Considered Chattel, Pt. 2

Today, I’m taking even more liberties with the form. I don’t know if this poem can even be considered to be an erasure poem at this point. I’ve done two things that don’t follow the rules: I’ve brought in a line from a whole other poem, from the poem I made on the 12th., and I repeat it or parts of it throughout this poem. I’ve also chosen to focus on only a few pieces of my source text and repeat and rearrange them over and over.

I won’t lie: this was a more interesting way to work on the poem, but I’m still not sure it works as well as I’d like. And I’m definitely not sure that this “counts” as a true erasure poem. But it’s today’s work, and I’m sticking to it.

Considered Chattel, Pt. 2
(An erasure of Jezebel’s article about the removal of the J. Marion Sims statue from Central Park.)

Advancements
came at the expense
of hundreds of Black slaves
without their consent.

A controversial statue —
J. Marion Sims, a 19th century physician.

The city has agreed
to remove Sims,
whose gynecological advancements
came at the expense of hundreds,
Black slaves
— considered chattel —
on whom he experimented.

Sims bought or borrowed
at least a dozen enslaved Black women
(when Black women were considered chattel),
used their bodies
to practice and perfect his techniques,
without informed consent
or anesthesia.

Sims is credited
as the “father of modern gynecology.”
The father.
Sims’s advancements,
netted by barbaric means,
shed light on the history of racism
in the medical industry.
Bought or borrowed
enslaved Black women
— Black women were considered chattel —
used their bodies
used their bodies
used their bodies
to practice,
without consent
without anesthesia.
Barbaric.
Sims’s advancements
shed light on the barbaric history
of the medical industry.

Advancements in racism.
When Black women were considered chattel.


It’s National Poetry Month! Every year, I choose a specific form and try to write a poem a day in that form. This year, I am trying erasure poems and I want to use news articles as my source texts. I’ve practiced a few times, and it’s already feeling difficult! We’ll see how it goes.

Here’s an edited version of the Wiki definition of this form:
Erasure Poetry: a form of found poetry created by erasing words from an existing text in prose or verse and framing the result on the page as a poem. Erasure is a way to give an existing piece of writing a new set of meanings, questions, or suggestions. It lessens the trace of authorship but requires purposeful decision making. What does one want done to the original text? Does a gesture celebrate, denigrate, subvert, or efface the source completely? One can erase intuitively by focusing on musical and thematic elements or systematically by following a specific process regardless of the outcome.
Also, Robert Lee Brewer at Writer’s Digest has some good points to add about ethics and plagiarism:
Quick note on ethics: There is a line to be drawn between erasure poems and plagiarism. If you’re not erasing more than 50% of the text, then I’d argue you’re not making enough critical decisions to create a new piece of art. Further, it’s always good form to credit the original source for your erasures.

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Washington International School
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The Violent Male Gaze

Tonight, I stepped away from the Times and over to Jezebel for my source material. Found an excellent piece by Clover Hope to use for my poem. Definitely worth reading the full essay. She has a lot to say and says it well. Thank you to everyone who suggested I switch up my news source. Of course that was a great idea. I’ll be doing more of that.

The Violent Male Gaze
(An erasure of the Jezebel article on the #MeToo movement and film)

This is a cycle.
It’s happened her whole life
sexual assault, rape, domestic violence –

Public attention has escalated
acknowledgment of violent sexual behavior,
reflection and reinforcement of prevailing views,
our pessimism about change remains.

Violence has worked for decades,
the link between real-world sexual violence
and depictions of violence
confirming violence as a sexual stimulant for men.
Violence exists within a continuum
of culturally sanctioned, ritualized aggression,
a continuum from the symbolic, cleansing, and cathartic
to the desensitizing, exploitative and profoundly hypocritical.

What’s been robbed of women
is the privilege of complexity.
Consideration
of how we respond to or reject violent imagery.
We are inundated with images
of women as victims,
images of murdered women’s bodies.
They are the narrative background,
acted upon rather than acting.

Men in power have stalled the course of evolution.
The issue of violence begins with how women are seen –
unconscious indoctrination.
Awareness of these images,
pointing out that women are sexualized,
made into sexual objects,
an overpowering message that you’re constantly seeing,
a consciousness created about what women are here to do.

