That Feeling Place

Sunday evening 10/23

My first reading of Audre Lorde’s essay “Uses of the Erotic” left me feeling totally confused and inadequate, and it took some years for me to realize those feelings had more to do with the environment in which I read the essay and less about some lack of insight or deficiency on my part. During the first semester of my sophomore year, I took an introductory Women’s and Gender Studies course to see how I felt about declaring it as my minor. The main text we studied throughout the semester was something by Maria Shriver about the wage gap (framed in the usual white feminist ways that flattened all women’s concerns into something we can “lean in” our way out of), and Lorde was one of three texts by or about Black women. The other two were “In Search of our Mothers’ Gardens” (the essay, not the book) by Alice Walker and an extract from the book The Immortal Life of Henrietta Lacks.

That same semester, I was trying to make up for  my homesick first year by overloading on activities, saying yes to almost any and all friends and whatever they wanted to get up to, and taking classes towards the psychology double major I would eventually drop when I realized the humanities did not need a science to legitimize their study. So, it’s possible my encounter with Lorde was more like taking sandpaper to bare hands washed with lemon and vinegar and less like loving because I didn’t give myself enough time to do the readings and write the response paragraphs as thoroughly as was required of me. But I also think there was something more visceral about the way I experienced that essay in that classroom, something that made me feel confused and outside of my self for completely missing the point of a piece of writing that was supposed to be “for” or “about” me. I’m telling you I had to write a response to that essay and I could not assemble a single coherent thought, but neither Audre Lorde’s vocabulary nor the structure of her argument were to blame. 

When I read Sister Outsider in grad school on my own a few years later, it was like someone had reminded me of a name I used to be called at home where I was safe, and I understood it well enough to teach from it towards the end of my time as a grad student. I first assumed the light that clicked on had to do with the passing of time and presumed maturity I had acquired, partially through the trauma of certain experiences that compelled me to harden and sharpen in ways that protected me and also…maybe I didn’t say no, maybe that didn’t happen.

Turning towards my self to try and find some of the blame for my lack of understanding within is my default posture. Only a few years had passed, and I don’t think I believe that I had to experience certain kinds of gendered violence firsthand in order to understand written works about it. I think part of the problem was located in that classroom where the only other ways Black women appeared were in graphic, lyricized descriptions by Eve Ensler of her putting her hands inside the wounds and fistulae of Congolese women who had been raped. I’m still so horrified by this detail that part of me hopes it is only a half-memory, though the detail of the horror and the depth of the disgust it still elicits tell me I didn’t dream this up.

I also have vague memories of an exercise where the professor wrote and underlined the words “black” and “white” on the board and asked us to add words we associated underneath each, and a white guy said he didn’t understand why “beautiful” would be under black because he would never feel compelled to add such an adjective for “white.” Less vague is my recollection of the time a Black man—a student minoring in Women’s and Gender Studies— in class said breastfeeding in public was inappropriate because “what if I just took my dick out and pissed in the middle of the street?” The more I write, the more comfortable I am saying the problem was the class and not me and my being an over-extended, less than diligent student at the time.

I’m thinking about “Uses of the Erotic” again because the author Kaitlyn Greenidge wrote a really insightful thread in response to a tweet that was a only a little tongue-in-cheek about the dearth of the erotic in media, “Why is nothing EROTIC anymore. Whatever happened to the slow uncovering of a shoulder? A knowing glance shared between lovers? A gentle kiss on the corner of the mouth? What the fuck guys?”[1] Greenidge wrote, “eroticim requires a level of emotional vulnerability, directness and commitment to pleasure that is anathema to most media being produced today and honestly, most audiences consuming it.”[2] She adds that our current algorithm-driven media landscape and mass/hyper-consumption make it so that it is almost impossible to tune into the “eroticism of the individual imagination/life,” [a lot of people’s versions of “romanticize your life” à la Tik Tok looks oddly similar, with the same beige couches and beige lattes[3], but I also think this romanticization is more about the simplified, easily recognizable gesture than it is about deep, individual desire] when our glowing screens are encouraging us to consume our way to a persona that will eventually have to shift when the aesthetic at hand is no longer on trend.

