The original starting point of this blog post went like this;
The lateness of this blog post is brought to [you] courtesy of a combination of staying up-to-date with the latest horrifying news and moving for a temporary job while trying to find a more permanent one for “the latter side of next.” I’m feeling this strange sort of distance from myself, where I know something is “off” in this hazy, undefined way, but can’t quite articulate why.
The time is currently 1:19am, and I am sitting on my friend’s bed instead of dancing downstairs in the backyard with the rest of her guests (or helping to clean up now that the barbecue has just ended). I tried my hardest to rally myself into some sort of pleasantness– I even wore my new favorite yellow dress and my old faithful cartoonish pineapple earrings– but I eventually decided it would be best to go upstairs and think and write (and shower) rather than sniffling back tears on a crowded dance floor like the 90s teen drama protagonist I would hate to ever be.
I must also add that this self-deprecating comment is not an attempt to dismiss anyone else’s very real and painful feelings of anxiety and isolation in the middle of a crowd. Humor is just how I cheer myself up, as harmful as this sort of belittling of self may be. (See also my constant repetition of the “joke” that my life is at the moment a poorly written episode of a *insert Black young woman web-series here*, and that I need the writers’ room to get it together because the current storyline is looking a little bleak).
I’m rambling, but this rambling is as close as you can probably get to how I think and speak outside this blog post entry box. Basically, I’m worried about a lot of different things– many of them somewhat out of my control– and it appears that I have worried myself into silence. This silence is the real reason why there was no post last week, and why I can only seem to speak and write in riddles instead of putting into words what these worries are.
So, I’ve been busy with all the moving and job-hunting and planning and working, but beyond that, I also find myself unable to speak anything meaningful or true. I have turned to other artists’ work, not for some sort of empty “healing” or “care” in the ways these terms are often used to mean just a different sort of momentary gratification. I’ve been reading and watching and listening a lot, to hear other people speaking to each other, and to be confused and excited and emotionally invested in other people’s worlds and lives, whether imagined or otherwise. I can’t say more (I’m really struggling with my words, as I said) except that these works mean a lot to me at the moment, even those I don’t quite fully understand as yet. I really want to share them with you.
- I, Tituba, Black Witch of Salem– Maryse Condé (translated by Richard Philcox)
- She Called Me Woman: Nigeria’s Queer Women Speak– edited by Azeenarh Mohammed, Chitra Nagarajan, and Rafeeat Aliyu
- Corregidora– Gayl Jones
- Barracoon: The Story of the Last “Black Cargo”- Zora Neale Hurston
- Where the Line Bleeds– Jesmyn Ward
I adore this book because as Jesmyn Ward herself has said in a number of interviews, she loved her characters so much that she felt she protected them from any fate too cruel for them (or her) to bear. Her writing is so detailed that I can see where the freckles are on characters’ faces, and the color of the sand beneath the surface of the water they dive into at the beginning. There is beauty and there is hurt, but Ward doesn’t torture her characters to reveal either.
“How do we create altars in society for black female genius? And not just the women who are artists or authors. But the women who contained art and who were never afforded the space to express it. It’s not about me as a writer, it’s about: Who authored my life? It is fascinating how so many artists of color often feel as if we are a processional of legacy, and often we enter into these rarefied spaces of art through familial or localized bonds. And yet, outside our intimate memories, who knows the names of these women who made us?”
-Rachel Kaadzi Ghansah
- “I Put a Spell on You”- Alice Smith rendition of the Nina Simone Song (watch the stunning short film, Black Mary, directed by Kahlil Joseph for the song here.)
- “Come to Me”– Daymé Arocena (If you have the chance to see her live, please do. I’ve seen her twice in Boston, and both times felt like what I used to think church was supposed to feel like, free and easy.
- “Nguwe”– Nomsa Mazwai
- “I Wonder If I Take You Home”– Meshell Ndegeocello
- “Django Jane”– Janelle Monáe
- Process– Sampha, directed by Kahlil Joseph
- The Watermelon Woman– Cheryl Dunye
- Pose on FX– created by Steven Canals, Brad Falchuk, and Ryan Murphy
- Univitellin– Terence Nance
- Vow of Silence– Be Steadwell
Header image taken by yours truly, Amherst College, June 2018. I’m working as a TA in a pre-college program on Amherst’s campus for the next few weeks. I love it already, and when I find my words I will tell you why.