Advancement of women is one obvious solution.
One of the clearest ways to combat sexual harassment:
Some enlightenment …
And a lot more women.


It’s National Poetry Month! Every year, I choose a specific form and try to write a poem a day in that form. This year, I am trying erasure poems and I want to use news articles as my source texts. I’ve practiced a few times, and it’s already feeling difficult! We’ll see how it goes.

Here’s an edited version of the Wiki definition of this form:

Erasure Poetry: a form of found poetry created by erasing words from an existing text in prose or verse and framing the result on the page as a poem. Erasure is a way to give an existing piece of writing a new set of meanings, questions, or suggestions. It lessens the trace of authorship but requires purposeful decision making. What does one want done to the original text? Does a gesture celebrate, denigrate, subvert, or efface the source completely? One can erase intuitively by focusing on musical and thematic elements or systematically by following a specific process regardless of the outcome.

Also, Robert Lee Brewer at Writer’s Digest has some good points to add about ethics and plagiarism:

Quick note on ethics: There is a line to be drawn between erasure poems and plagiarism. If you’re not erasing more than 50% of the text, then I’d argue you’re not making enough critical decisions to create a new piece of art. Further, it’s always good form to credit the original source for your erasures.

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Washington International School

Mother of a Nation

Winnie Mandela has passed. May she rest in power and peace.

I understand the need to tell a “whole” story, to share the bitter with the sweet and all that. However, when I read the article about Mandela in the New York Times, I was pretty much only annoyed. To start and end what should have been a remembrance and celebration of a great woman by calling her out as a problem is disgusting. Is it really so hard to give a woman — a woman of color, an outspoken woman, a powerful woman, an African woman — her due? Is it?

I made an erasure poem using the Times piece as source text. It felt like writing a correction, like something I should send to them with the note, “Fixed it for you.” I found a better article from the BBC and pulled bits from that into the poem.

The only lovely thing about the Times article was learning Mandela’s given name and what it means. Certainly, her parents knew too well the world they were bringing her into. Did they also see something in her infant eyes that made them know to name her “Nomzamo”?

She who must endure trials / Nomzamo
(An erasure of the Times’ flawed remembrance … inter-cut with a much more appropriate BBC News article)
 
A voice of defiance.
Charming, intelligent, complex,
fiery and eloquent,
a natural constituency
among poor and dispossessed,
a champion of justice and equality,
a primacy.
Her credentials eclipsed by her husband’s stature
her contribution wrongly depicted.
Her burning hatred
rooted in years of mistreatment, incarceration, banishment.
Her reputation, her private life,
a victor’s clenched fist salute.
She was arrested,
held in solitary confinement,
beaten and tortured.
A living symbol of the country,
a living symbol of white man’s fear.
An abiding symbol of the desire to be free.
Her home a place of pilgrimage.
To the end, revolutionary and heroic,
icon of liberation struggle.
Deeply grateful for the gift of her life.
Remember.
__________
I won’t lie and say that I’m enjoying making these erasure poems. As I worked on today’s attempt, I realized that I find them frustrating because I’m not using my own words, when of course using someone else’s words is the entire point. When I’ve written erasure poems in the past, I’ve written poems about things I’m thinking or feeling and simply mined the source text for the way to say what I wanted to say. The poems I’ve written so far this go-round have been more like condensations of the source texts, and I think that’s what’s on my nerves. I need to work on moving away from that. I’m supposed to be creating something new, not distilling some other writer’s ideas.

It’s National Poetry Month! Every year, I choose a specific form and try to write a poem a day in that form. This year, I am trying erasure poems and I want to use news articles as my source texts. I’ve practiced a few times, and it’s already feeling difficult! We’ll see how it goes.

Here’s an edited version of the Wiki definition of this form:

Erasure Poetry: a form of found poetry created by erasing words from an existing text in prose or verse and framing the result on the page as a poem. Erasure is a way to give an existing piece of writing a new set of meanings, questions, or suggestions. It lessens the trace of authorship but requires purposeful decision making. What does one want done to the original text? Does a gesture celebrate, denigrate, subvert, or efface the source completely? One can erase intuitively by focusing on musical and thematic elements or systematically by following a specific process regardless of the outcome.

