ESSAY: WHY DO WE LIE ABOUT TELLING THE TRUTH?

photo by Alex Lear

 

 

 

 

 

WHY DO WE LIE ABOUT TELLING THE TRUTH?

 

 

-1-

 

"I put his head sort of on my lap. I just hoped and prayed he was still alive. It was hard to tell. He was having difficulty breathing. And other people came and they tore open the shirt. I could see that he was hit so many times."

 

This is a description of the death of El-Hajj Malik El-Shabazz, bka Malcolm X. Who said these words?

 

A. Betty Shabazz, Malcom's wife who was present with their children when Malcolm was assassinated.

 

B. Gene Roberts, an undercover police agent who had infiltrated Malcolm's organization and was attempting to save Malcolm with mouth-to-mouth resuscitation.

 

C. Yuri Kochiyama, a Japanese-American member of Malcom's organization who was present in the Audubon Ballroom on February 21, 1965.

 

If you have seen Spike Lee's movie Malcolm X you will be forgiven believing the answer is A-Betty Shabazz. If you have seen the death scene photo of a man leaning over Malcolm desperately trying to revive him, it is understandable that you believe it is B-Gene Roberts. But actually, the correct answer is C-Yuri Kochiyama, a follower and supporter of Malcolm X.

 

Why did Spike Lee lie?

 

Yes, I said "lie"! What else would you call it? Photos from the grisly death scene clearly show Malcolm's head cradled in Ms. Kochiyama's lap. Spike Lee's colorful and fictionalized pseudo-biography brazenly liquidates Ms. Kochiyama and replaces the truth with a lie. It's a lie because Spike Lee knew better and chose to misrepresent the truth. Spike's lie is particularly troubling when we consider 1. Lee argued a Black director should do the Malcolm X movie because no White director could honestly portray the real story of Malcolm X, and 2. Lee had been active in fanning the flames of Black/Korean clashes and antagonisms in New York.

 

Spike said Malcolm was a Black man and in the process of zoot suiting and focusing on the Nation of Islam, Spike completely ignored the internationalist that Malcolm became, as a result, one could see the movie and never know that Yuri Kochiyama was a welcomed and active member of Malcolm's organization, the OAAU. Although Spike Lee is not an elected leader, he is, unquestionably, revered as a major force in the imaging of Black people and has often cast himself (or agreed to be cast) as a spokesperson for a "Black" point of view.

 

Malcolm died trying to tell us something important, trying to lead us away from a morbid fascination with color and a limited conception of our struggle. Using the camera, the editing booth and deliberate falsification of facts, Spike Lee re-assassinated Malcolm X the internationalist. Why? Who knows. Spike may not know. But I'm willing to bet that a racial focus devoid of progressive politics had a lot to do with Spike doing the wrong thing.

 

 

-2-

 

Why do we lie about the truth of our existence? Because, even as we oppose racism, we often end up believing in racial essentialism.

 

Black people in America are victims of racism. The majority of us -- particularly our "appointed" leaders -- manifest a terminal case of internalized oppression. Far too many of us are incapable not only of loving ourselves as "mixed-race" human beings (or, mulattoes) forcibly born out of the crucible of chattel slavery, but also are incapable of relating to other so-called minorities without exhibiting a warped and essentially racist assessment of people of color. 

 

Misled by leaders (most of whom are media created) who don't proactively lead but who rather pander to mass prejudices and misconceptions, the bulk of us USA Blacks tend toward a twisted and self-destructive color-based antagonism toward other socalled "minorities," or, in an equally self-destructive manner we advocate a mole-like insistence on color-blindness that liquidates diversity in the name of some idealized humanism. Both self-centered chauvanism and romantic humanism are manifestations of White-supremacy victimization. This skweded perspective of other ethnic groups is particularly troubling in terms of Black/Asian relations. 

 

A graphic illustration of where the "I'm human not Black" system-induced viewpoint leads us is the movie "One Night Stand" starring Wesley Snipes. In the movie, Wesley's character is a West Coast-based advertising video director who is in New York to see a former best friend who just happens to be White and dying of AIDS. The character has a one night stand with a blonde rocket scientist and returns home to his Asian wife and two lovely mixed-race children (I'm not making this up!). The movie ends with spouse-swapping; yes, Wesley's character gets the White woman and his Asian wife gets with the cuckolded White husband.

 

What's wrong with this picture?

 

The main thing is that neither the Asian wife nor the African American husband exhibit any cultural self-awareness as people of color. They are portrayed as individuals who are culturally White and who just happen to have been born people of color. Although their race is obvious, they are oblivious to the culture of their people. They go through life neither identifying with other people of color nor advocating Black or Asian culture. This acceptance of racial difference but liquidation of cultural differences and distinctions, and avoidance of active identification with other people of color, is not ethnic diversity. This is white supremacy under the guise of "humanism" and "racial tolerance."

 

The deal is that you can approach ethnicity as a racial matter or as a cultural matter. If we focus on race and create a fetish out of color, regardless of what we may think, we are essentially adopting a White supremacist point of view which out-and-out propagandizes that blood is the essential determinant of human existence. Of course, when it comes to Black manifestations of White supremacy's racial essentialism, there are two approaches. One is that Black is intrinsicly good, moral and beautiful because of color and the other is that White is intrinscicly good, moral and beautiful because of power.

 

Those who argue the "scientific" melanin thesis, i.e. essentially people born with melanin are better (more moral and beautiful) than people born without melanin, have simply flipped the racist script, including the pseudo-scientific justifications. Indeed, some even argue that Whites are a separate species from people of color, hence, the Yacub-derived theories that Whites are grafted or manufactured people and not human beings like people of color. Those who are entranced by political (actually, economic and military) power basically believe that, since Whites are at the top, being White is the best one can be. In either case, there is a basic assumption that things are the way things are because of some sort of racial essentialism, some immutable result of racial origins and existence.

 

I would be the last to argue that melanin does not play some role in the human make up, but a determining and essential role? I think not. In any case, regardless of whether I'm right or wrong, what does this have to do with Black/Asian relations?

 

I think the basic problem is that we Blacks have become Americanized in our social thought via our formal integration into American society, an integration which earnestly began in the mid-seventies and has accelerated ever since. We have become nearly as jingoistic and racist as the dominant society which shapes and influences our pysches -- which may be why "skin creams," i.e. lye-based cosmetics which purportedly lighten the skin, and "hair relaxers" are reported to sell more today than they have ever sold. In terms of our relationship to other people of color -- whether continental African, Asian, Hispanic, or Native Americans, many of us are as racist or as color-blind (and, as I argue above, the willfull ignoring of real differences is also a form of racism) as the average American, if not more so. Indeed, as far as our attitudes towards others go many of us might best be defined as brown-skinned rednecks!

 

While it is common to hear Blacks argue that we are the most oppressed people in American history -- as if that were some sort of badge of honor -- nevertheless, what we don't often do is acknowledge the depth of our wretchedness as the most oppressed. If we are the leading victims of racism, it follows that we and those who create and maintain this barbaric system are the most affected by the system. No one else is as mesmerized by the splendour of the big house as are the master and his most loyal slave; the master out of material self-interest and the slave out of vicarious self-interest, i.e. psychic identification with the master. 

 

This brings us to the recent rise of Black American jingoism -- recall the excessive flag waving of the Black atheletes at the 1996 Olympics in Atlanta, particularly it's sharp contrast to the Black Power salutes of the 1968 Olympics in Los Angeles. Admittedly, 1968 then is not 1998 now. Admittedly there are major differences in the conditions our people live and struggle under. However, what is remarkable is the embracing of America as though Black churchs were not being burnt to the ground, multinational corporations were not superexploiting Third World labor, African American males were not being systematically victimized by the criminal justice system, etc. etc. Judging from the mindless rah-rahing of how great America is, one would not know that our communities and neighborhoods have been devastated by drugs, riddled by bullets, sickened by disease, and dumbed-down by educational neglect, and, oh yes, that the best and the brightest have left the least and the darkest to fend for themselves in the concrete jungles of urban America. Can anyone really argue that America is the greatest country in the world if one looks at the living conditions of the majority of people of color in the United States?

 

We have boarded the bus of mindless patrotism and ride in the front. Regardless of where the stop is, whenever we step off the bus we step off, and proudly so, as full-fledged American patriots with all the racism that such blind patrotism implies. I'm waiting for the melanin experts to explain the ultra patrotism of American Blacks in embracing the twin evils of racism and captialism -- is it because being Black we do it better than the Whites who introduced it?

 

No, our skin color is neither the most important part of our oppression nor are color-based proposals the solution to our problems. Moreover, the more important truth is: if we are the most oppressed, we are also the most affected by oppression and, psychologically speaking, that effect has been overwhelmingly negative. Indeed, Black racial chauvanism is simply a manifestation of the pathology of oppression, and is, in the final analysis, nothing more than a variation on the classic white lie of racial superiority.

 

 

-3-

 

My first encounters with Asians happened in 1966 when I was in the U.S. Army stationed on a Nike-Hercules nuclear missle base, atop a mountain near the DMZ. The base was remote and the nearest city was a day's truck ride away. On one peak there were missles and on a close by peak there was the radar site. In the valley was the garrison area and a small Korean village separated by a dirt road, barbed wired and armed guards. The village's main function was to supply cheap labor and cheap thrills to the U.S. soldiers stationed there. I wrote a short story which heavily drew on my experiences and the experiences of my fellow soldiers during my army years. At that time the only locations for the Hercules missle were the U.S., Germany and Korea. By general consensus, the "brothers" loved Korea and the Whites loved Germany. The following excerpt from the story illustrates the social education I received in Korea.

 

***

 

I AIN'T NEVER GOING BACK NO MORE

 

It was raining by the bucket fulls.  The door to Soulville, which is what we called our collectively rented hooch, was open and it was early afternoon.  Rain softened daylight streaming in.  And warm, a typical summer monsoon day. 

 

 Em, which was the only name I knew her by, was near me.  She was reading the paper. I had a Korean bootleg Motown record spinning on the cheap portable player plugged into the extension cord that snaked out the window to some generator source that supplied this small village with a modicum of juice.  Did I say village?  The place was erected for one reason, and one reason only, to service the service men stationed on the other side of the road, to supply the base with cheap labor and even cheaper pussy.  I know it sounds crude, but that's the way occupying armies work. 

 

 I had never fucked Em, and, as it turned out, never would.  I remember one wrinkled old sergeant, a hold over from World War II, talking on the base one day about Em sucking his dick, but that was not the Em I knew.  Somehow, the Em I knew, the woman reading the paper I couldn't read because I couldn't read as many languages as she could, somehow, the lady who put down the paper and, as the rain fell, calmly carried on a conversation with me, clearly that Em was not the same Em that the sergeant knew. 

 

 It would be many, many years later before I realized that sarge never knew Em.  How can one ever really know a person if one buys that person?  If you buy someone, the very act of the sale cuts you off from thinking of that someone as a human equal.  Sarge simply consumed the pleasure given by a female body to whom he paid money, a body which kneaded his flesh and opened her flesh to him, made him shudder as her thighs pulled him in or as she sucked him.  A business transaction.  Nobody buys pleasure in order to get to know the prostitute.  In fact, the whole purpose of the deal is to remove the need for a human connection while satisfying a desire. 

 

 I didn't think like that at that time, laying in the hooch with my boots off, day dreaming as I gazed out into the rain, my chin on my arm.  In Soulville, just like in all the other hooches, which were usually little more than a large room that doubled as both a living room and a bed room, we took our boots off upon entering.  Even now I like to take my shoes off inside.  At the time it was a new thing to me, a difficult thing to get used to, especially with combat boots rather than the slip-ons which most of the Koreans wore.  But that's the good thing about going to a foreign country: learning something that you don't already know, something that you can use for the rest of your life. 

 

 It's funny how stuff can catch up with you years later, and only after rounding a bunch of corners does the full impact of an experience become clear.  I mean more than a delayed reaction, more like a delayed enlightenment...

