Surely it is not art. She pulls her phone from her pocket and steps to the stage. Her first time. Tapping the screen, she balances it on the ancient music stand. Grips the mic with both hands. Through ums and mumbles, she describes a man who called it love before the girl learned the proper name for abuse.
Surely this is not poetry, nowhere close to art.
Art you know. You saw Gipsy Kings at the Barns and walked Kusama’s Infinity Mirrors at the Hirshhorn. You can recite Mary Oliver’s “Wild Geese” by heart.
Kenya Curtis is growing up in 1970’s Philadelphia with a dad who wants to seed a revolution and a mom who’s working to pay the rent. Her living room is the gathering place for the Seven Days, a collection of tired but dedicated survivors of the Civil Rights movement, fending of complacence and creeping towards middle age. Because she is the kid that celebrates Kwanzaa and can’t eat pepperoni pizza because of the pork, school is a place of derision that borders on shunning.
How to write a poem
is one thing you thought you’d never forget
but after a while even the wobble escapes you.
Wheels warp, refuse to align.
Months of days passing the place you stashed it
before you notice it’s gone.
Stolen? At first it seems so, a ragged hole
the size of your fist
in the door just below the lock.
“I have come to believe over and over again that what is most important to me must be spoken, made verbal and shared, even at the risk of having it bruised or misunderstood.”
– Audre Lorde
What keeps me from writing about racial justice? What stands in the way of articulating both the inequities in higher education and a vision for building structures of inclusion? While the fear of getting it wrong looms large, looking foolish worries me far less than doing harm. What I write could galvanize those who prefer white campuses and the insidious myths of individualism and meritocracy.
Back in November, an Admissions officer at the university where I work shared his reactions to the election on his personal Facebook page. His harsh post went viral, prompting conservatives across the blogosphere to point to his words as evidence of “liberal intolerance” propped up by the higher education system. This one employee’s private views became fodder for efforts across the country to gut inclusion initiatives. This is not hyperbole. Remember when the Tennessee legislature voted in April to cut all funds for the university’s diversity office?
At my Unitarian Universalist church, we’ve been grappling with a similar constellation of concerns. A polarized national climate has illuminated the deep and widening fractures in our communities. The choices we make matter. Each time we come together, we have a new opportunity to understand and undo the structures of white supremacy in our traditions and in our congregation.
Indeed, every setting in which we find ourselves offers up avenues for taking steps on racial justice.
Silence is the absence of sound. That is where we start. Then we hear what’s left when a bow lifts from its string, the reverberation humming across window glass and skimming over curved iron rails. Even after it dissipates, sound remains. We cross a bridge from memory to the note that arrives next, if any. This is not a certainty.
The lift carries us. The resonance in our own blood rides over when the bow releases it from its string. The arm lifting belongs to the song. Muscles move the arm. Breath fuels muscle. Pulse syncopates with breath.
Player, instrument, audience, the hollow belly of night. Nothing is silent. Inside the ear, a river rushes. Even in the dark, even alone, we sleep on its roaring banks.
9pm, heading home from pub trivia at a busy spot near my office. Down on the metro platform, the orange line train pulls in. Only six stops to my station. I’ll be walking the dog by 9:30.
The doors slide open onto a car bubbling with chatter. Summer in DC, the weekend lasts all week. Between nuzzling couples and clusters of young people, a few wilted office drones slouch and sleep. I take one of the few unoccupied seats. Bar hoppers stream out around me.
He takes up a row. Briefcase on its side next to the window, legs splayed, foot halfway into the aisle. As I settle into a corner perpendicular across the car, he catches my eye. I ignore him, pull out my journal and start writing.
The sensation a prickle, a tiny persistent sting against scalp and skin.