Also, Robert Lee Brewer at Writer’s Digest has some good points to add about ethics and plagiarism:

Quick note on ethics: There is a line to be drawn between erasure poems and plagiarism. If you’re not erasing more than 50% of the text, then I’d argue you’re not making enough critical decisions to create a new piece of art. Further, it’s always good form to credit the original source for your erasures.

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Washington International School

Royalty on the D Train

Last night I had dinner with a friend I haven’t seen in ages. Afterward, we walked to the train. Though we waited on the same platform, she’s an F girl, and I’m a D. My train came first, and we hugged our goodbye. As we separated, I looked at the train and saw an older man in the window watching us. He was still watching me when I walked into the car. He kept his bag on the seat while two other women found spots, then moved it, seemingly to offer me the empty seat. I took the seat because of course, but I also thanked him, though I was undecided about whether I should thank him — yes, those two other women found seats, but letting his bag take space when folks need to sit is rude.

But I thanked him, and he offered to give me the whole two-seater because he was getting off at the next stop. I assured him that wasn’t necessary, so we sat: me looking forward, minding my own business and him, staring at me.


It’s not as though men pay me no attention in public, so this ridiculous staring neither shocked nor appalled me. Even at my advancing age, I have to deal with street harassment on a regular basis. But there was something about this man … I couldn’t put my finger on it. I wasn’t getting a danger alert from my internal sensors. Quite the opposite. I just knew that if I’d turned and looked at him, he’d have smiled and started a perfectly, harmlessly respectful conversation. But … there was something. I kept my eyes forward.


We pulled into the next stop, and he got himself ready to leave. I leaned out of his way and gave him a half smile. And as he left he said, “Thank you, Queen.”

   

And that was it, that “Queen.” Then he made some sense. He was one of those men.


I hadn’t given him enough of a look to register that he was Black. He was so light he could easily pass if he so chose. I looked at him as he left the train, noted his kinky hair, the dzi and red white-heart beads around his neck, the ankh and lion-head ornaments on his cane. When he stepped onto the platform, he came to my window, put his hand over his heart and gave a small bow and a smile, then walked away.


Yes, one of those men. The honor-the-strong-Black-woman men. And I don’t say that dismissively or derisively. I get little enough honoring when I’m out on the street that I appreciate it even when it sneaks up on me. And I appreciated “Queen” as opposed to “my Queen.” That’s a whole other kind of man. There’s honor in there, but it falls somewhere in my relationship to the man who’s speaking. “Queen” on its own is only about me.

I like these random reminders that this is another way for strangers to interact on the street, that it doesn’t always have to be about space-claiming or having our guard up, that there can be these tiny moments capping a warm, lovely evening, these tiny, human moments, offered up with a smile.


It’s the annual Slice of Life Story Challenge over at Two Writing Teachers! With hundreds of folks participating, there’s more than a little something for everyone … and plenty of room for you to join in!

Fat Talk: Fat-Shaming and My Secret Decoder Ring

So, with the fat shaming. I am over it. I’ve been over it. So over it that I’d think my over-it-ness would be glowing off me like a radioactive cloud. Trouble is, the assholes who have what to say about my body can’t actually see me. They just see FAT WOMAN. I am a faceless, ageless, blob, existing only to poison their fields of vision and offer myself up for their instruction, ridicule, scorn. Yes, sure. But really: I’m not the one.

Man behind me at the bagel place this morning sucks his teeth when I order a cinnamon raisin with cream cheese, says; “And you wonder why you don’t lose weight.”

I turn to give him some heavy side eye (pun entirely intended), say: “Actually, I’m wondering if I’d also like jelly. And of course I’m wondering how it is you think what I eat is any business of yours.”

He screws up his face, asks, “You ever look in the mirror?”

If he only knew! My vanity and I spend more than enough time gazing dreamily into looking glasses. But here is the thing. His answer — asking if I ever look in the mirror — is straight-up stupid. Because here’s the other thing. A fat body is only his business if it’s his body. Punto. And then here’s the last thing. I’ve been clear just how few fucks I give about his opinion,  and yet he keeps it going. What could be his problem?