 

 

 ...My reminiscence was broken by Em's hand on my arm.  I looked over at her.  This wasn't no sexual thing.  We both knew and observed the one rule of Soulville: no fucking in Soulville.  Soulville was a place to hang out and cool out.  We put our money together and rented Soulville so as anytime day or night when you didn't feel like being around the white boys, if you was off you could come over to Soulville and just lay.  And you didn't have to worry about interrupting nothing.  It didn't take long for all the girls in the village to know Soulville was like that.  So a lot of time was spent in here with Black GIs and Korean women just talking or listening to music.  It was the place where we could relate to each other outside of the flesh connection. 

 

 From time to time we had parties at Soulville.  And of course, some one of us was always hitting on whoever we wanted for the night.  But when it came to getting down to business, you had to vacate the premises.  We had had some deep conversations in Soulville.  One or two of the girls might cook up some rice or something, and we'd bring some beer or Jim Beam -- although I personally liked Jack Daniels Black, Jim Beam was the big thing cause it was cheap, cheap, cheap -- and, of course, we brought our most prized possessions, our personal collections of favorite music. We'd eat, drink, dance and argue about whether the Impressions or the Temptations was the baddest group.  As I remember it, there wasn't much to argue about among the girl groups, cause none of the others was anywhere near Martha and The Vandellas.  Soulville, man, we had some good times there. 

 

 Em was getting old.  She had been talking about her childhood and stuff.  And when she touched my arm and I looked over at her, I could see a bunch of lines showing up in her face.  Most of the time, when you saw the girls it was at night or they had all kinds of make up on their face.  But it was not unusual for some of us to sleep over at Soulville and if we were off duty we'd just loll around there all day.  Early in the morning we would hear the village waking up and watch the day unfold.  Invariably, one of the girls would stop by to chat for ten or fifteen minutes.  Or sometimes, two or three of them would hang out for awhile. 

 

 On days like this one, you'd get to see them as people.  Talking and doing whatever they do, which is different from seeing them sitting around a table, dolled up with powder and lipstick, acting -- or should I say, "trying to act" -- coy or sexy, sipping watered down drinks through a straw and almost reeking of the cheap perfume they doused on themselves in an almost futile attempt to cover the pungent fragrance associated with the women of the night. 

 

 Just like when we was in Soulville we was off duty, well it was the same way for them.  And I guess without the stain and strain of a cash transaction clouding the picture, we all got a chance to see a different side of each other. 

 

 I started wondering what it must have felt like to be a prostitute, a middle aged prostitute getting old and knowing you ain't had much of a future.  A prostitute watching soldiers come and go, year after year.  What it must have been like to have sex with all them different men, day in and day out and shit.  Especially for somebody like Em who spoke Korean, English, Japanese and Chinese, and could read in Korean, English and Chinese.  I mean, from the standpoint of knowing her part of the world, she was more intelligent than damn near all of us put together. 

Her touch was soft on my arm.  I looked down at her small hand, the unpainted fingernails, the sort of dark cream color of her skin.  I looked up into her face.  Her eyes were somber but she was half smiling. 

 

 "Same-o, same-o."  She said, rubbing first my bare arm and then her bare arm.  "Same-o, same-o." 

 

***

 

Like most of my peers, my first encounter with Asians was a politically unconscious encounter. Although, I may like to think otherwise and understandably was reluctant to publicly admit it, I was an armed agent of imperialism -- no matter that I told myself, for example, that I was in Korea to avoid going to Vietnam; no matter that I tried to have more respect for the Korean people than did the White soldiers on the base; no matter that I understood that there was a connection of color between myself and the Koreans. Just like a Japanese-American friend whom it turns out was born in an internment camp during World War II and who served in the U.S. Army at the same time I did, regardless of all the historical and individual contradictions I had with America's domestic and foreign policies, regardless of my personal beliefs or how I dressed up my involvement, the reality was that I was a soldier in the Army, a collaborator with the dictators of democracy. Although I had my rationalizations, and though my "reasoning" did have some merit, there is a big difference between admitting one's contradictions and lieing to one's self about the existence of those contradictions. That's what Em was telling me -- prostitute to soldier, we're same-o, same-o.

 

 

-4-

 

My second major encounter with Asians was a horse of a different mule. In 1974 I was a delegate to the fifth Pan-African Congress in Dar es Salaam, Tanzania. I was an active organizer in my home community of New Orleans and considered myself a Pan-Africanist. Upon arriving in Tanzania one of my first quests was to stand on the TanZam railroad, a vital rail linkage between Zambia and Tanzania which gave land-locked Zambia seaport access for copper shipments. The railroad was built through the lead partnership of the People's Republic of China. During that time I also had the opportunity to visit Zanzibar and there took a tour of a cigarette factory which was built and transitionally managed by the Chinese. I spoke to none of the Chinese managers or workers, but I watched and wondered.

 

Our relationship to "foreigners" is inevitably a major barometer of our political consciousness. By 1974, the internal clash among Black radicals between the philosophies of Black Nationalism and Marxism was at an all time high. By then Amiri Baraka, the former chief propagandist of Kawaida-style Black Nationalism had declared himself a marxist. Also, within the Black power movement, the teachings of Chairman Mao were widely studied by nationalists and marxists alike. Moreover, struggles around the Vietnam War had also come to a head. Within this social context, political considerations were primary, and alliances between ethnic groups were forged for purposes of collective struggle against racism and capitalism. This was a high point in inter-ethnic alliances, not because of liberal "we are all humans" sentiments, but because of militant political calls for Third World liberation abroad and Third World self-determination at home. Hence, even though he has never been a marxist, Haki Madhubuti (formerly Don L. Lee) named the press he co-founded "Third World Press."

 

Less than two decades ago, we were identifying with people of color rather than antagonistic towards people whom many of us now contemptuously regard as competitors for "our jobs" and replacements for White neighborhood merchants who price gouge us in corner stores where we are charged a nickel to change a dime. What the Third World had in common was not really color, but rather anti-colonial struggle, and we within the United States were equally, if not moreso, colonialized subjects. Within that context, identification with the Third World was led by a political understanding which in many ways was much more mature than the good old boy "buy American" rhetoric we mindlessly spout today.

 

 

-5-

 

This same political concern with the Third World led our nationwide grouping of Black Nationalists, all of whom operated independent Black educational institutions for young Black children, to organize the first all-Black tour to China in 1977. We worked in cooperation with the marsixt-led U.S. China Friendship Association. During the course of the year long organizing to arrange the trip and raise money to make the trip we encountered, confronted and attempted to change anti-Asian sentiments in our community without liquidating our basic Black nationalist stance. In fact, at one point there was a concerted efforted by some members of the Friendship Association to force us to exclude Maulana Ron Karenga from our twenty member delegation. We took the stance that the make-up of our delegation was an internal matter not subject to the dictates of outsiders and if it meant that we had to forgo the trip then so be it. After some weeks of high level wrangling, our delegation proceeded as originally planned. We spent 18 days traveling throughout China and happened to be in Beijing (then Peking) when the rehabilitation of Deng Shao Ping was announced.

 

Although there was a massive demonstration in the city center by literally millions of people supporting Deng, I remained skeptical of Deng's line. Deng had argued that it doesn't make a difference what color the cat is as long as the cat catches the mice. Some of us argued that "color" (Deng was referring to ideology) did make a difference because if Black cats never learned to catch mice, Black cats would continue to be dependent on White cats for food. At the same time, I was not inclined to simply dismiss the Chinese view out of hand because by then I realized that there was a lot more to Chinese ideological developments than initially met the eye.

 

While we were in Beijing some of us met Robert Williams who was recuperating from an operation he had returned to China to have. When Nixon visited China and officially reopened diplomatic relations with the Chinese government, Robert Williams parlayed his knowledge and acceptance within the Chinese government into an opportunity to return to the United States. Williams made the tradeoff after over a decade in exile, being on the FBI's most wanted list, and on the CIA's hit list for his international activities which included publishing The Crusader, a militant newspaper, and, while in Cuba, broadcasting an incendiary radio program known as Radio Free Dixie. Indeed, our delegation had a photocopy of the issue of Dan Watts' Liberator magazine whose cover featured a famous photo of Robert Williams standing with Chairman Mao. 

 

Robert Williams was overjoyed to see us in Beijing -- we were the first Blacks he had seen take an organized and direct interest in China, and Williams asserted it was extremely important for Black people to get involved in international affairs separate from America's foreign policy. Of course there were truckloads of Chinese-influenced Afro marxists back in the states, and of course some of the Panthers had passed through China, but most of these people came as individuals or as marxists in small, clandestine, and racially integrated groups. We were the first Blacks to enter as an organized body representing a broad grassroots constintuency from across the United States.

 

We spent over an hour talking with Brother Rob as he patiently encouraged us to develop an internationalist viewpoint. What I remember most is Robert Williams telling us about his stay in North Vietnam and how at a state dinner he rose to propose a toast to the Vietnamese people. Brother Rob said the Vietnamese made him sit down by responding that it was they who should be toasting him and the valiant struggle of the Afro-American people. 

 

The North Vietnamese told Robert Williams that the Black power struggle greatly helped them understand that the United States could be beaten and that the urban rebellions, particularly in Detroit where the U.S. Army Airborne had to be sent in before "order" could be "restored," had given the Vietnamese the idea to stage the Tet offensive which was psychologically the major turning point of the Vietnam conflict. The reverberations of the Black Liberation struggle were felt not only internally, but also worldwide. From the Free Speech Movement, emergent Feminism, Vietnam antiwar demonstrations, gay rights and other internal struggles to the international arena, our struggle inspired and encouraged sundry peoples and interest groups who had their own particular battles with oppression and exploitation. These were heady and exciting days of political discussion, analysis and planning. 

 

At our previous stop in Sian, China after over a week of inquiries, our delegation had engaged in a major ideological discussion with political theoricists of the Chinese Communist Party. I distinctly remember that these particular individuals in their mannerisms, dress and general physical appearance "looked" different from the majority of Chinese we had up to that point encountered. These men may have had "peasant" roots but their current status was cloistered within a circle of folk who "thought" for a living; they were part of the policy-making and implementation apparatus. They frankly stated a line I had never heard before: If the capitalist want to bring on world war three, so be it. Such a war would only hasten capitalism's demise. 

 

These men with the confident-quiet of an armed but not yet exploded bomb calmly ran down their view of progress: Since the 1950s, America has been engaged in conflict with Asia, and has been steadily losing ground. First came Korea, and there was a stalemate. Then came Vietnam, and America lost. Should America decide to take on China the result would be more than simply another American loss. What would happen would be China's ascendency. The Chinese had the atomic bomb, there would be no more one-sided nuking of "yellow peoples" as happened in Japan during World War II. Also, the Chinese had constructed underground cities -- literarlly factories, housing, and shelters for not just a handful of select leaders but for masses of Chinese people. They knew that America was not similarly prepared to withstand nuclear war. They were prepared. They were not afraid. They didn't want to have a war, but if it came to that, so be it. Needless to say, we had not been prepared to argue world politics at that level.

 

For the Chinese, the subsequent disentegration of Soviet Russia far from reputing communism and the Chinese view, actually was just another wrinkle in the fabric of Eurocentric capitalism's eventual demise. The Chinese had long ago split with the Soviets and saw the Soviets as state capitalists who were hopelessly emotionally immeshed and ideologically interwined with the Western world. For we Black nationalists struggling to conceptualize and actualize some form of a Black nation in America, these discussions were eye-opening developments. When we returned to the United States we organized forums and community meetings to report on our trip to China. The general headline we used was "Black Nationalists in Red China." That was my second major interface with Asians.

 

 

-6-

 

My third encounter was the development in 1991 of a partnership with Chinese American baritone saxophonist and composer, Fred Ho. We knew of each other's political work and first met face to face in Houston, Texas. This meeting was arranged by a mutual friend Baraka Sele, who was then a producer with the Houston International Festival. Both of us were booked on the festival and Baraka arranged for us to all go to a dinner together. Fred and I talked. I knew his music from recordings. He had read some of my poetry. We talked that "yeah, let's get together and do something some time" talk in which one usually engages acquaintances at festivals and conferences. However, we took it further than wishful talk. We stayed in touch and decided to start working as a duo.

 

We had two denominators in common. First, we both had a long history of political involvement and were active as socially committed cultural workers who elevated our political concerns over the economic concerns of making it commercially within the system. Second, we both have a deep love for music and are heavily influenced by Black music. 