And then there is everyday surveillance that is any given somebody with a camera phone who could record your public moment of euphoria or crisis, “The generation that won’t dance in public anymore for the very real fear some random person will record it and upload it to social media for ridicule is fighting an uphill battle to get comfortable enough for full on eroticism.”[4] I think there’s also something to be said for following along as people live out milestones you think you might like to have for your self. I’m not suggesting that social media invented wedding, promotion, or “just bought a house” announcements (have you heard of testimonies in church or the newspaper’s weddings section?), but church bulletins and special print columns are discreet and confined to the moment right after you leave the pew or close the newspaper, which might be less jarring, less humbling, less like an ambush, than seeing an ex or a former co-worker you didn’t particularly get along with having the destination wedding you never thought you wanted until this very exact moment, one that finds you alone on the couch on a weekend or at work on a shift that threatens to never end with no such joyful prospects on the horizon.

The thread ended with the following quote from Audre Lorde:

“The erotic is a measure between the beginnings of our sense of self and the chaos of our strongest feelings. It is an internal sense of satisfaction to which, once we have experienced it, we know we can aspire. For having experienced the fullness of this depth of feeling and recognizing its power, in honor and self respect we can require no less of ourselves…”[5]

…a very timely reminder that all these months I have been searching for the words to try and explain the connection between my writing practice, pleasure, and a deep sense of self-fulfillment and satisfaction, I was looking for a Psychology Today post or an article with “nih.gov” in the URL when Audre Lorde had already given us the words.

I’ve been grasping at thoughts like dragging my hands through something spilled and scattered, trying to explain how well [I think] the novel revisions are going (only when people ask, for fear of becoming the insufferable artist friend, and also because I don’t expect people to be interested in something so narrow and so personal to me), where writing I do for other people and for work comes from a place of knowing that feels hollow. I wouldn’t even compare it to writing lists of groceries or tasks to complete, because even those have elements of ritual that can be sacred, because I am precious enough with my self to write down things like “altar flowers” and “loose leaf tea” and “plant care” and “text back” so that I not only remember these tasks, but can also celebrate their completion.

It doesn’t feel like schoolwork because I have always loved school from kindergarten through my graduate program, and there was nothing empty or soulless about the frustration I would feel trying to decipher even the subjects I didn’t enjoy [Ask me about the 2009 IGCSE Chemistry exam. I still haven’t recovered]. Writing on the behalf of another person or an organization feels sort of like writing by numbers, like internalizing rhetoric and turns of phrase that are not my own in order to produce something appropriate and slightly bland, supplanting my memory with that of the institution, like mimicry, without the bend of the accented voice or Ghanaian English discursive twists, like I’m moving my mouth and a language I only learned how to speak yesterday is coming out, in a voice much higher-pitched and slower talking than my own.

In “Poetry is Not a Luxury,” which also appears in the Sister Outsider anthology, Audre Lorde writes, “The white fathers told us, I think therefore I am; and the black mothers in each of us-the poet-whispers in our dreams, I feel therefore I can be free…[The same white fathers who told me to look to Psychology Today or the NIH for answers I already knew?] For within structures defined by profit, by linear power, by institutional dehumanization, our feelings were not meant to survive. Kept around as unavoidable adjuncts or pleasant pastimes, feelings were meant to kneel to thought as we were meant to kneel to men.”

The tension is not between the unfeeling, knowing place I work from as the realm of what is presumed logic or rationality versus my creative practice belonging to emotion and sentimentality, nor is it solely about my creative practice bending and taking a subordinate position to what I do to keep the lights on. If anything, my creativity and capacity to love and be loved take precedence in all ways except for time or the lack thereof, and even then, it is only my physical self spending the majority of her time between buses, office cubes, conference rooms, and back again. Anything I write for my self, even on days like this one where the words are coming out like pulling teeth from tough gums, is coming from a place so far within and so complicated that I don’t know if there will ever be words to explain what it means to write from a seeing-thinking-knowing-feelingplace, but thankfully I don’t have to, because in a letter to Black women published in Essence Magazine in 1985, Toni Morrison said: “You had this canny ability to shape an untenable reality, mold it, sing it, reduce it to its manageable transforming essence, which is a knowing so deep it’s like a secret.”[6] 

This secret place is the psycho-spiritual manifestation of Gloria Naylor’s “other place”[7] where all that is “dark, ancient, and deep” and “unexamined and unrecorded emotion and feeling”[8] are guarded from the grasping hands and roving eyes of the uninitiated. When Yejide’s distant mother, Petronella dies in Ayanna Lloyd Banwo’s novel When We Were Birds, the two of them sit in the garden of Yejide’s mind sharing a cigarette and staring into the unending green, and Petronella tries to show Yejide how to step into their family’s ancestral duty to be custodians of the restless dead, both ancient and new, trying to call her attention to this seeing-thinking-knowing-feelingplace by pressing hard on her pelvis until she feels:

“And then Yejide see it, or rather feel—how to see when is not your eyes working? When something in you seeing in a way you never see before?—sharp, shallow needle blues, placenta edges of pink and red and gold, flare then flicker and fade, like a bulb in a dark room.”