I smile at him — as if he could ever deserve one of my smiles — and tell him the mirror and I have been in a long-term, committed relationship for many years. Surprisingly, he isn’t amused.

“You big black women,” he says, “you always have too much attitude.”

“And it really hurts your feelings, doesn’t it?”

“Nothing about you is worth my time.”

I laugh. “And yet, you’re wasting all this time thinking and talking about worrying about what’s going on with me. Interesting.”

He pulls out his phone, suddenly very interested in the facebook. Right.

I’ve written about foolish, fat-phobic people like this before, people who think they have the right to comment on my body simply because I have the audacity to have my body. In public. Where anyone can see it.

Sigh.

I sound cocky and comfortable in that exchange, but that’s not entirely the case. Yes, I am good with comebacks. I have so many years of practice, I’d better be good. But the bagel place is crammed with people, some of whom I see on a regular basis. It’s never my idea of a good time to be fat-shamed, and certainly not in front of a crowd. I receive no support or warm smiles or acknowledgment of any kind from the people around me — because of course — so I step up and shut this fool down all by myself. Because I am grown and I know know to do that shit. Because there’s no authority I am bound to obey that says I have to take anyone’s crap any day of the week. Still, the whole business leaves me pissed off and uncomfortable. Leaves me playing the moments over and over in my head. The ugliness has been silenced, but its sting and stench linger.

*

I’ve also said in the past that, whenever someone comments on my body, I know they are really talking about themselves. It’s really just always true. Always and always and always. It’s hard to see sometimes, so you have to look carefully. It helps if you have a Fat Shame Decoder Ring. I’ve got one. It’s lovely, forged in the fires of Mount Doom and everything. One ring to read them all.

the-one-ring-3d-model-max

And so, I’ll decode this man’s comments. His snarky, “And you wonder why you don’t lose weight,” is clearly directed at himself, wondering why he hasn’t been able to achieve some goal he thinks he’s supposed to want. And when he looks in the mirror, he’s reminded of that perceived failure, of just how much he hasn’t achieved. It would be sad if he weren’t so annoying, so ready to scrape some of his self-hate off and try smearing it on my beautiful brown skin.

His next comment is definitely for me. I do have far too much attitude. Far too much. Much more than I am supposed to have given how society sees me. I should be humble, should be trying to hide myself, should be well and truly ashamed that other people are forced to see the grotesquerie that is me. Instead, I walk around like a person who deserves life, who deserves a bagel and a schmear. My audacity really gets on his nerves. After all, if he knows how deeply he has failed at whatever task he’s set himself, how can I — so clearly failing to meet society’s standard of female beauty — have the nerve to mind my own damn business standing in the bagel shop? How can I dare to order breakfast in the sight of hardworking assholes like him, people who are really out here trying?

His last comment is a toss-up. It’s meant for both of us. He wants me to know he’s not actually focused on me — because of course — but he’s also breaking my heart just a little bit by telling me that nothing about himself is worth his time.

That’s a sad declaration to make about one’s self, so yes, breaking my heart … but only the tiniest of bits. Because, as unfortunate as it may be that this man doesn’t find himself worth his own time, his insecurity and self-loathing don’t make his behavior toward me any more acceptable. It’s always true that the things people say to me reveal the things they fear or despise in themselves. I’m still left with the public shaming, with that effluvium drying on my skin and stuck in my hair.

The decoder ring only works after the fact, long after the ugliness has passed. Because it’s for me, not for whoever’s words I’m decoding. No matter how well or poorly I handle the unpleasant moment, I need to handle it on my own. Telling whichever awful person is in my face that they’re really talking about themselves will serve no helpful purpose. So I say whatever I say, hold whatever silence I choose, keep my head up. But than I carry that bitterness around with me, even after I think I’ve moved on. It keeps creeping back in.

That’s when I need to slip on the decoder ring and remind myself what was really going on so I can remember that I am exactly the same as I was before encountering that stranger and their mess — just as tall, just as black, just as fat, just as fine, and that nothing they’ve had to say changes any of that.

I’m glad to have the ring in my jewelry box, though I think sometimes it would be preferable to move through the world in a sound-proof booth.