 

When we got together we were able to work as a true duo rather than as one backing up the other. The music was not background for my poems and my poems were not just hooks for Fred to string together saxophone solos. At the same time, Fred and I were not always in total agreement on political and aesthetic matters. We debated each other. Fred remains a marxist and I, more than ever, am an advocate of socially committed, politically progressive Black culture. I no longer consider myself a Black nationalist.

 

Fred and I work together not because of color, nor because of some trendy concern with multiculturalism or pie in the sky "rainbow coalitionism." We work together because we are politically attuned to opposing the racist/capitalist/sexist status quo. We are searching to develop ideas, institutions, and ourselves as individuals who work to establish egalitarian and just social formations at every level of our existence, emphasizing both the personal one-to-one and the ongoing development of multi-generational organizations which work with young people to help uplift and empower our people and each other. 

 

Our duo, the Afro Asians Arts Dialogue, has performed from Atlanta to Wisconsin, California to Maine and a number of places in between. The majority of our performances are sponsored by Asian student groups and by Third World/Minority offices on college campuses. We have yet to be booked by a Black student organization. Fred and I talk about why Black groups shy away from booking us. The answer is simple: the currents of Black struggle are at an all time low. Our heroes are atheletes and entertainers, politicians and academic "public intellectuals," all of whom directly depend on the status quo for their money and status. The bulk of our leadership lives in the big house and dreams of sleeping in the master's bed.

 

 

-7-

 

Nationalism is a bankrupt concept. While we strive to become fully integrated into America, the fact of the matter is that the working class masses of us are more isolated, more exploited, and more hopeless than we have ever been. The nineties wave of drug culture, or what we used to call "biological warfare," is nothing new. The "opium wars" in China are a precursor of the inner city "crack" epidemic. Whether we talk integration into America or separate development in Black countries such as those in Africa and the Caribbean, as reality has demonstrated neither option in and of itself is the solution for our people here in America.

 

We can argue about the causes of our oppression and exploitation but the effects are real and deadly. Moreover, the major issue to deal with is our collusion with capitalism and hence our own resultant racism. Do you think Michael Jordan or Tiger Woods could get away with endorsing Nike if the shoes were manufactured in Haiti or Senegal for ridiculously low wages under neo-slave conditions? Unfortunately, the answer is: Yes -- if our leadership continues to be apologists for capitalism and mesmerized by glitz. 

 

The truth is we are doing the same thing that White American workers historically did, we are being bought off by a combination of materialism and isolation. And while we are busy ideologically waving the American flag, capital recognizes no national boundaries. The globalization of economic exploitation by structures such as the multinational corporations, the World Bank, and, the most famous of all maurauders, the IMF (officially the International Monetary Fund, unofficially the International Mother Fucker!) is the current form of economic exploitation.

 

Asia will unavoidably be the dominant battlefield of the 21st century, especially India -- the world's largest English speaking country -- and China. Which is not to say that Africa is insignificant or irrelevant, far from it. Africa will remain a major site of ongoing struggle and will remain particularly relevant to the future of Black people worldwide precisely because, as a result of disease (particularly AIDS) and famine, and as a legacy of the slave trade, in the 21st century Africa will be severely underpopulated. That is an important point to keep in mind. the needs of Africa notwithstanding, I believe Asia will be the major arena of future north/south, east/west clashes. 

 

Only those of us who are prepared to relate to the whole world will develop and prosper. Everyone else will be left behind to wallow in their own parachialism. For too many of us "integration" has meant, as James Baldwin so prophetically argued, rushing into "a burning house." But the future is not White. The sun will set on Europe, and when the new day dawns, global cooperation will be the order of the day. Now is the time to prepare for that future.

 

Why do we lie about telling these hard truths? Our leaders lie to us for the benefit of short term material gain -- a salary, proximity to power, a high ranking career, a lucrative endorsement or consulting contract. 

 

Exploited as both labor and capital, we were money -- our physical bodies. If anyone should understand the evils of capitalism, we, the descendants of ensalved Africans, we who were America's first form of venture capital, we should understand. 

 

Moreover, in contemporary terms, when we advocate "free enterprise zones," "Black capitalism" under the rhetoric and rubric of small business entreprenuership, or preparing ourselves for "good jobs" we are merely adding another brick in the wall of our people's economic and political disenfranchisement. Business per se is not the problem (buying, selling and bartering existed long before capitalism). The elevation of an economic bottom line to the top priority of all our endeavors is the problem. 

 

I do not believe that everything in America is wrong, nor do I believe that there is no hope. I do believe that this society is in the midst of a major meltdown and that in the next millenium we will look back on this stage and wonder why we couldn't see the problems for what they actually were. America is imploding. While this is certainly the most militarily powerful country of the 20th century, military power is no real measure of social wellbeing. 

 

When we closely examine the social conditions of all people in this society,  the conclusion that there are serious problems is obvious. This grand experiment called America was seriously flawed from the beginning, based as it was on the liquidation of Native Americans and the enslavement of Africans, all justified in the name of life, liberty and the pursuit of (material/economic) happiness. The main reason people came to and continue to come to America is because of the perception and the opportunity to make fortunes, but all such fortunes are made at the terrible expense of various peoples (mainly, but not exclusively, people of color) worldwide. 

 

The problem is that the center can no longer hold. The world can not and will not continue to provide over sixty percent of its resources to a country which has far less than 10% of the world's population. There will be a change. The course and results of this change are what is in question.

 

In the here and now, the solution is for us to open our eyes, travel the world and begin to find out for ourvelves what is going on. The solution is to begin to think and act and live globally. The solution can be found by living harmoniously while putting ethics, and not economics, in the lead; by emphasizing cultural integrity rather than racial purity; by advocating and maintaining alliances with peoples of color and people of good deeds whomever they may be. 

 

Korean shop keepers, Vietnamese merchants, Chinese restauranters, none of these are our real enemies. Multinational corporations, the American government, academic citadels, none of these are our real friends.

 

For particularly revealing insights on how America actually works, and insight into how minorities in high positions don't and can't make a major difference in the economic and political wellbeing of the masses read two books: Diversity in the Power Elite -- Have Women and Minorities Reached the Top? by Richard L. Zweigenhaft and G. William Domhoff, and Who Rules America Now: A View for the 80's by G. William Domhoff. Many of us have never faced the truth about the society into which we are born and a society whose existence we accept as the work of "God" rather than the machinations of classes and interest groups often operating out of pure greed and material self-interest. Without serious study, we are not even prepared to argue our beliefs or make accurate analysis of our problems. For far too many of us, the popular media is the sum total of our education and understanding of both world affairs and the realities of American life.

 

You can believe the ideals, myths and outright lies if you want to, but I'll take a hard truth over a soft lie any day of the week. The truth is we are knowingly lied to everyday of the week by those who have a stake in the status quo. What we really need are leaders who will call into question all our beliefs and challenge us to address the pressing, very real and very difficult situations that confront us instead of advocating a mixture of metaphysics and fatalism, a mixture of traditional "put it in God's/Jesus' hands" and "there's no way like the American way." If those options are the solution, how is it that after nearly five hundred years of "one nation under god" we have the problems we have today?

 

  The bulk of our socalled leaders lie about telling the truth because they are not our leaders but rather hand-picked and specifically groomed judas goats whose main task is to quietly lead us to economic and political slaughter. Regardless of what our leaders believe and what god they pray to, the results of their actions define them for what they are. And that's the truth!

 

#30

 

ESSAY: FLUSHING BEFORE FINISHING

photo by Alex Lear

 

 

 

 

flushing before finishing

 

before i was finished urinating i flushed the toilet. it was like my father was standing beside me. i know where i got this habit from. big val used to do that. he used to flush the toilet before he was finished. and they used to call me lil val. i don’t remember whether it was because we had the same first name, vallery, shortened by most folk who knew us to val, or did i really look like him, act like him? was i really a new generation of him?

 

there is no easy answer.

 

a few years ago i was commissioned to write an essay about family. i choose to write about the spirit family of the secondline. my words did not even mention my father, yet, something strange happened. well, not really strange, now that i think about it. but at the time i just went along with the unusual request and thought nothing about it, until months later someone made a remark that has left me wondering. “you look just like your father.”

 

what was the request? the photographer said, can i shoot you without your glasses on? i’ve worn glasses since i was in third grade—even when i sat on the first row, i couldn’t read the blackboard, and i was a good reader. so, i took off my glasses and patiently waited for the photographer to finish. afterwards, i forgot about it.

 

my daddy didn’t wear a beard. i’ve worn a beard since the seventies. yet, the older i get, the more i look like my father. what gives? did my unique and younger genes loose the fight with the older genes passed directly from my father? do we really change how we look as we grow older? am i a unique case? what’s up with looking like my father?

 

as i finish urinating i am forced to admit i don’t know how much of me is me as opposed to my father living in me; which, of course, begs the question how much of me is in my sons and daughters.

 

i used to think it didn’t make sense to flush the toilet before one is finished urinating, especially as sometimes relieving one’s self took longer than one initially thought it would and one would have to flush the toilet a second time to clear out the lemony-colored water from the bowl. and even more infuriating, sometimes, if it was one of those old house toilets, you had to wait almost two full minutes for the toilet tank to contain enough water in order to flush a second time. and yet, as stupid as i used to think it was to continue the habit of flushing before finishing, today i do it, even after congratulating myself in my youth for not following my father’s example. i do it and i know exactly from whom i got this habit.

 

what i don’t know is what all else i got from him. i’ve never done a complete inventory and the reason i never did this inventory is because even though i have one of his habits that i often thought didn’t make sense, and even though i look like him, today i am forced to admit i never knew him well enough to know whether there are other aspects of him that i keep alive. most of us never really know our parents personally as individuals, we only know them as the older people who had us and who, if we are lucky, took good care of us. yet is it not true that there is no future that is not intimate with the past?

 

whether we know our parents and forbears, whether we look like them, whether we have their temperament or proclivities, their way of walking or talking, way of bearing pain or grudges, whether we love them and talk with them often, or could care less and have not seen them in decades, whether they live now or have transitioned to ancestorhood, whatever, whether whatever, the simple truth is: an essential part of all we are is shaped by whatever our parents have been (even if we don’t know who or what they were)—their influence on our fate is inescapable.

 

—kalamu ya salaam

SHORT STORY: WHO TRAVELS WITH THE NIGHT

photo by Alex Lear

 

 

 

 

 

WHO TRAVELS WITH THE NIGHT

 

Who travels with the night? We all do. Deep within ourselves we carry distrust and doubts, and these negativities fuse into our molecular specifics, a merger that not only permanently mottles the walls of our memory but also causes questions to be randomly released by totally unrelated happenings: for instance, the hue associated with two or three of us stealthily gathering dark brown pecans out of the tall, uncut grass; stuffing the oval-shaped, sharply-pointed spheroids into our jacket pockets; and then hopping the fence and laughing together while cracking the hard shells with a small hammer and eagerly eating those crunchy but soft seeds we had flinched from our neighbor’s back yard; that and meeting a date at Loretta’s Praline shop on Frenchmen Street on some soft autumn evening a half hour or so before sunset. Some how the colors of those two different experiences connect together and make me think of the shape and shade of my mother’s eyes, the same eyes that looked at my brother with such tenderness the time he was sick, and had a rough time of it, coughing, repeatedly, seemingly unendingly, coughing hard coughs, hacking up a slimy greenish-gray stuff which she, our mother, patiently wiped away with a hand-cloth while pressing a cool, moist towel to his forehead, leaning over him like a protective willow tree on a hot day. I’ve never forgotten the way she looked directly at me when I asked if he was going to be alright, and the motion her eyes made as she lowered them back to his, and gently touching his cheek she simply said, yes, god willing, and both at that moment and always since that moment I questioned why would god not be willing to let my brother live.