Even in this moment, with her mother talking to her from the afterlife while they both sit suspended between Petronella’s deathbed, Yejide’s subconscious, and the afterlife, Yejide still tries to see with her eyes and know with her mind as if these are separate experiences:

“Yejide squint past the garden and the mountains, past the figures in the room, try to pull back the colours to her—the blues, the pinks, the dark purples.

“Not with your eyes, child,” Petronella snap. “Some things spirit, and some things flesh. She press low on Yejide belly again, rougher, hurting her now.

“Here. Look with here.”

This “other place” might be inaccessible to Leonie, another complicated, difficult-to-love mother, in the novel Sing, Unburied, Sing by Jesmyn Ward, because even though she is able to see her deceased brother, she can neither sing to nor hear the natural world the way her children and her mother can, maybe because her grief and her addiction have built a dam blocking the way to her other place that grows more impenetrable the harder she tries to forget. Her inability to access what Lorde describes as “self-connection, as the knowledge of oneself as “capable of feeling,” as the demand that knowledge places on the self to live as though know you know “such satisfaction is possible, and does not have to be called marriage, nor god, nor an afterlife” sends her deeper into despair and into longing for that connection anywhere else she can find it outside her self, in bad drug trips and in her boyfriend and the father of her children, Michael. I can no longer find the link to the recording, but I remember an interview where Jesmyn Ward described Leonie as “a walking wound” of a person, but I’d like to think that somewhere beyond the end of that story, she is closer to wholeness, because she is able to find her way back to the inner resources she has inherited from Mam’s ancestral veneration and Vodou practice, and also that she is living in a material reality where she is not vilified and shunned for being unwell and unable to care for her children the way they need or at all, but rather the care she needs to be well.

Because I am an artist with an art form[9] and so [hopefully] not a danger to my self or to anyone else—I can pour all my fury and my hurt and my lost and my lonely and my glimmer[10] onto these pages, though I wonder if the pages are enough[11], and I’m trying to keep the way open between my present and my other place and my “ungloved hand” turned towards all my creative impulses and desires, in the face of daily life that offers only two options: endless work (“stripped of its erotic value, its erotic power, and life appeal and fulfillment”) and self-denial in exchange for a place to lay one’s head, or abjection and death, and the even worse third option which is most common, endless work, self-denial, and abjection and death anyway, because the yield you were promised for all your labor was not enough to make the living you were promised.

Audre Lorde defines the erotic as follows:

“The very word erotic comes from the Greek word eros, the personification of love in all its aspects—born of Chaos, and personifying creative power and harmony. When I speak of the erotic, then, I speak of it as an assertion of the lifeforce of women; of that creative energy empowered, the knowledge and use of which we are now reclaiming in our language, our history, our dancing, our loving, our work, our lives…In touch with the erotic, I become less willing to accept powerlessness, or those other supplied states of being which are not native to me, such as resignation, despair, self-effacement, depression, self-denial.”

My evocation of Audre Lorde here is not to simply suggest that spending hours with my creative work feels sensual or romantic, though it does to a large extent. This is more an acknowledgment that new perfume; playlists full of songs about longing and lust and love; endless re-watches of Moonlight, An Oversimplification of Her Beauty, In the Mood for Love, and specific episodes of Queen Sugar; listening to the When We Were Birds audiobook on an endless loop for the story’s beauty as much as for the Trini accents; and digital moodboards full of lush and lovely imagery are more a means to an end, what I listen to and look at on the way to my my other place, or, more actively, what carries or drives me there, meaning that even when I am completing the “necessary” paid work that sometimes makes my soul crouch low, I know that nothing is more powerful than the creative force of that seeing-thinking-knowing-feeling place, slices of the black femme sublime laying in luxuriant wait for Monday evening or Wednesday at lunch or Saturday morning when I can visit the garden of my mind and tend to all that is green and alive there, pruning all that is not, singing songs I have tried and failed to render in plain words, and cultivating secret knowings I may never tell.

