago in favor of watching and rewinding Lemonade and taking notes feverishly]
I’ve seen a few attempts at “Violence isn’t the answer” responses to Rihanna’s latest music video for her song “Needed Me,” similar to the critiques of her videos for “BBHMM” and “Man Down.” I won’t be the least bit surprised if the same cries for “why don’t we hold hands and sing kumabaya instead of protesting loudly and hurting each other” come from the white feminist camp and the coalition of all people who can’t let black women celebrate themselves after Beyoncé’s hour-long history lesson/poetry reading/letter to every ex/African diaspora vibes epic “Lemonade.” Visuals and lyrics like what these women have given us leave one feeling incredibly badass for lack of a more literary term. Actually, on this blog, badass is a perfectly acceptable term. Canonical, even. (Not exactly the right use for the word “canonical,” but I make the rules around here.) I’m readying my eye rolls for the next article I see that tries to condemn media that “glorifies” violence, as if black women grabbing the barrel of the gun and turning it outward is a new phenomenon.
I don’t imagine that the women in the Haitian revolution sat quietly at home with their hands resting in their laps waiting for the men to return, or that during the rebellions led by enslaved people all over the Americas the women just remained on standby with warm cloths for their husbands’ wounds. There were entire armies of women in Dahomey who were renowned for their military prowess, and in Ghana Yaa Asantewaa didn’t just say: “Ok oooh, I hear. Let’s not fight. We can’t beat them anyway.” Musicians, and artists in general, may not be picking up real guns and overturning oppressive government systems themselves, but they are inspiring all those watching to lead rebellions in their own fields, throwing away the fear of being perceived as being too aggressive and chewing and swallowing the bit of forced humility we have been clenching between our teeth for years.
One can argue that we have a legitimate problem of making violence appear sexy and glamorous in film, music and video games etc targeted at young people, but when I see black women swinging baseball bats and shooting no-good men in the back of a strip club, I’m not compelled to go and pick up my longest knife and hurt the next person that tries to hurt me, and I don’t think that’s the message these artists are trying to send. It’s very convenient to forget that a huge component of the colonial project was brutal violence and suppression, bending people -body and soul- to submit to the authority of the master arbitrarily justified by his supposed superiority. Black women continue to face violence at the hands of the police, militant groups, relatives, romantic partners, and strangers who feel threatened by women’s queerness and trans identity. Do not ask us to “rise above” and sway softly to hymns and quiet songs for peace when our art provides us the perfect space to spit back the violence inherited as an unshakeable birthright.
My badass and my revolution looks like writing late into the night to make sure no one cuts of my tongue and my fingers, excusing their actions with a dismissive shrug. Zora Neale Hurston put it best when she said, “If you’re silent about your pain, they’ll kill you and say you enjoyed it.” These portrayals of black women blowing gunpowder in the face of respectability and fighting for the right to exist unapologetically are not new. You just forgot, and we’re here to remind you.
Razors for Breakfast
This isn’t something new I have just added to my diet. Neither is it a trend, nor another shortcut to the kind of beauty that mocks and berates those who don’t possess it, one that taunts from screens that sting tired eyes with their glow late at night. My jaws have been galvanized for this very purpose, teeth fixed in place like steel bolts in the neck of a crossbow, a roar for a voice like a high-powered engine.
I have always kept razors in my mouth, turning them over and over with my tongue, but long before me, there were women picking thorns out of their palms, bringing back royal heads wrapped in a tattered tricolore. They soaked gunpowder in hot water and rubbed it into aching muscles, and used it to wash their feet crusted over with mud and the crushed souls of the enemy. These women dragged timid men to war and trampled the pages of a history that forgot their names, their strides drumming up the same dust that will eventually settle on the books I will write and leave behind.
This isn’t something new I’ve recently learnt to do. Neither a twisted party trick, nor an illusion to make you squirm and wonder how I made it look so effortless. The blood dripping from the point of my chin onto my chest is yours and not mine, theirs and not ours. It is the last remaining hint that we once sliced them in half and licked away the evidence. Today I had razors for breakfast, and the taste of victory still lingers on my lips.
The work of one of my favorite poets, Warsan Shire, serves as a beautiful backdrop for Lemonade. Here is my favorite quote from her. I’m sure I’ve posted it on this blog before, but I still love it just as much, so here you go!
“If you think I’ll be the dark sky so you can be the star, well the sky is vast and have you seen the sky in the morning? Have you seen how it looks against the sun? I’ll swallow you whole.” -Warsan Shire
Another favorite quote of mine:
“No, I do not weep at the world. I am too busy sharpening my oyster knife.” -Zora Neale Hurston