—kalamu ya salaam

ESSAY: SOUND IS PROFOUND SENSE

photo by Alex Lear

 

 

 

SOUND is ProFound Sense 

 

  

music is

more than model

 

coordinated sound

is inspiration

 

is literally breath

indispensable

 

the taking in

of the material world

 

the exhale of

the spirit self

 

into the atmosphere we go, journeying into the cold but bringing the warm of our movements, the friction heat of our singing, our sounding, & of course the daunting ferocity of our memory which makes impossible us remaining slaves no matter how long we've been downpressed

 

like the old man sayz: i ain't never been free, but i done had a good time or two

 

i am telling you people hold on to the music, worship sound if you just got to bend your knee to something, a god who can not sing or at least pat foot & keep time is no god at all

 

humble in the light may i never forget the sounds from which i am sprung, may i always remember to give thanx through song

 

give thanx

 

for the gods who came amongst us and were given earthly names as they gifted us with vibrations.

 

Ashe.

 

for the tranes who ran underground through us sound transporting us to another place & time, prettier weather, a hipper clime, where we could be free, & if not be free, at the very least envision freedom. imagine ourselves unlocked & unshackled to "devil & sons, incorporated".

 

Ashe.

 

for the birds who flew above us. brilliant doves in their love calls, those grace notes which opened us in places which had been closed so tightly we never even knew what was inside. how high, how fast we flew fueled by bird's incandescent warble. for black imagination unafraid to totally express itself, unafraid to approach the whole world, unafraid to listen to anything, to everything & righteously respond.

 

Ashe.

 

for the oh so hip holidays we celebrate as we struggle through day to day, as we survive & resist with a song like billie turning even the most maudlin, most juvenile, most pop trash B side into A-1 lyrics of love & sophistication, cool as prez riffing with his legs crossed, & horn held at the sacred angle of ascent, weaving obbligatos of concern & support beneath, behind & all up around the sound of our great lady igniting life passions with the blue flame torch of her voice. for all the sister love ladies, of all our sacred days.

 

Ashe.

 

for the taciturn monks who told us so much more than we will ever know, left us rosetta stone platters to comprehend whose total decoding & deciphering may take us another million years or more, & for the dizzy lecturers who left us reeling in a sublime spin of shining notes. for the downhome mary lou's who knew how to twirl the ivories and obsidians into an enticing swirl of sounds. for the james named europe who elevated the afrikan in us. for all our bold buddies with their arms so strong sonically lifting us. for the djalis frenchified and angolicized into jellyrolls, and for our best smiths whose striking songs anviled the cruelest moments of our solitudes into defiant anthems of braveheart blues.

 

Ashe.

 

For the hues of our spectrum's vibe from the funk filled foundational brown of james to the anything but bland midnight blues moaning of B. O.  B - B.  Y.

 

Ashe.

 

to all we have not mentioned (e.g. the gaye wondersongs, the jimi rigged i&i brothers, & the diva bright willing sounds, the earthy aretha moans, & on & on), to all of them whomever they are/were, we will never forget you. to all, to each & every one we owe our very breath.

 

Ashe.

 

our music is more than model

well coordinated sounds are inspiration

 

are literally

indispensable breath

 

the taking in of the material world

the exhaling of the spirit self

 

into the atmosphere of this bitter earth

sweetened only by the honey of our song

 

people have asked me why am i such a fanatic about the music, i in turn wonder why they are not, & if not music, what? dance? carvings? cooking? what? anything we do, if it is done well will have the music in it, be influenced by the music because music is literally organized movement & the very definition of being alive is to be able to self generate motion, since the beginning of time, life has been nothing more than a measurement of movement, how well, the vibrations we leave in our wake, how we sound doing whatever we do, how the motion of our coming through the slaughter affects all whom we touch & we got this essentialness from the universe itself, we are born in motion spinning on the planet, circling around the sun, thousands, & thousands of miles an hour, moving. being still is an optical illusion. we are all in motion. & music is nothing but the organization of the sounds that motion makes. which is why black people operate on vibes. nothing metaphysical about it. motion. vibrations. music. that's real. in fact, motion is the primal reality & this is why & what we respond to.

 

the cosmic timing

of the evolutionary rhythms

 

of starlight

pulsing

 

a pulsing that is eaten

through the moist eye

 

of

visionaries

 

digested and transformed into aural red cells of sound which enable human movement. without starlight we die.

 

looking up in rapt wonder beneath the velvet, star-studded quilt of the heavens, a child asked her grandmother what the silver twinkling was called. "big mama, my mama's mama, how do yo call all those holes in the night sky?"

 

big mama laughed without looking up & then tilted her head toward sirius. "those are our ancestors winking at us, letting us know they are watching and that we should always make them proud."

 

big mama gently tugged the little girl's hand. "come, it's time to sleep. when you dream tonight, the starpeople will be inside your head."

 

when we dream at night, stars illuminate the interiors of our heads, populate our souls with visions we could never think of on our own. the power push & pull of star light is pervasive. in fact, it is the rays of the closest star to us, the rays of the sun which strike the earth and make the world go round. i mean motion is necessary cause stillness is death.

 

without stars we die/decay

into mere matter

 

far, far more than any day

we need the deep of night

 

to unfetter

our imaginations

 

which is why most musicians are night creatures who roam the earth singing & swinging, representing the advanced thought of their time, deep art is the imagination of its age, the most disturbing, the most beautiful, the most unnerving, the most insightful visions we can imagine & make real.

 

sound. sound. sound.

sounds. motion. sounds. vibrations.

music is the architecture of higher life forms.

i do not understand silence

except as a pause between noise

a preparation for the next sounding

a momentary rest from the preceding sound

 

if you study the music

you will understand all that is necessary to know

until you study the music

you can not understand anything there is to know

 

study sound. study sound. study sound.

because our music is more than model

sound is the necessary

the necessary

the very necessary

sunshine of our existence.

 

& music

music is more than model

the sound

of our music

is literally inspiration

 

the indispensable

breath

 

with which we take in

the material world

 

through which we exhale

our spirit self

 

—kalamu ya salaam

SHORT STORY: WHAT TOOK YOU SO LONG?

photo by Alex Lear

 

 

 

 

What Took You So Long?

 

We've Got To Have A Video For This. Meaningless As They Be, Here Are The Images--All We Did Was Round Up All The Usual Suspects:For these young-stars, while the weather never was cold, the "forties" always were. Plus seems there was always this one cutie who could blow smoke rings out her thing. Toke a big blunt with her labia major, and puff a thick blue cloud of chronic. No shit. The first time she did it in front of Eazy all he said was "whoa, now dat some bomb ass pussy!" (I'm telling yall all this shit so you will know the context. This is the expository part of this story where I do the detailing. Wax and shine the ride and grease down the cow hide. Gas it up to full and bump the tapes up past ten on the 14-inch speakers in the Alpine system.)

 

OK? Got it? Are You Suitably Distracted? Confused? What Did That Naked Woman Have To Do With The Story? Oh, I See You're Getting The Picture. You Were Looking At The Picture With The Sound Sense Off. OK, Now Cut The Tee-Vee. Ignore The Video. Listen.

 

So Eazy and Tupac sayz to each other:

 

EAZY: Yo bitch, how I know I'm alive?

 

TUPAC: You don't, unless you die.

 

EAZY: You mean I got to die to live?

 

TUPAC: No, I mean you can't prove you lived unless you die.

 

EAZY: And so what happens when I die? 

TUPAC: One of three things. One. You meet God and the Devil and they decide which one of them two mothafuckaz is your old man and who is going to own up to you for eternity.

 

EAZY: You mean my mama don't get no say so about this shit?

 

TUPAC: Eazy, man, you always was slow. Your mama deal with you when you alive. Your daddy deal with you when you dead.

 

EAZY: Oh, I see, what you sayin'.

 

TUPAC: No, that's the whole point. You don't see. You don't see shit while you alive. You don't get to see nothing til you dead. While you alive, you just live. Do whatever the fuck you want and then when you dead...

EAZY: You get to see what you did?

 

TUPAC: Yeah! That's one option.

 

EAZY: Oh, I get muthafuckin options?

 

TUPAC: I don't know, I'm just speculating on how a nigga be making it after he done passed on. 

EAZY: This some of that Panther shit?

 

TUPAC: Nigga talking to you is like talking to a brick except you ain't even solid enough to build nothing with.

 

EAZY: I know this bitch-ass momma's boy ain't tryin' to bag on a man. Yo shit so weak til the last bitch you fucked charged you with sexual harrasment AND YOU GOT CONVICTED, motherfucka! 

TUPAC: Alright, whatever. At least I know how to count my money, instead of slaving for a white man, "let's see, one for me, and one for you, and one for me, and one for him, and one for me, and one for Cube, now we all got an even cut." Eazy, you like the clown in class cracking jokes so nobody notice how dumb he is. 

EAZY: This ain't school. You ain't no teacher. You just mad cause I know how to read ya. 

TUPAC: Alright, alright. Option two is that after this shit play out, that's all she wrote. You had your little fifteen minutes of fame and now it's all over.

 

EAZY: That's wack. If this is all there is, I want my money back cause I been jipped. 

TUPAC: Option three is that this shit is a cycle and we come back over again.

 

EAZY: What you mean come back?

 

TUPAC: You get born again but instead of being a gangsta, you come back as a bitch.

 

EAZY: I know you trippin'. 

TUPAC: I'm just saying it's an option.

 

EAZY: But Pac, if you come back as somethin' else, then it ain't really comin' back. It be a whole new thing. Like if you fuckin' this cutie and the shit is bangin', but then when you go back the next night, she don't be there. Her sista be there. Then you ain't comin' back. It's a whole new thing. 

TUPAC: Nigga, why you got to reference everything with your dick.

 

EAZY: I ain't got to. It just feel better when I do.

 

TUPAC: Yeah, whatever. 

EAZY: So how you goin' out?

 

TUPAC: Like a man, mothafucka. However it come, I'm going out like a man. My boots on, looking the bullet dead in the mothafuckin eyez. You know what I mean?

 

EAZY: OK, like I got to bounce. I got some beats and shit to put down in the studio. 

TUPAC: Nigga, I heard some of that shit. That shit sound...

 

EAZY: It don't matter to me how my shit smell to you, what matter is that muthafuckaz buy the shit I do.

 

TUPAC: Represent and get paid.

 

EAZY: I'm gon do that. What you gon do?

TUPAC: I been thinking about getting out of the being real biz and getting into some real fake ass shit. That way I get to play hard on the screen and then live soft on the titty for a long ass time. Instead of making five records and then having niggaz saying "Tupac who?" I'm thinking of jumping off into film and shit. I can make movies til I'm sixty-two and people will still dig my shit. Kind of like that muthafucka John Wayne. 

EAZY: Fuck John Wayne.

 

TUPAC: Not even with your dick. I'm just saying homey, I been thinking...

EAZY: Yeah, you done got philosophical as a muthafucka since you took them bullets in yo ass and done a lil time in the clink. Tell me, you ain't got but one nut left.

 

TUPAC: My one weights a ton, and it's twice as heavy as both your pebbles put togetha. By the way, howz your boyfriend?

EAZY: Nah, there you go. You know you got that shit assbackwardz as usual. That's yo boyfriend and my ho...

 

TUPAC: Blahzy, blahzy. Whatever. Say Eazy?

 

EAZY: What?

 

TUPAC: After we gone, what do you think they'll say about us?

EAZY: Who?

 

TUPAC: You know, all them magazines that be writing about what color toilet paper we use and when was the last time yo mama sucked my dick on the beach.

 

EAZY: Nigga, I know you don't believe none of that shit. 

TUPAC: I ain't asking about what I believe, I'm asking about how people be pimping us.

 

EAZY: Pimpin' you! Ain't nobody pimpin' me. I ain't no ho.

 

TUPAC: Well bitch, I hate to be the one to tell you, you got the claps cause you done been fucked so much, but all you got to do is look around and it's plain enough to see how these muthafuckaz are profiting off of you and me. If we go straight they picture us in white. If we be real they picture us in black. No matter what we do, they sell our picture. 

EAZY: I still ain't no ho!

 

TUPAC: No, Eazy, what you mean is you still don't want to be no whore, but as long as you selling to make a living, you tricking and whoring. Why you think we making all this money?

 

EAZY: Nigga, you talkin' some bitch shit. I'm gettin' paid cause my shit is the rage and everybody like the way Eazzzzyyyy does it.

TUPAC: Eazy, you dumb as they come, but you still my nigga. After you gone, I ain't never going to forget you.