Note added 10/25: I forgot to mention that poet, artist, and scholar Bettina Judd has a book coming out this winter titled Feelin: Creative Practice, Pleasure, and Black Feminist Thought, and just like Wicked Flesh by Jessica Marie Johnson, I’m breathlessly waiting, because I can tell that it will be what I need personally and for my creative and writing practice. A snippet from the blurb: “…feelin, in African American Vernacular English, is how Black women artists approach and produce knowledge as sensation: internal and complex, entangled with pleasure, pain, anger, and joy, and manifesting artistic production itself as the meaning of the work.” December can’t come soon enough.


[1] I wanted to cite this tweet properly but can no longer find the person’s account.

[2] Greenidge, Kaitlyn. [@surlybassey]. Twitter, 10 October 2022, https://twitter.com/surlybassey/status/1579646092874240000

[3] Have you seen the 2001 live-action film adaptation of Josie and the Pussycats?

[4] See Kaitlyn Greenidge’s thread.

[5] Lorde, Audre. “Uses of the Erotic: The Erotic as Power,” pp. 43. Sister Outsider: Essays and speeches. Crossing Press, 2012.

[6] Morrison, Toni. “A knowing so deep.” Essence 230 (1985)

[7] This is a reference to Gloria Naylor’s novel Mama Day (1988). The other place is the site of Mama Day’s childhood home where she goes to reclaim memory or actual items she needs for her ritual and care work.

[8] Lorde, Audre. “Poetry is Not a Luxury,” pp. 25. Sister Outsider: Essays and speeches. Crossing Press, 2012.

[9]Morrison, Toni. Sula. Grafton Books, 1982. This is about to be the longest footnote, because it was only when I went to look up the passage I’m referencing here that I realized that Toni Morrison’s description of Sula’s preoccupation with “her own mood and whim” sounds a lot like Audre Lorde’s erotic, except that maybe she didn’t have anywhere to channel this force that was more fruitful than relationships with men. The passage is long but worth quoting in full:

“They taught her nothing but love tricks, shared nothing but worry, gave nothing but money. She had been looking all along for a friend, and it took her a while to discover that a lover was not a comrade and could never be—for a woman. And that no one would ever be that version of herself which she sought to reach out and touch with an ungloved hand. There was only her own mood and whim, and if that was all there was, she decided to turn the naked hand towards it, discover it and let others become as intimate with their own selves as she was.

In her way, her strangeness, her naivete, her craving for the other half of her equation was the consequence of an idle imagination. Had she paints, or clay, or knew the discipline of the dance, or strings; had she anything to engage her tremendous curiosity and her gift for metaphor, she might have exchanged the restlessness and preoccupation with whim for an activity that provided her with all she yearned for. And like any artist with no art form, she became dangerous.”

[10] The first time I heard that the opposite of a trigger was a glimmer was on my favorite podcast, QueerWoc. Listen to Episode 83: Glimmers, Caramelows & Collins.

[11]I’m often lonely for meaningful human connection, because besides in-person work, I’m still trying to avoid falling ill with COVID as much as I can, and because pre-2020 [and now when it’s possible to stay outdoors] I’m inclined to choose and enjoy my own company at bars, concerts, cafés until I look up and realize that it’s been weeks and I’d like to share the experience with someone else, especially someone who actually sees more of my humanity than they see the idea of me or the way I can make them feel. [Do I sound like an egomaniac lying to themselves and other people by claiming to be an “empath?” I promise I’m not. This would probably make more sense in the context of a conversation I was just having with one of my uncles about a returning ghost who said to me that beyond being aware how upsetting his unceremonious disappearance would be to me, he was devastated at the possibility of “never getting to hear Zoë’s voice again.” Something about that third person…can you tell Casper was also just full of it? I’m not as profoundly lonely as I felt years ago, ironically when I was in grad school and living with roommates, but the line between alone and lonely sometimes seems nonexistent in these eternal pandemic times.

Crisis, Love, and Magic

click the image…

At some point this year, I realized that the angst (familiar to many artists) about the “use” of one’s work, or the question to who it will be of service could easily turn into hubris. What may begin as a genuine concern for the fact that making art on its own will not improve the material conditions or alleviate the suffering of other people can easily become a desperate need to hear that what you think and have to say are “important,” “urgent,” or even “necessary.” (On a tangential note, you should watch Residue on Netflix, especially if you’re a black artist in need of something to get you together). 