One in a series of essays inspired by reading Roxane Gay’s memoir, Hunger.
If you haven’t read my ground rules, please take a look before commenting. Thank you.For 2017, I took up Vanessa Mártir’s #52essays2017 challenge to write an essay a week. I fell months behind on my #GriotGrind, and it seemed highly unlikely that I’d write 52 essays by year’s end. But then I dedicated my NaNoWriMo to writing essays, and did a pretty good job of catching up! I’ve got to move house before the end of December, so I’m unlikely to reach 52 essays. Still, I’ve written more this year than in the last two combined, and that adds up to a solid WIN in my book! Get ready for #52essays2018!

Your Fave Would Never

I wrote this essay a few weeks ago. I sent it around to a handful of outlets, but it didn’t get picked up, so I’m posting it here. Sadly–though entirely unsurprisingly–the subject remains current.

__________

In response to the calling out of predators in entertainment, media, politics, sports, and all over the damn where, a Yashar Ali tweet linked to a satirical news story saying Tom Hanks had been revealed … as being extremely kind. The actress’ claims refer to her time working with Hanks on The DaVinci Code. She states: “The entire time I was on set he repeatedly exposed himself to me as a thoroughly decent human being.”

It’s funny—or almost funny—but also annoying and problematic. I understand the urge to call attention to (put on a pedestal) the men you think are above this fray, men who would never, ever be implicated in anything like any of the accusations we’ve heard. I do get it. But it’s troubling, too.

Because you have no idea. None.

Yes, there were apparently a raft of open secrets about many of these scumbag men. But there are also accusations being made against men who don’t come with open secrets. And those accusations shock us in large part because we’ve been loving on these men for years, long enough to believe we knew them.

And that was our mistake. We never knew those men.

We so want there to be men who aren’t horrible—if only to affirm our belief in our ability to assess character, to choose friends, to read people. And, of course, there are men who aren’t horrible … but we don’t get to decide who falls into that category. We don’t get to designate who the “good” men are based simply on whether or not we like them. Do I want to believe Tom Hanks isn’t an abusive lout? Of course. Do I know he isn’t an abusive lout? Nope.

That “news” piece is meant to be a joke, but it annoys me because, while it’s giving Hanks a nod to let him know he is loved and trusted … at least by the person who wrote it, it is also telling a woman who might have something to say that she won’t be believed because we all “know” Hanks would never.

One of the things this moment is making clear is how many women have been silenced and how effectively. The story about Hanks plays into the silencing—surely not intentionally, but intention has to take a backseat to impact.

The other thing I’ve been seeing in the last week is women starting to name men they are holding their breath over, men they hope against hope aren’t going to get pulled into this particular spotlight. I could make one of these lists, too—Bill Withers, Chadwick Boseman, Michael B. Jordan, Mark Ruffalo, Anthony Mackie, Goran Višnjić, Viggo Mortensen, Danny Glover, Denzel …

There is no point to this list-making. Of course we don’t want to learn that the actors or musicians or socially-conscious businessmen we love as assholes. But what is true is that we don’t know. We don’t know at all.

George Takei was accused. When I read that, I had to consciously fight my urge to dismiss the accuser. I surprised myself each time I had to do that. How could I so readily believe the women who’d come forward but dismiss this man and give Takei a pass? The voice in my head just kept saying: “But Takei would never …”

Yeah. But I don’t know that, do I?

Don’t forget: these famous, celebrity men we want to believe the best of are beloved because of the characters we’ve seen them play or the public personas we’ve seen them project.

Don’t forget: we don’t even know the men we think we actually know. Take Bob, a young man who was a favorite counselor at the summer camp I attended for years. I certainly thought I knew Bob, but he turned out to be a man who would sidle up to 13-year-old me and ask if I sold sex and for how much.

And of course there’s also Alain, a man I was friends with who raped me after a night of running around the city laughing and dancing and—I thought—enjoying our city and our friendship.

My point is that we want to believe our faves would never, but we can’t know that. A man can only prove he’s not a predator by not being one, so we can never know. We can never know. Alain never seemed like a rapist any of the times we went to dinner and hung out talking about our plans for our lives and where we imagined traveling and what work we thought we’d do. He just seemed like any guy I enjoyed being friends with. He was just any guy.