 

EAZY: Pour a sip on the curb, shout out a good word for the gangstaz like me and you that stayed all the way true to the real of gettin' fucked, gettin' ducs, and doin' whatever the fuck we wanna do. Peace out, muthafucka. And besides who gives a fuck what happens after I'm gone?

TUPAC: Word. And Eazy, if I get to the otherside before you do, I'ma keep a warm seat at the welcome table, a cold forty in the box, and a light on the front porch so your sorry ass can find your way back home. 

EAZY: Yeah, you do that. Meanwhile, I'm outta here. 

***

So Eazy slid into a coma, and even before he eased out of here, his peeps was fighting over his shit. Who would get what? They couldn't hardly bury him straight behind all the lawsuits.

 

For a minute the magazines talked about AIDS and the radio advised safe sex when getting laid. But only for a minute and then the 24-7-365 was on again. Because in the muzak biz, the death of a star only makes more room for the wanna beez. And the hungry ones just keep on coming, keep on scheming, keep on dreaming.

The seduction of glamour and gangsterism is real. The high of being invincible, of dodging death and indulging every desire. Living large enough to make a cartoon out of life is the bomb, until it explodes.

 

Tupac was no fool. Undisciplined--maybe, self-indulgent--surely, and even ocassionally willfully crazy, but nobody's fool. He could see the moving light headed his way from the far end of the tunnel, and though, every now and then, he couldn't help thinking aloud about turning around, he just kept on trucking. He had shook hands with death before and still had all five fingers to prove he knew what he was doing. He was a fighter and a survivor and real men don't cry. So he sucked up any regrets and kept on stepping. 

Everytime the light inched closer towards him, some other kind of good shit would happen to make Tupac disregard the upcoming collision. 

God, he loved Iron Mike. The way Mike never let nothing keep him down. And Suge, that nigga is so for real. He covered Tupac's back and had a limo waiting out front when he made the bail. 

Inside of Tupac's head the party was in full effect: Did you see how Mike smoked that dude in the first round? And look whose driving me around, the president and me. Two multimillionaires... the light blinded him this time as death took a firmer grip. When four bullets said hello, there was no place for Mr. Tupac to go except to step off into the void of the great beyond. 

So when Tupac got to the other side, the first person he saw was Eazy-E and Eazy said to Tupac: "What took you so long?"

And Tupac, still a little dazed from the suddeness of the trip, haltingly replied, "I was having second thoughts about living."

 

—kalamu ya salaam

ESSAY: DOING BATTLE ON THE CULTURAL FRONT

photo by Alex Lear

 

 

 

 

 

DOING BATTLE

ON THE CULTURAL FRONT

 

What is more important: reality or the perception of reality?

In the long run, reality is always more important than perception. For example, if we are sprayed with a poisonous gas, whether we could perceive that gas would not determine whether that gas killed us. Or if we were Sioux and made a treaty with the U.S. government, whether we believed in that treaty or not would not prevent us from dying at Wounded Knee, Wounded Knee (1 or 2 for that matter).

 

The facts are that in the long run, reality always rules. However, what we must contend with is the unfortunate truth that perception dominates human discourse more than reality. In the minds of humans, myth is more important that truth. How we perceive reality will determine what we do, far more often than reality itself.

 

In this context, cultural workers occupy a critical position. Through the power of our art work, we artists can either reveal the truth or maintain myths; can wake up the consciousness of our audience to the realities of our world or hypnotize people into believing that beliefs are synonymous with truths. The invaluable role that entertainment plays in stabilizing the status quo is why artists as entertainers are paid disproportionate to other workers (such as teachers and farmers) in modern American society.

 

Perhaps here we need to clarify the distinction between artists and entertainers, that is assuming there is a distinction. First of all, all successful art entertains, i.e. engages the imagination and emotions of its audience. That is the essential power of any art. So then being an entertainer is part and parcel of being an artist. An artist must be able to move people.

 

The real question then is not whether the art is entertaining but whether the art reveals truths or reinforces myths -- and because we live in a period and a place where truth is multifaceted and often contradictory, it is both easier to communicate received myths to the general public and for the bulk of contemporary Americans to accept myths than it is to communicate and have the bulk of people accept revealed truths.

 

Received myths are easier for the mass elements to swallow because these myths conform to the perceived reality of Euro-centric domination. Moreover, it is easier to market such myths, especially because the means of communication, not to mention the amount of remuneration, is generally tied to adherence to and propagation of the existing mainstream. Thus, even an avant garde which protest bourgeois values but does not lead a revolt against bourgeois domination is acceptable to the status quo as a safety value outlet of frustration that might otherwise be channeled into rebellion, or, "god forbid," social revolution.

 

An essential difference between art and entertainment is that art reveals the realities of history and the status quo, and proposes a vision of a significantly altered future, whereas entertainment reinforces social myths and proposes the futility of revolution past, present or future. Judge for yourself, but sooner or later, those essential characteristics will manifest themselves in all artwork. You can deal with this or you can deal with that, one way or another, you either conform to or transform the status quo.

 

Given our current state, which is a contradictory mixed bag (i.e. we both  conform and transform, but tend to conform more than  we transform), the real question for us as artists is how to mount and sustain cultural warfare with the avowed goal of winning the hearts and minds of our people away from conforming to the status quo, win our people over to transforming the status quo reality.

 

So that is the revolutionary duty of the artist: to reveal the truth. This is intrinsically a revolutionary duty because in a period of cultural domination the revelation of truth in and of itself is oppositional to the status quo which works to maintain hegemony.

 

We have tossed around two big words: reality and myth. Let us consider briefly, what we mean by these terms. Reality is simply what is. But reality is also complex. Reality is the event and the interpretation of the event; the conditions that lead to the event, the context within which the event took place, and the resultant outcome of the event. A myth is an accepted, symbolic explanation of reality. A myth could be true or could be false. By this definition of myth, it is obvious that I believe that there is nothing inherently incorrect about myths. However, within our contemporary context, a context of Eurocentric world hegemony, the myths of the status quo are intrinsically in opposition to the truths of non-European peoples.

 

For example, a Euro-centric myth is the belief in man dominating nature. Modern urban architecture (which I call "modern cave architecture") attests to this belief. The prevalence of air conditioning--enclosed spaces designed to keep the outside out. The drive to dominate nature is not just a reflection of atmospheric and environmental conditions. For example, the Inuit people live in cold weather but they don't try to dominate nature. No, I think the effort to dominate nature is a social characteristic which is intrinsic to Euro-centric thought. Native Americans, Africans, people of the so-called Asia subcontinent, and the peoples of the Pacific, all manifest either a reverence for or at least a respect for nature and see ourselves as part of nature.

 

A corollary of all of this is the Euro-centric move not only to separate man from nature (and notice when I speak of Euro-centric thought I specify "man," and when I speak of other modes of thought I specify people), but indeed Euro-centric thought puts man at odds with nature and even goes so far as to say that man has the right to control, or dominate, nature. Thus, we have this Euro-adopted trinity of sky gods, i.e. 1. Yahweh; 2. God the father, son and holy ghost; and 3. Allah, all of whom exist without a female principle (Christianity even goes so far as to make Adam the mother of Eve). All of these religions bestow to men dominion over the earth. and reserve the dominion of heaven (and by extension, hell) to the control of God. This then becomes the mythological justification for Europeans (even though Europeans did not create any one of these three religions) to conquer and control the world and all its diverse peoples.

 

I suggest to you that an artist who has not come to grips with the patriarchal and dominating nature of a so-called "universal" sky god, is an artist unable to break the psychological grip of Euro-centric thought, and hence, regardless of the so-called political content of their work, that artist will invariably end up supporting the status quo, and thus in the long run end up being an entertainer. Of course, there is much more to discuss in this context, because this is a very complex topic, but I think you see the general outlines.

 

All of this is the context within which I think our battle for cultural equity and cultural diversity takes place. I believe what we are struggling to do is defend and develop ourselves based first on revealing the truth of our day to day lives and our history, and second on taking responsibility for the shaping of our future.

 

Our social truths are tough and complex in that they include all kinds of contradictory social realities, some of which are shameful, nearly all of which are painful to reveal. Our failure to stop the colonizer was often because of a failure to unite with others who had a common battle to wage even if they were historically our enemy; a failure to curtail collaboration with the enemy; and ultimately a failure to overcome our own weaknesses in thought and action.

 

The fact is we were enslaved by the millions and the magnitude of that slavery could not have taken place without strategic mistakes and critical sell-outs. Fortunately, as our ongoing struggle makes clear, we have been delayed but not denied. So the task of our artist and art institutions is to reveal both the perfidy of the enemy and the pitifulness of our own weaknesses. You see when we talk about what needs to be attacked, the internal contradictions must be very high on our list. Most of the major slave revolts in the United States were betrayed from within.

 

So art must look unblinkingly at the past and the present if it is to offer a clear-eyed vision of the future.

 

Furthermore, the future of our struggles for equity and diversity, for empowerment and tolerance, must be grounded in specific realities and aimed toward a general embracement of the oppressed and exploited including huge sectors of the so-called "white" world who are more confused than we are, and certainly more spiritually and emotionally bankrupt than we have ever been. We may not have much wind in our sails, but there are literally millions of white Americans running on empty who live in a world of dread and angst. While I feel no moral responsibility to save them as whites, I do feel a responsibility to address them as human beings.

 

I do not fool myself into thinking that the majority of people who think of themselves as white will heed my words, but, at the same time, I am wise enough to understand that I in no way diminish myself by helping others, even if those others have historically bought into their alleged superiority over me. For you see, deep down in their souls they know, just as deep down in my soul I know, that none of us are superior, we are all humans struggling to survive, procreate and find a measure of peace and happiness.

 

The effort to accurately communicate the complex and contradictory nature of truth is the battle I envision as a human being, the battle I wage as an artist.

 

—kalamu ya salaam

ESSAY: THE GLOBAL IMPACT AND SIGNIFICANCE OF AFRICAN AMERICAN MUSIC AS AN EXTENSION OF AFRICAN CULTURE

photo by Alex Lear

 

 

 

 

THE GLOBAL IMPACT

AND SIGNIFICANCE OF

AFRICAN AMERICAN MUSIC

AS AN EXTENSION 

OF AFRICAN CULTURE

 

MUSIC IS THE MAJOR CONTRIBUTION OF AFRICAN AMERICANS TO WORLD culture and is also the major contribution of the United States of America to world culture. Most of what we know as American music is either directly African American music or the music is derived from and emulative, if not an outright imitation, of African American music.

            My thesis is in two parts. First, because of technical and political reasons in addition to its intrinsic aesthetic value, African American music has had a significant global impact. Second,  although alignment with American commerce and political might has helped spread the music, African American music itself can only survive and develop as an extension of self-determined African culture.

            At the same time I argue that our music is African, I also recognize that up until the last four or five years, for various reasons, some of which we will discuss in this paper, most African American musicians have been either unwilling or unable to recognize that the music they made was a direct extension of African culture and that the future of the music is secure only in an African controlled space.

 

            THE HISTORICAL REALITY.

            Our music developed simultaneous with the technology of the recording. African American music was the first Black music to be recorded and disseminated around the world immediately as a result of World War I.

            The economic importance of recording the music was twofold. First, the fact that the capitalist record companies could make major money from selling so called “race records” was an incentive to record the music. Were it not for the considerable money to be made selling blues and jazz recordings to captive Black audiences as well as, in the case of jazz, to a significant white audience, the prevailing social climate of racism in the form of Jim Crow segregation would have dictated that the music not be recorded at all.

            Second, the economic stimulus also meant that the musicians were elevated as a position of status within the community. The entertainer became a major focus of economy activity both inside of the segregated African American community and outside of the community. Musicians as a class commanded more material resources than any other class of Black professionals in the early 20th century.

            On an aesthetical level, the development of the recording is most significant because without an audio recording of some sort, African derived musics can not be disseminated. One must be able to hear the music to enjoy it and learn it. One can not learn to play African music from reading notes on a written score. There is no written notation that can capture the complexities and subtleties of African musics. But the recording made it possible for this music to be passed on.