Deciding to lay down these anxieties and get on with my work was not a turning away from the death and dispossession that characterize this unsustainable world. Rather, it was a slight self-drag and firm reorientation of purpose; get on with your work because you need it stay alive and in the process of making and sharing, maybe one other person might find something resonant, if even for a brief moment. 

So here’s what I’ve been working on to maintain my peace of mind during quarantine. The site is a gathering together of what I’ve been thinking about and making. There are parts where I am unsure of myself and maybe a little whiny. As many times as I’ve combed through, there will be typos. Almost all of the visuals are combinations of old instagram vides from my phone and clips I took in my apartment during quarantine as my initial plans had to adjust to the conditions created by 2020. But is’s all there, because “process is the project” is one of the guiding principles of Mother Mercy’s work. My project will be available to view until the end of this year. I have so much more work to do before this work comes back into the world at some point in the future.

I’m so grateful to JME and the amazing members of the Call to Create cohort for creating this space for dreaming and making. After all that being said, will you wander with me? And another question: what are you willing to do?

Mother Mercy

I’m trying not to talk about this year in past tense, as in I was going to start a new project; I was going to learn more about visual media; I was going to look into moving to a new city etc. because I’m still alive, still trying to imagine and to bear witness. So instead, I’ll share my gratitude for being included in the 2020 Call to Create cohort of Mother Mercy, an incubator and a community of incredible women artists. You can read about the project I’ll be working on this year here.

Glamouring_Alwin Mana[Image: my great-grandmother, Alwin Mana in a collage I made using the VSCO app]

Hey, Celestial!

Love. Tar Baby. A Mercy. Home. Beloved. In this order, I revisited and in some cases read for the first time these works by Toni Morrison. My mum had all the books she had published up until the 80s, and I felt this urgent impulse to fill in the remaining gaps. I spent the entire month of July doing this, leaving Beloved for the end of the month near my birthday. I can’t say I would recommend doing what I did, reading several of her works in quick succession, unless you can spare significant amounts of time to catch your breath. I finished a few weeks ago, and I’m still breathless from the language, hypnotized by her brilliance, and unsettled by the aspects of human nature that she revealed and compelled her readers to reckon with. Even as I went from book to book knowing I should take a break, I kept going because I felt so strongly that I couldn’t stop. I left work a little early one afternoon to catch the documentary The Pieces I Am as part of the Roxbury Film Festival, and enjoyed it thoroughly while also feeling as though I had seen it before after spending hours watching any interviews and archival footage of her that I could find. Probably because I was spending so much time thinking about her and reading her work, I also dreamt one night that she was my teacher, literally, standing at a white board and writing out a lesson for me to take notes. My best friend said something in my spirit must have known.

 

 

Hey, Celestial! Hey. Celestial. Hey Celestial (Photos by Warring Abbott, 1974)

Toni Morrison, Toni the gawd, Toni Morrison as in one of the greatest to ever do it, became an ancestor on Monday night. This news was the first thing to greet me when I sat at my desk at work on Tuesday morning, on time for once and feeling unusually optimistic about the day. Toni Morrison is now an ancestor. Hey, Celestial! I don’t know what else to say except that I have never felt so deeply about the death of someone I didn’t know personally. I don’t know what else to say that people far more eloquent than me are already saying about what it has been like to live on this earth at the same time as someone so legendary. I don’t know what else to say except that I wrote nearly 2000 words last night which is far more than I’ve written in one sitting in weeks. I don’t know what else to say except that we are now living in a world where Toni Morrison is no longer sitting by a window somewhere laughing that distinct laugh and being wise and hilarious and sarcastic all at once. Except we are. She is still with us. Hey Celestial.

***

Here’s what I posted on my social media accounts last night:

 

67960167_10217340091707042_6063896757073346560_nI talk about her all the time. As it is with so many other people, her name usually comes first for me as one of the writers who made it possible for me to imagine widely and to attempt to put that imagination into words. The yet to be finished book project I turned in as my masters thesis would literally be nowhere without Song of Solomon.

I’ve lost count of the number of application essays, reflection papers for class, and casual conversations in which I reference reading my mum’s copies of Morrison’s books when I was too young to fully understand, and yet somehow I did, and kept reading and re-reading her for years after that, trying to understand what kind of mind produces the sort of sentences she puts together.

