Tag: my work

I was recently invited to read at the second Grief Rites reading, for the Holiday Edition. As you may know, my father died on Thanksgiving when I was eight years old; I had originally planned to write a new poem about him to read there. But, as happens sometimes, it really wasn’t coming together. Instead, I read a selection of poems written around the holidays last year, and two new pieces written this holiday season. (You can read two of them online, one here and the other here.)

All of the poems I read explicitly address how I feel as a Black person living in America, a country — as I say in my poem “Colonize(d)” — “that would rather see me / shot in the face.” Of the poems I read, one memorializes the 16th St Baptist Church bombing, one memorializes the murder of Michael Brown, and the remaining three deal with the stress of protesting and racial justice work, and the pain of justice denied. They are heavy pieces, and I hesitated to read them.

Some readings, I leave the most radical or race-specific poems out if I am unsure of the crowd, because I have anxiety and chronic pain; baring my soul is hard enough without someone trying to argue with me, a depressingly common occurrence. This time, I read without censoring myself.

During the break, a white woman I’d never met came up to me. She began by telling me what I read really resonated with her, BUT… As it turns out, she was raised in Alabama, and the Alabama of my poem doesn’t exist any more. She insisted that everyone knew better now, that when she was growing up, no one would have done something so awful. She told me that her parents taught her that skin color doesn’t matter, that so long as a person was willing to work hard they would succeed. I pointed out the high rates of police violence against Black people, and she talked around that, reiterating that Alabama wasn’t like that any more, and then tried to say that as women, she and I face the same barriers in corporate America. I cited the racialized gender wage gap, and she said “Not in Dallas.”

She left to visit the bathroom, and then returned to assert that we shouldn’t focus on race, and that we just need to work hard; if we just work hard, we can succeed. She commended me on being strong, utterly missing the point of my poem, “Too Strong,” which is that having to bear up under the pressure of violence and discrimination is exhausting and demoralizing. When she finally went back to the bar, I hid in the bathroom for 10 minutes trying not to have a panic attack, and missed two of the other readers.

While this woman was doing her utmost to convince me I was wrong about the existence of racism, a wonderful friend of mine tried repeatedly to interrupt her, to get her to consider that I might not be open to this conversation, or that it might be painful to me. By the end of the night, I was so tense and overstimulated that I suffered severe migraine symptoms and passed out for 15 hours. When I woke up, I discovered that my contributor copies of Minerva Rising‘s latest issue, Sparrow’s Trill: Writers respond to the Charleston Shooting had arrived in the mail. Two of my poems are included in this special edition: “Placeholder for Home” and “My Black.”

Holding a copy in my hands, I feel so many feelings. This is the first time my poetry has been published outside my own press in half a dozen years, and it makes me feel validated. It reminds me that rejections are a part of the process, that my work can find a home. It reminds me that others are feeling what I’m feeling, struggling as I am struggling. It reminds me that even those who are not feeling what I am can empathize. It reminds me why I struggle. It reminds me why I sometimes feel burnt out.

When I finished work on After Ferguson, In Solidarity, one of our contributors asked me if we would do another anthology for Charleston. I said no; it took 9 months to get AFIS out, and I honestly needed a bit of a break. I started my press in order to put out AFIS, but I hadn’t reckoned with how hard it would be: soliciting submissions from folks, picking which pieces to include, chasing contributors down to get contracts signed, creating a coherent flow, getting the cover art done, fundraising, and more. I learned a lot, most of it the hard way, and I don’t regret it, but I’m also glad I didn’t try to do it again right away. Since I didn’t, I’m glad that Minerva Rising created this special issue, and I’m proud to be included in it.

I want to thank everyone who expressed to me at the Grief Rites reading that they appreciated my work. I hold onto that when I feel the urge to silence my voice, to be jaded and avoidant. The fatigue and frustration can be overwhelming, but that doesn’t mean my voice must be silenced; I have a community to hold me. I don’t have to do all the work myself.

So, for us all, I wish healing and comfort in the new year. I wish peace and joy and strength. I wish us loving community and found family. I wish us support in creative endeavors, and success in our work. I wish us a better world.

Happy holidays, everyone — I’ll see you on the other side!