            Perhaps if the recording had come from England, then maybe some of the African derived musics of the Caribbean and of West Africa may have had a similar world impact. I think, however, that the expansion of the American economy and American military prowess added significantly to the spread of this new technology. Even if another country had the technology, without the economic and political clout, that technology might simply have withered and the country may not have been successful at spreading its culture worldwide.

            I do not believe that there is anything exceptional about African American music versus Caribbean music or traditional and/or contemporary musics from Africa. I believe the difference is the context within which the music was made, i.e. historic dynamism of the host country in which the music was born and developed.

            If it were simply a case of raw world power, then European classical music would have been able to stave off the encroachment of (African) American music. Were it simply a case of aesthetic considerations, than why not music from Ghana or South Africa. No, I believe, more than the particular form of African music, the question is the context within which the music operates.

            African Americans were influential because on the one hand they exhibited the dynamism of African cultural expression and on the other hand because they were part and parcel of the most powerful political, economic and technological country of the 20th century.

            The combination of African American cultural dynamism and national political, economic and technological power was not matched in any other parts of the African world. As a result of being in America, even though the country was and remains racist to the core, African American musicians were enabled to travel the world exporting not just the music but also exporting specific cultural and economic values.

            African culture at root is based on participatory democracy, even if the participation is circumscribed by caste and class considerations. Because of its location in the United States, the African expression of adaptation and accommodation was mated with the political expression of democracy. This is not the opportunity to investigate these aesthetical concerns, so suffice it to say that the dynamism of the music reflects not only the African desire for self-determination (which I shall discuss shortly) but also the American ideals of democracy. These aesthetical values were another reason that the music was so popular worldwide. African American music sounded like freedom. (An extensive treatment of this particular theme is found in my essay, “The Social Significance, Political Impact and Economic Potential of African American Music” contained in a forthcoming issue of the African American Review.)

            The Fisk Jubilee Spiritual Singers were among the first African American musicians to attract European attention. Later there was the James Reese Europe Orchestra. After World War II this influence would also be felt in Africa at a major level. For example, Louis Armstrong performed here in Ghana during independence celebrations and also donated a trumpet to a school in South Africa where Hugh Masekela learned to play music.

            Essentially, African American musicians and entertainers were the first Blacks to make a major impact on the world stage. As a group, they were the first people of African descent to travel around the world in the 20th century. Because they were the first they not only opened doors, they also served as inspiration for other people of African descent most of whom were still living in de facto slavery or at the poorest levels without immediate access to international travel.

            The influence of African American musicians was also gigantic in the dominant culture societies of America and Europe. In Europe, African American musicians sometimes performed for heads of state. Even though they were more likely to be viewed as entertainment rather than “serious” or “high art”, nevertheless their impact was felt profoundly throughout world culture.

            The ascendancy of African American musicians took place within the context of the phenomenal rise of American political and economic influence in general. America’s military and industrial dominance was signaled by the victorious rise to colonial status as a result of land seized after the so called Mexican American War. This led to the establishment of the manifest doctrine in the Western Hemisphere which further consolidated America’s international clout. Everywhere in the world that America dominated, African American music followed. Thus, after the Allied victory in WW1, the sphere of American cultural domination was expanded and then consolidated.

            Culturally this impact was so great that it led not only to the celebration of what is now called the “Jazz Age,” but indeed this hot new music “jazz” even had a profound impact on European musical culture. European classical composers began using jazz motifs and themes. Germa n cabaret music, French cafe music, and English popular theater music, all evidenced the influence of jazz. In all of these countries and more, not only was the music itself popular via recordings, but also, African American troops from the U.S. and African American entertainers began to take up residence in exile, thereby deepening the influence of the music on various European cultures.

            From a political and aesthetical point of view, it is important to keep in mind that the Jazz Age was an era that contained the Harlem Renaissance. This Renaissance was an unprecedented, major development of African American culture and politics.

            But we must be careful to note that the Jazz Age and the Harlem Renaissance was not just a period of singing and dancing. This is the time period of the Marcus Garvey movement which was the largest organization of people of African descent ever. Garvey’s newspaper was distributed throughout the United States and the Caribbean, as well as in parts of Central and South America, and most important of all, in Africa. The fact that Garvey reached Africa gave hope to Africa during a period of colonial strangulation that appeared as though it was impregnable.

            The 1920s was also the period of DuBois’ beginning thrusts at hooking into the Caribbean initiated concept of Pan Africanism. The Pan African Congresses sponsored by Padmore, DuBois and their colleagues from the continent of Africa planned the seed of the liberation movements which directly led to the African Independence movements which reached fruition first in Ghana in 1957. The dynamism of the period between 1920 and 1960 directly paralleled the development of African American music.

            This is a period when Black people all over the world were seeking self-determination and the vitality of African American music captured this yearning to create a new world, a political, economic and social world as dynamic as was the music. A music that kept renewing itself and politically grew bolder and bolder.

            From Louis Armstrong singing “Black and Blue” in Ghana, to Duke Ellington writing suites such as Black, Brown and Beige, to Dizzy Gillespie composing “A Night In Tunisia,” on to the revolutionary developments of the 60s and 70s, African American music directly reflected worldwide African efforts for self determination, and this political outlook in turned informed the aesthetics of the culture of this era.

            People of African descent worldwide loved African American music because it reflected their political aspirations and set an example that it was possible not only to achieve self determination, but indeed to inform and even decisively influence European, as well as, world musical culture. If we could do so in music, could we not do so in politics and economics, in sports and technology? The music made us think like that.

            At the same time that overt African American music was influencing the world, American music in general was also taking the world by storm. This was really nothing more than the second wave of African American music except at this point it is presented by Euro-American musicians and entertainers. So now the world really embraced our music because whites were performing it even though most of those whites never acknowledged their cultural debt to people of African descent.

            Almost every popular 20th century American recording and broadcast artist was directly influenced by African American music, especially in the 20s and 30s up through WW2. Many of the recognized cultural icons from that period, vocalists such as Bing Crosby and Frank Sinatra carried African American music around the world, although they generally called it simply “American” music. This led to the amazing situation of African aesthetic dominance through African American music being looked at worldwide as a “white phenomenon” simply because white Americans such as Benny Goodman and Glen Miller were performing the music.

            An example of how ludicrous the “white wash” of African American music can be projected under the title of “American” music is Nat King Cole. Nat King Cole was an extremely dark skinned man -- he must have been Ghanaian or maybe Senegalese. In any case he was the first African American to have a nationally broadcast television program. His music was very, very popular with African Americans and with white Americans. His singing style was cool and smooth. He enunciated his words clearly and he was never very loud. Although he eventually became known as a popular musician, he started out as a jazz pianist, and then became a jazz vocalist before switching to popular music. As his popularity grew, people around the world became influenced by his music. He recorded an album in Spanish that was very influential throughout South America and the Caribbean. But let me illustrate the whitewash.

            When Nat King Cole’s records were imported into apartheid South Africa, the government would not let them be sold with a Black man’s face on the cover. So the recordings were sold with pictures of white people on them. According to Hugh Masekela, who told me of this in an interview, most Black South Africans thought that Nat King Cole was a white American who was a great musician. They loved his music but had no idea that he was African American. So you see, the whitewash of our culture has even happened when the musicians were visibly Black.

            I believe that any real evaluation of African contributions to world culture must also include those contributions which were masked in “white face” by performers of European descent who did not bother to make sure that the African influences were acknowledged. There is no American musical culture that is not African at a significant level.

            Thus we see that America had developed as a military power and thus had political influence. America had developed as an industrial power specializing in technological breakthroughs, the most significant of which from the perspective of musical culture, was recording technology. Finally, through the efforts of African American performers directly, and white performers indirectly, America also dominated popular musical culture worldwide, and even going so far as to influence European classical music. This is the context.

            Too often, those who make a critical evaluation of culture, decontextualize cultural from the social and political thrusts of the era and never take into consideration the technological developments of the period.

 

            THE CONTEMPORARY SCENE.

            In the 1990s African American music remains popular but it no longer is the most dominant form of African derived music worldwide. Reggae, for example, is just as popular in many African countries. In Brazil their local musics, samba especially, are more popular and have even influenced African American music. We are witnessing the waning of African American musical dominance and the rise of other African derived musics, including popular music from African artists such as Youssou N’Dour, Miriam Makeba, Baaba Maal, Hugh Masekela, Fela Kuti and Angelique Kidjo. This is a direct reflection of the diminishing of American power in the world which is concurrent with the development of African and Diasporic nation states.

            The music can not be separated from the real world. The music can not be studied in isolation if we are to understand its influences. Above all, culture must be contextualized to be understood. The close of the 20th century is fundamentally different from the opening of the 20th century. Not only is American industrial and economic might on the decline, but also America is no longer the technological leader of the world, especially with respect to recording. In fact, there has been a serious revolution in the recording industry resulting in what I call the “democratization of technology.”

            By this term I mean that high levels of technical achievement and technical equipment are available for relatively modest sums of money and do not require a college education to master. Hence, peoples all over the world, even peoples who are illiterate can  own and operate state of the art recording equipment. The advent of DAT digital recording equipment and compact discs in particular are exceedingly important developments.

            Digital recording of broadcast quality can now be done with battery operated, portable equipment. This means that it is possible to literally go among our people to record music in the context within which the music is made. We no longer have to severely disturb the ambience or environment where the music is being made just to document the music. We no longer have to be a world power and have air conditioned studios to record. The equipment is not as sensitive to atmospheric conditions. The equipment is highly portable and very lightweight. All of this is important when we are talking about developing countries and developing peoples competing with established industrial powers.

            Moreover, this accessible equipment produces the same quality audio as the big boys with their million dollar budgets. The results are also broadcast quality. This means that a recording made in Ghana or Tobago can be of the same audio quality as New York or London. Which in turn means that we are now able to compete on the level of the quality of the music. Plus we are now able to do it ourselves and are no longer dependent on western technology and western technicians. I suppose that it is important to note that DAT technology was developed not in the west in Europe or America, but in the east in Japan. The state of the art recording equipment does not even come from the western powers. We must pay attention to these developments because they hold great implications for developing countries and peoples. These implications far exceed the realms of music culture and the arts in general.

            Additionally, although the cassette is very popular in developing countries, the CD, or compact disc, is the minimum level one has to attain in order to compete in the international arena. Of particular note with respect to CDs is that they are much more durable in southern climes than recordings were. They are easier to transport and ship, more convenient to use, and wear much better than vinyl recordings. This means that developing areas where resources must often be shared and recycled will get more use from a CD than from a vinyl recording. Finally, because of the world acceptance of this technology, the end cost to the user has also dropped to levels that are within the reach of developing communities.

            On an aesthetic level, African American music is in a serious decline because the overall development of African Americans is in decline. This may not seem obvious at first glance, especially to those people of African descent who live in developing countries and are inspired by what they see of African Americans on television. The difference is quite simply one of perspective and of relative direction with respect to self-development.

            Initially, African American music was a spur to the attainment of democracy and independence. But after achieving independence and then struggling through neo-colonialism, most developing peoples are now working desperately to achieve true economic self-sufficiency. Thus, developing countries and communities want to own their own industries in all areas of development, including within the cultural sphere of music production. However, within the United States, most African Americans were bought off by an effort to integrate into the so called American mainstream.

            During the last 20 years rather than an increase in self-development, what we have actually suffered is a decrease. African Americans own less land in the United States today than they did 20 years ago. African Americans own a smaller number of businesses than they did 20 years ago. Moreover, many of the businesses that African Americans do own are service adjuncts to multinational corporations and not retailers and distributors to African American people.

            For example, a major company might make janitorial products or offer a janitorial service but all of its clients are white companies. Such a company is directly dependent on the good will of white companies to hire them and such companies will therefore operate in a manner acceptable to those corporations regardless of whether such “acceptable manners” contributes to the overall development of African Americans specifically or African people in general.

            Within the musical sphere, African American artists sell more records than at any time in the history of recordings, and yet we have less independent development than ever before. We no longer own even one major popular recording company. Why don’t we have a Motown or an active Solar Records? The answer is because African Americans gave up on independent economic development. This surrendering of our economic potential is reflective of placing individual aggrandizement far above group development.