They are all just any guy. Until they’re not. If they looked like predators, we’d know to steer clear of them. They know that. And we have to know it, too.

I don’t fault the women who are posting names of the celebrities they hope no one steps up to accuse. My own list can go on and on. It can, actually, include every man who hasn’t yet been accused because I don’t want there to be any more predators.

But I know better. I know—as much as I hate knowing—that my fave … might. And yours might, too.


For 2017, I took up Vanessa Mártir’s #52essays2017 challenge to write an essay a week. I fell months behind on my #GriotGrind, and it seemed highly unlikely that I’d write 52 essays by year’s end. But then I dedicated my NaNoWriMo to writing essays, and did a pretty good job of catching up! I’ve got to move house before the end of December, so I’m unlikely to reach 52 essays. Still, I’ve written more this year than in the last two combined, and that adds up to a solid WIN in my book! Get ready for #52essays2018!

Cultural Awareness as Deflector Shield

I adored my auntie. I am, as it happens, an auntie my own self, a role I absolutely adore filling. Yet still, there is my absolute distaste at hearing white folks use this term in relation to Representative Maxine Waters.

Since my essay about Maxine Waters was published last month, I’ve been thinking about the most popular, annoying reactions I’ve seen. A lot of people on a lot of different threads had a response similar to one of these:

“Oh, in my family, we call all older women and men “aunt” or “uncle” as a sign of respect, even if they aren’t related to us.”

“Oh, in the [fill in your not continental American cultural background here] culture, the term is used to show respect.”

“Oh, that seems like an American thing. In my country it’s totally different.”

“Oh, my students from [name any other country in the world] call me “auntie” all the time, and they mean it respectfully. I like it.”

“Oh, you can’t assume everyone has the same understanding of that term as you do.”

“Oh, if you tell people not to say “auntie” you could be hurting their feelings because it means something else in their culture.”

Did you notice a pattern? I saw the same thing happen over and over. The moment one person posted one of these “what about this other culture” comments, there are suddenly a bunch of replies from other people talking about the traditions of other countries and cultures and how interesting the similarities or differences are … and suddenly we’re having a whole other conversation that has nothing to do with what I was writing about.

Feh.

On almost all these threads, someone eventually stepped in–and then stepped in when it happened again and then again … because of course–and pointed out that these discussions were missing the point. And some of the Cultural Awareness people were able to hear and understand that. Others really struggled with it. Hard.

And I’m feeling the need to shine my light on why seeing that “other culture” conversation kept springing up drove me nuts.

People seemed to want to be sure everyone understood that “auntie” doesn’t have a negative connotation round their way. Fine. But you know what? The word doesn’t have a negative connotation right here, in the States. It is a term of love and respect, a term used for elders we care about, whether they’re in our families or not. Same meaning and use as in whatever other culture you heard about or studied or lived in during your gap year or whatever. Same.

That’s the point.

The term has always been familial, has always been used to show love and respect. Subverting that meaning and use of the term was surely one of the reasons the term was chosen for this distinctly American, disrespectful use. My essay draws that line, specifically states that using “Auntie” was a way for polite-seeming white people to speak impolitely to Black women, it allowed them to sugar-coat their disdain, their insult, their race prejudice with a kind-seeming honorific. They subverted “Auntie,” made it ugly.

So, if you read the essay, it should have been easy to see that there was no need to call out the traditions in other countries. None at all. And yet there were all those comments, again and again and again.

Here, I’ll insert the other, somewhat-related comment I also saw quite a bit:

“Oh, I’ve never heard this use before so when I say it I am, obviously, not using it that way, so there’s no problem.”

It’s easy for me to believe people wouldn’t have been aware that they were hearing “auntie” used in a demeaning way, but they’ve surely heard the term used for Black women–because, hello, they must absolutely have heard of Aunt Jemima. But even if you never knew there was some nasty history attached to “Auntie,” I’m telling you that there is, I’m telling you exactly what that nasty history is. So yes, you could have called Rep. Waters “Auntie” before you learned the backstory, but now that you know the backstory, why would you still want to use the word? If I’m saying I feel a way hearing that word in your mouth, why would you still want to use that word?