She gave a series of lectures in Boston in 2016, at a time when I was feeling burnt out and discouraged at school and at work, and violated and angry in my personal life. I went to four of those lectures to hear her speak, and the way her presence filled the room was nothing short of divine. I’m still feeling discouraged these days, and especially today, but I guess because of Toni Morrison and what she has made possible, it is my responsibility to keep trying to do this thing called life.

RIP to one of the greatest to ever do it.

 

For Miss Freda, and for all my Lilians

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.

***

24653278-c582-416d-b481-c2668e501ed6
My beloved and beautiful Grandma Lilian. I’m named after her– I have two middle names– but I don’t think the name suits me that well. I don’t have the requisite kind eyes and pleasant disposition, I feel.

“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.”

-from Sula

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.

careful

I am of Erzulie Freda’s dangerous charm.

I am of colossal proportions.

I am everything.

The Pen Would Always Find Her

She cut her teeth on Cry the Beloved Country, and Maya Angelou’s defiant biography nursed her growing pains.  Matilda and What Katy Did were quickly discarded for more irreverent works. She craved writing that didn’t feel safe and homely, writing that was definitely inappropriate for a girl her age. Her appetite for books was insatiable, and yet, it grew to become a natural part of her being. Devouring books for breakfast, or in the car on the long commute home, or on the toilet before bed, where everyday occurrences for her. She laughed a raucous, daring laugh with Sula and played with the children in Anita Desai’s luscious garden in the balmy Indian sunset.  She was never really curled up in an old armchair in a small house on a dusty street somewhere in Accra; she was watching in awe as the owner of the plantation controlled Liana so effortlessly and mean-spiritedly, and she wept when Pecola finally found her blue eyes.

So how did she get here? How did she reach this place where she constantly asked herself, “What would Sula do?” She looked at her feeble reflection in the window flecked with the unseasonal December rain. The smudged louver blades created a disjointed reflection that appeared to shake its head slowly in disgust at its sorry excuse for an owner. Sula, who she was convinced was her more powerful alter ego (sort of like Sasha Fierce, but a lot more reckless), would most certainly disapprove of her apathy. Writing was supposed to be a release; her private getaway to a flawless white beach with water that was such a striking shade of blue it hurt the eyes in a single glance. Maybe her protagonist would have piercing blue eyes? A little black girl with blue eyes and an unruly bush perched in the center of her head? How obvious. Tell me again how you’re the new age lovechild of Toni Morrison and Virginia Woolf? Doesn’t that just make you crazy with a hint of soul? Writing was both her fountain of youth and her kryptonite, and yet she sat twiddling her proverbial thumbs idly in front of a blank white screen, with the specters of Yaa Asantewaa and the long forgotten ancestral mothers glaring down at her with eyes ablaze, “What a disgrace! We thought you would be strong like us!”

Clearly delusional, she slammed her state-of-the-art laptop shut. It had been a gift from her publishers after the signing of her very first contract and she remembered the uninviting cold of its metal surface as she rubbed her hands back and forth over its cover, feigning a benevolent smile as she attempted to choke back tears of fright, and regret, and “Did I make the right choice?” She blinked furiously in the non-existent glare of the naked overhead bulb, attempting to fight those same salty tears that lurked behind her eyelids, threatening to burst forth with a vengeance the minute someone uttered the word “deadline” or “Pulitzer”. The computer hummed and came to a slow halt, and in the silence that followed she confronted her empty future like she had done a hundred times before. The engagement called off in favor of the good little wife freshly called to the Ghana bar. Ghana Barbie: fully equipped with an innocuous smile, crisply pressed black robes and dainty wig, and an unbelievably fine-tuned recipe for groundnut soup (batteries not included.) But of course she’s only going to the chambers twice a week, twins on the way after all! The relatives clucking with disappointment, jowls quivering in shame as they hash out what a waste of a scholarship she had turned into. A dozen missed calls and text alerts flashing on her phone screen like the feverish strobe lights in some sick adaptation of her life, Quentin Tarantino style. Only this time, instead of a heroine squeezed into a bright yellow bodysuit, she felt about as invincible as the sickly gecko crawling on the once- turquoise wall of the childhood room she still called home. She answered the landline with a resounding sigh, “Yes, I am serious about this writing thing…”