            In general African American artists, regardless of how conscious they say they are, focus most of their attention on developing their individual careers and thus do not band together to form collectives and organizations whose goal would be the development of a community, even if it were limited to a community of musicians. This lack of group identity is not specific only to musicians. My critique of this cultural reality is the same for all levels of professional activity in the contemporary United States. The focus on individual advancement and the lack of organized activity means that even those musicians who are relatively conscious find that there is very little they can do because the majority of their peers do not want to work on collective projects.

            I believe that this attitude of individual aggrandizement is reflective of the neo-colonial national bourgeoisie attitude with which developing countries are very, very familiar. Clearly, such people are not prepared to make the commitment and sacrifice that development requires. But more than their economic capitulation, there is the question of their political role and their aesthetic role as cultural workers.

            On a political level, contemporary African American artists, for the most part, have been coopted by the commercial pressures of cultural commodification. In order to sell recordings, the artist must appeal to the masses of Americans. The tastes of popular audiences in the United States have been cultivated on appeals to sex and violence. The artist who wants to sell a million records had better take this into consideration.

            This leads to aesthetic decline. The music is no longer dynamic and expressive of group ideals and aspirations, instead it is designed to appeal to a voyeur consumer mentality. The music is no longer to serve as a spur to action and inspiration upon reflection. The music no longer looks to accomplishments in the future. The focus is on instant gratification in the here and now. Thus, the appeal of the music is based on fads and trends, rather than long term collective development. Moreover, the aesthetic also reflects a fascination with youth culture to the exclusion of adults and elders. Thus, even if those adults who try to get with contemporary music find themselves forced to act like youth.

            Look at major artists who have been recording for over ten years. Listen to their latest releases and you will see that they are trying to act and sound like teenagers. By doing this, these artists give up their function as teachers and mentors, and thus become incapable of offering the leadership and wisdom that adults and elders traditionally offer to any society. This is especially the case within popular music with its emphasis on youth culture.

            So first there is a minimum of collective development, second there is an emphasis on sex and violence, and third there is an almost exclusive focus on youth culture. This is precisely a recipe for failure at long term, collective self-development as a people or nation. Within this context, we must criticize most contemporary African American music not only as aesthetically empty but also as politically regressive and even negatively counter-productive from a developmental perspective.

            In the world context, where African Americans previously played a major role in inspiring peoples of color and developing peoples and nations, the music today is seldom anything other than advertisements for conspicuous consumption and moral decadence -- conspicuous consumption because the images of the music focus on products to be bought, and moral decadence because the violence and sex are pushed strictly within a context of individual gratification with only token lip service to the development of the people.

            Contemporary African American music is particularly decadent precisely because the music, for all its posturing to the contrary, generally represents the views and interests of individuals rather than of a community. In fact, the values put forward are actually impediments and injurious to the material and moral development of communities and nations. But beyond that, most of these images are deliberate exaggerations and falsifications of our collective reality. The majority of our people do not live like what one sees in popular music videos.

            Most commercial videos are self indulgent fantasies at best and intentionally are divorced from day to day reality but these same videos are beamed around the world via CNN and other cable networks. Multinationals consciously use this videos to expand the demand for products whose only purpose is to make the manufacturer rich.

            Much of this decadent music is defended by saying that it reflects reality and that it gives the people what they want. Essentially this is the argument of professional puppets who exist simply as mouthpieces for multinational corporations. When our reality is that we are at the bottom of economic development and nearly impotent in terms of political power wherever our people are found, then what we need to do is change reality and not simply reflect it. When our people have been corrupted by constant exposure to chemical and psychological drugs, we need to advocate drug free environments.

            In the case specifically of violence, as long as Blacks are killing Blacks in America it is perfectly acceptable for rap groups to advocate and glorify violent behavior. However, if there was a liberation movement going on and white corporate stock holders were being systematically shot down, then the recording companies would take a moral stand against records which advocate violence. The question is not violence, but rather the nature of the violence.

            Finally, when an artist is trying to make a hit record rather than trying to reflect the hopes and aspirations of their community then it is impossible for the aesthetics to develop precisely because aesthetics are more than the taste of one or two people. Aesthetics represent the sentiments of the community as a whole, the judgments of value and beauty. If the community is underdeveloped, the aesthetic sense will also be underdeveloped. If the community is mired in negativity, the aesthetics will be the same. The only exception is those aesthetics which reflect a willful effort to bring about revolutionary change.

            At every previous juncture in the history of African American music, the music has changed not simply to sell, but rather to reflect the aspirations of our people to better themselves. Even if the artists are not overt in their political articulations and sentiments, their aspirations will be to own their own companies, to garner fair fees, to reach out to people all around the world. Their music will reflect themes and styles which inspire the audience toward those general objectives. In the case of those artists who are overtly political, their work will be critical of the status quo in both content and style, and will advocate substantial collective change.

            The musics of revolutionary artists will always incorporate the traditions of the people even as it makes use of the latest technology of the day. You will be able to recognize revolutionary music because it will be both people based and technologically advanced. This is the only way liberation forces succeed, and even within the sphere of music we have revolutionaries.

            Revolutionary aesthetics differs greatly from national bourgeoisie aesthetics, even though the national bourgeoisie will often mouth slogans that seem to be revolutionary. They will decry racism but not advocate collective development. They will appeal to “color consciousness”, i.e. vote for me because I am Black, buy my music because it is really Black, but they will not advocate moral development. Moreover, rather than bring new ideas and new technological developments to their audiences, the musical national bourgeoisie will revel in displays of ostentatious extravagance: the biggest light shows, the loudest speakers, smoke and mirrors but no substance.

            African American artists must decide which road they want to travel, but this decision will be made not by the artists themselves, rather it will be made by the community. To the degree that there is a social movement for self development, to that same extent, the community will produce artists who will celebrate the traditions of the people and simultaneously inspire the people to move to higher levels of technological and moral development. In order to be truly revolutionary in this period of worldwide cultural commodification, artists will have to present their music as an extension of a collective, if not national, effort for development.

            Baaba Maal’s new release “Firin’ In Fouta” exemplies this development. Using the most modern of equipment, he recorded the traditional sounds of his village and integrated those sounds into the fabric of the music. Women pounding grain establish a specific sounding beat and a rhythm on one track. Children playing are part of the chorus of another song. I believe that all revolutionaries, in whatever sphere, whether political, economic or artistic, inevitably, in the immortal words of Amilcar Cabral, return to the source of their people and bring with them a push for technological development.

            There is no such thing as a revolutionary who is out only for him or her self. Especially when they win, you will notice that the alleged revolutionaries immediately turn into tyrants and dictators who mouth slogans while they make themselves rich and do nothing or very little to increase the general productive forces and standards of living for the masses.

            This is why benefit performances alone are a sham if the artist is not doing something to develop community. Charity and handouts are inadequate substitutes for development and self reliance. The major problem for African American artists is that once they become popular and successful they immediately remove themselves from day to day contact with their communities and live among the upper echelons of mainstream American entertainers. Thus, they can not reflect their community because they no longer have a community.

            But I do not want to get mired down in negativity. Let us look toward the future impact of African American music as an extension of African culture.

 

            SELF DEVELOPMENT AND SELF RELIANCE ARE THE WAVE OF THE FUTURE.

            Clearly, wherever we find African people, whether on the continent or in the diaspora, there is a major need for development in all spheres of life but especially so in the area of economic self reliance. Thus, our reality establishes our agenda.

            From my critique of African Americans, some may conclude that I despair about their will and ability to contribute to African development. The truth is just the opposite. I believe that African Americans are undergoing a crisis and a rebellion. We have a crisis because after all of our achievements specifically in the area of desegregation of the American society, our crisis is that we are materially and morally worse off as a people. While many of our artists have sold out, an equally large number are very, very concerned about what can be done.

            In fact, even among those who have sold out, as they grow older -- and in this case “old” is thirty years old -- they realize that the system does not want them and that both as a representative of their people and as an individual they are rejected by the consumer, youth oriented culture. These artists will not simply disappear.

            While we are faced with a crisis, we are also in a period of rebellion because the masses are suffer greater deprivation than anytime in the last two decades. People in the United States are reacting violently and rebelling against authority. While rebellion in and of itself is brief and sometimes even counterproductive if not harnessed, rebellion does establish fertile ground for revoltionary developments.

            What is required is cultural liberation movements attached to national development projects. In this regard, I do not think that artists take the lead. As contradictory as it may sound, I believe that a close inspection of our realities will show that revolutionary artists develop out of the demands of revolutionary times. Only when there is ferment in the political, economic and technological spheres will there be revolutionary activity in the artistic sphere. There is no exceptionalism for artists.

            Of course there will always be exceptional individuals who can perceive and focus on the revolutionary potential of a situation even when it is underdeveloped. And of course there will always be exceptional individuals who respond to the requirements of the moment in exemplary and innovative ways. But even these individuals can not exist apart from history.

            These are my suggestions and recommendations for the revolutionary development of African American music, and by extension, African music in general.

            1.         The current trend in economic development is multinational. We all know that the biggest problem that African people face is that there are no African nations on the continent and that the nations of the Caribbean are political, economic and technological dwarfs without the indigenous resources to sustain themselves.

            At this point it is important to digress to explain what I mean when I say that there are no African nations on the continent. The boundaries for all of the present nation states were drawn by European powers in the interest of Europe. Those of ourselves who consider ourselves Pan Africanists have long saw this as a problem. In trying to come up with solutions to this problem we have traditionally thought like Europeans. By that I mean we have always thought about changing the boundaries, redrawing the boundaries. Well perhaps their is an African solution.

            We all know that along many of the borders of African states the people, without benefit of passport or diplomatic recognition, go back and forth between states. Perhaps the easiest way to develop Pan Africanism is not to do away with boundaries in the physical sense but rather in the diplomatic sense. This will of course find immediate objection among the national bourgeoisie and the sitting governments who will fear the loss of power should their opposition flood into their countries. Well, I suggest that the first step be the repatriation of the African diaspora.

            African countries should offer dual citizenship to any and all members of the diaspora who are currently citizens of a non-continental African country. (Please bear with me and I will explain how this impacts the music.) This would mean that people in the United States, England, Jamaica, Trinidad, etc. could apply for and achieve dual citizenship simply by buying land and paying a small repatriation annual tax. Unless the person took up residence, the repatriation would offer limited citizenship, excluding the right to vote, but after a period of residence, perhaps a year or two, the dual citizenship could include the right to vote.

            The fact of the matter is that what most states are looking for skills and venture capital. Dual citizenship for the diaspora would offer both without tampering with the difficult question of Pan Africanism on the continent. In the diaspora, U.S.$50,000 is an insignificant amount of money to invest into a capital project, but invested in Africa that same U.S.$50,000 would be a major investment. Venture capital is relative to the context within which the capital is to be used. The appeal to the diaspora does not have to be altruistic. There is the opportunity for diaspora individuals to profit at the same time that they contribute to national economic development.

            In the sphere of music production, this offer of dual citizenship could provide tax incentives and contractual incentives for artists who are currently constrained by U.S. taxes and American based company restrictions. Additionally, this offer would give diaspora artists access to new audiences and new markets. Finally, these artists could also represent their adopted country in international competition and conferences, significantly expanding the national clout of the host country. Of course, this example applies in the all other fields including sports, scientific and technological areas. But specifically within the sphere of musical production, the host country would be able to compete in the international arena and the diaspora artist would gain a home base and expanded market.

            2.         Cultural interaction is a fundable project for both artists and governments. Just as PANAFEST received support from AT&T, the American government and other international concerns, that support could be increased with the participation of diasporan artists who establish dual citizenship. The increase could be not only in the area of greater funds for PANAFEST, but also in the area of funding for developmental projects which could make use of the aesthetic and technical expertise of diasporan artists.

            Artists could be invited to do collaborative projects and long term residencies which would include going throughout the countryside and not simply be limited to the capital city. The Ford, Rockerfeller and other foundations would be very interested in such projects especially if these projects were a joint initiative between diaspora artists and continental governments.

            On the aesthetic level along the cross fertilization would offer a fantastic boost to the aesthetic development of the music. The nation state artist would benefit from working with mature diasporan artists and the diaspora artists would benefit by being introduce to traditional African cultures. Again, we are speaking about projects that require commitment at a level beyond cultural commodification for sale by multinational corporations.