To get back to everyone else, making the case for using the term today because it’s used respectfully in another culture is just as insulting. In some ways, it’s actually more insulting. If I tell you there is a very specific use of the term that is particular a) to this country and b) to white people and Black women, and if I tell you that hearing white people in 2017 refer to a Black woman using this term makes me feel a way … one thing I’m not asking is for a cultural awareness lesson so that I can learn how other peoples use that word and why I shouldn’t only associate it with negative ideas. And by telling me all of that, you are letting me know either that you missed the point of my essay entirely, or you are intentionally harping on this side point to move the conversation away from racism.

Guess which one I think you’re doing.

I’m sure it’s uncomfortable to hear about the tools of racism and to learn that you’ve been using one of them when you didn’t realize it. And I imagine it’s much easier and far more comfortable to deflect, to resist the focus on something ugly and wax poetic about an alternative story that makes you feel better.

I get all of that. I’m not here for it.

I’m always talking about how white folks need to step up and do their work. Feeling uncomfortable? That’s part of the work. White people need to “suffer” through the few moments of feeling Ill at ease and hear what’s being said. My essay wasn’t an attack or an accusation. It was me letting people know how I hear the word “Auntie” when white folks use it in reference to Rep. Waters. It was a request that white folks stop using the term. It was an opportunity for folks (maybe primarily white folks) to learn something about this country’s history–because I decided to trust that people really mightn’t know about that bit of ugliness in our national past. And it was an opportunity for white people–once they learned about the derogatory use of “auntie”–to make the decision not to continue saying something that could be hurtful.

I’m going to extend my benefit of the doubt a little further and say it’s likely that most of the people talking about the ways other cultures around the world use “Auntie” aren’t fully aware that they are trying to change the subject and turn the conversation away from the sticky discomfort of talking about racism. I’m being this generous because I know that many of the ways white folks deflect to insulate themselves from having to deal with racism are unconscious.

Let’s forget racism for a minute. Suppose you were in a meeting that included a person who smacked you really hard across the head every time you saw them. You decide to say something about this awful smacking crap, and you hope that saying it in the group will finally get this person to stop because the group will rally around you and condemn that violent behavior.

You say, “You know, I have to tell you that it’s really painful and enraging when you smack me in the head.” And that person nods and says, “Oh my God, have you ever noticed how 2-year-olds can be slap-fighting one minute and then kissing like crazy the next?”

And, before you can point out that this has.not one thing to do with your point, someone else says, “Oh, my partner always gives me a little slap on the shoulder when she walks up to me. We call them ‘love taps,’ and I really like it.”

“Oh, my partner and I have love taps, too!” another group member says. “I thought that was just our little thing. How funny that you have that, too!”

And suddenly everyone is talking about love taps and the boy who pulled their hair on the playground in kindergarten who proposed after college … and the issue of you being assaulted by your colleague has been disappeared.

Frustrating as hell, isn’t it? Frustrating as hell.

To be most clear: the sidelining of my point about white people and “Auntie” is like this disappearing of calling out your colleague’s violence.

Does it seem like a lot to ask white folks to change their behavior, to sit down and listen when someone tells them something they’re doing is hurtful, silencing, derailing? It shouldn’t be, but clearly, it is a lot to ask … and the truth of that is maddening.

Yes, this is another one of those moments when I say a whole lot of stuff and then just say, “I’m tired. Beat to my fucking socks.” Because … yeah.

I’m glad a lot of people read my essay–more people than have ever read anything else I’ve ever written. That’s a wonderful thing. I just wish more of them had allowed themselves to actually hear what I had to say.


For 2017, I took up Vanessa Mártir’s #52essays2017 challenge to write an essay a week. I fell months behind on my #GriotGrind, and it seemed highly unlikely that I’d write 52 essays by year’s end. But then I dedicated my NaNoWriMo to writing essays, and did a pretty good job of catching up! I’ve got to move house before the end of December, so I’m unlikely to reach 52 essays. Still, I’ve written more this year than in the last two combined, and that adds up to a solid WIN in my book! Get ready for #52essays2018!