            3.         At the most basic level, linkages can be established to facilitate cultural production. For example, I work with a small, independent recording company in New Orleans. We produce compact discs for approximately U.S.$2.50 to U.S.$3.00 per disc. The disc retail for U.S.$15.00 and wholesale for U.S.$9.00. At the very least, we could be facilitating the production of compact discs. All that would be required is a compact recorder which are currently available in the U.S.$1200 range.

            On a national level, the government of various countries could establish national CD manufacturing plants which would offer services to citizens and make it possible for nationals to compete in the international market.

            I am prepared to facilitate suggestion number three immediately and would like to take up specific discussion of suggestions one and two. I have intentionally made these suggestions very broad so that there is room for refinement that is necessary in implementation.

            I do not think that international cooperation should be left exclusively to the multinational corporations. I believe that the nation states of Africa have a resource available to them whose potential is almost unimaginable. The African diaspora needs Africa in order to provide a national base for collective development and African states need the skills and access to technology and venture capital which the diaspora possesses. I believe that in order for African American music to become a world power again it must do precisely what it did initially and that is present itself to the world incorporated into the political economy of a developing nation. I am suggesting that African American music can become a true representative of African culture, not by extension and in the abstract, but by repatriation in the concrete.

            The unification and development of Africa will not happen overnight, nor will it come about based on a European model. It seems to me that the development of African people worldwide requires the reintegration and unification of African productive forces. We must expand the nation state concept at the very same time that we strengthen the political and economic independence and self reliance of all people of African descent. The future belongs to those who unify and work together to change their current realities of under development into a future of cooperative development. One people. One aim. One destiny.

            Thank you.

 

     —Kalamu ya Salaam

            PANAFEST, UNIVERSITY OF CAPE COAST, GHANA

            13 December 1994

ESSAY: THE BLACK ARTS MOVEMENT

photo by Alex Lear

 

 

 

The Black Arts Movement

Both inherently and overtly political in content, the Black Arts movement was the only American literary movement to advance "social engagement" as a sine qua non of its aesthetic. The movement broke from the immediate past of protest and petition (civil rights) literature and dashed forward toward an alternative that initially seemed unthinkable and unobtainable: Black Power.

In a 1968 essay, "The Black Arts Movement," Larry Neal proclaimed Black Arts the "aesthetic and spiritual sister of the Black Power concept." As a political phrase, Black Power had earlier been used by Richard Wright to describe the mid-1950s emergence of independent African nations. The 1960s' use of the term originated in 1966 with Student Nonviolent Coordinating Committee civil rights workers Stokely Carmichael and Willie Ricks. Quickly adopted in the North, Black Power was associated with a militant advocacy of armed self-defense, separation from "racist American domination," and pride in and assertion of the goodness and beauty of Blackness.

Although often criticized as sexist, homophobic, and racially exclusive (i.e., reverse racist), Black Arts was much broader than any of its limitations. Ishmael Reed, who is considered neither a movement apologist nor advocate ("I wasn't invited to participate because I was considered an integrationist"), notes in a 1995 interview,

I think what Black Arts did was inspire a whole lot of Black people to write. Moreover, there would be no multiculturalism movement without Black Arts. Latinos, Asian Americans, and others all say they began writing as a result of the example of the 1960s. Blacks gave the example that you don't have to assimilate. You could do your own thing, get into your own background, your own history, your own tradition and your own culture. I think the challenge is for cultural sovereignty and Black Arts struck a blow for that.

 

History and Context. The Black Arts movement, usually referred to as a "sixties" movement, coalesced in 1965 and broke apart around 1975/1976. In March 1965 following the 21 February assassination of Malcolm X, LeRoi Jones (Amiri Baraka) moved from Manhattan's Lower East Side (he had already moved away from Greenwich Village) uptown to Harlem, an exodus considered the symbolic birth of the Black Arts movement. Jones was a highly visible publisher (Yugen and Floating Bear magazines, Totem Press), a celebrated poet (Preface to a Twenty-Volume Suicide Note, 1961, and The Dead Lecturer, 1964), a major music critic (Blues People, 1963), and an Obie Award-winning playwright (Dutchman, 1964) who, up until that fateful split, had functioned in an integrated world. Other than James Baldwin, who at that time had been closely associated with the civil rights movement, Jones was the most respected and most widely published Black writer of his generation.

While Jones's 1965 move uptown to found the Black Arts Repertory Theatre/School (BARTS) is the formal beginning (it was Jones who came up with the name "Black Arts"), Black Arts, as a literary movement, had its roots in groups such as the Umbra Workshop. Umbra (1962) was a collective of young Black writers based in Manhattan's Lower East Side; major members were writers Steve Cannon, Tom Dent, Al Haynes, David Henderson, Calvin C. Hernton, Joe Johnson, Norman Pritchard, Lenox Raphael, Ishmael Reed, Lorenzo Thomas, James Thompson, Askia M. Touré (Roland Snellings; also a visual artist), Brenda Walcott, and musician-writer Archie Shepp. Touré, a major shaper of "cultural nationalism," directly influenced Jones. Along with Umbra writer Charles Patterson and Charles's brother, William Patterson, Touré joined Jones, Steve Young, and others at BARTS.

Umbra, which produced Umbra Magazine, was the first post-civil rights Black literary group to make an impact as radical in the sense of establishing their own voice distinct from, and sometimes at odds with, the prevailing white literary establishment. The attempt to merge a Black-oriented activist thrust with a primarily artistic orientation produced a classic split in Umbra between those who wanted to be activists and those who thought of themselves as primarily writers, though to some extent all members shared both views. Black writers have always had to face the issue of whether their work was primarily political or aesthetic. Moreover, Umbra itself had evolved out of similar circumstances: In 1960 a Black nationalist literary organization, On Guard for Freedom, had been founded on the Lower East Side by Calvin Hicks. Its members included Nannie and Walter Bowe, Harold Cruse (who was then working on Crisis of the Negro Intellectual, 1967), Tom Dent, Rosa Guy, Joe Johnson, LeRoi Jones, and Sarah Wright, among others. On Guard was active in a famous protest at the United Nations of the American-sponsored Bay of Pigs Cuban invasion and was active in support of the Congolese liberation leader Patrice Lumumba. From On Guard, Dent, Johnson, and Walcott along with Hernton, Henderson, and Touré established Umbra.

Another formation of Black writers at that time was the Harlem Writers Guild, led by John O. Killens, which included Maya Angelou, Jean Carey Bond, Rosa Guy, and Sarah Wright among others. But the Harlem Writers Guild focused on prose, primarily fiction, which did not have the mass appeal of poetry performed in the dynamic vernacular of the time. Poems could be built around anthems, chants, and political slogans, and thereby used in organizing work, which was not generally the case with novels and short stories. Moreover, the poets could and did publish themselves, whereas greater resources were needed to publish fiction. That Umbra was primarily poetry- and performance-oriented established a significant and classic characteristic of the movement's aesthetics.

When Umbra split up, some members, led by Askia Touré and Al Haynes, moved to Harlem in late 1964 and formed the nationalist-oriented "Uptown Writers Movement," which included poets Yusef Rahman, Keorapetse "Willie" Kgositsile from South Africa, and Larry Neal. Accompanied by young "New Music" musicians, they performed poetry all over Harlem. Members of this group joined LeRoi Jones in founding BARTS.

Jones's move to Harlem was short-lived. In December 1965 he returned to his home, Newark (N.J.), and left BARTS in serious disarray. BARTS failed but the Black Arts center concept was irrepressible mainly because the Black Arts movement was so closely aligned with the then-burgeoning Black Power movement.

The mid- to late 1960s was a period of intense revolutionary ferment. Beginning in 1964, rebellions in Harlem and Rochester, New York, initiated four years of long hot summers. Watts, Detroit, Newark, Cleveland, and many other cities went up in flames, culminating in nationwide explosions of resentment and anger following Martin Luther King, Jr.'s April 1968 assassination.

In his seminal 1965 poem "Black Art," which quickly became the major poetic manifesto of the Black Arts literary movement, Jones declaimed "we want poems that kill." He was not simply speaking metaphorically. During that period armed self-defense and slogans such as "Arm yourself or harm yourself' established a social climate that promoted confrontation with the white power structure, especially the police (e.g., "Off the pigs"). Indeed, Amiri Baraka (Jones changed his name in 1967) had been arrested and convicted (later overturned on appeal) on a gun possession charge during the 1967 Newark rebellion. Additionally, armed struggle was widely viewed as not only a legitimate, but often as the only effective means of liberation. Black Arts' dynamism, impact, and effectiveness are a direct result of its partisan nature and advocacy of artistic and political freedom "by any means necessary." America had never experienced such a militant artistic movement.

Nathan Hare, the author of The Black Anglo-Saxons (1965), was the founder of 1960s Black Studies. Expelled from Howard University, Hare moved to San Francisco State University where the battle to establish a Black Studies department was waged during a five-month strike during the 1968-1969 school year. As with the establishment of Black Arts, which included a range of forces, there was broad activity in the Bay Area around Black Studies, including efforts led by poet and professor Sarah Webster Fabio at Merrit College.

The initial thrust of Black Arts ideological development came from the Revolutionary Action Movement (RAM), a national organization with a strong presence in New York City. Both Touré and Neal were members of RAM. After RAM, the major ideological force shaping the Black Arts movement was the US (as opposed to "them') organization led by Maulana Karenga. Also ideologically important was Elijah Muhammad's Chicago-based Nation of Islam.

These three formations provided both style and ideological direction for Black Arts artists, including those who were not members of these or any other political organization. Although the Black Arts movement is often considered a New York-based movement, two of its three major forces were located outside New York City.

As the movement matured, the two major locations of Black Arts' ideological leadership, particularly for literary work, were California's Bay Area because of the Journal of Black Poetry and the Black Scholar, and the Chicago-Detroit axis because of Negro Digest/Black World and Third World Press in Chicago, and Broadside Press and Naomi Long Madgett's Lotus Press in Detroit. The only major Black Arts literary publications to come out of New York were the short-lived (six issues between 1969 and 1972) Black Theatre magazine published by the New Lafayette Theatre and Black Dialogue, which had actually started in San Francisco (1964-1968) and relocated to New York (1969-1972).

In 1967 LeRoi Jones visited Karenga in Los Angeles and became an advocate of Karenga's philosophy of Kawaida. Kawaida, which produced the "Nguzo Saba" (seven principles), Kwanzaa, and an emphasis on African names, was a multifaceted, categorized activist philosophy. Jones also met Bobby Seale and Eldridge Cleaver and worked with a number of the founding members of the Black Panthers. Additionally, Askia Touré was a visiting professor at San Francisco State and was to become a leading (and longlasting) poet as well as, arguably, the most influential poet-professor in the Black Arts movement. Playwright Ed Bullins and poet Marvin X had established Black Arts West, and Dingane Joe Goncalves had founded the Journal of Black Poetry (1966). This grouping of Ed Bullins, Dingane Joe Goncalves, LeRoi Jones, Sonia Sanchez, Askia M. Touré, and Marvin X became a major nucleus of Black Arts leadership.

 

Theory and Practice. The two hallmarks of Black Arts activity were the development of Black theater groups and Black poetry performances and journals, and both had close ties to community organizations and issues. Black theaters served as the focus of poetry, dance, and music performances in addition to formal and ritual drama. Black theaters were also venues for community meetings, lectures, study groups, and film screenings. The summer of 1968 issue of Drama Review, a special on Black theater edited by Ed Bullins, literally became a Black Arts textbook that featured essays and plays by most of the major movers: Larry Neal, Ben Caldwell, LeRoi Jones, Jimmy Garrett, John O'Neal, Sonia Sanchez, Marvin X, Ron Milner, Woodie King, Jr., Bill Gunn, Ed Bullins, and Adam David Miller. Black Arts theater proudly emphasized its activist roots and orientations in distinct, and often antagonistic, contradiction to traditional theaters, both Black and white, which were either commercial or strictly artistic in focus.

By 1970 Black Arts theaters and cultural centers were active throughout America. The New Lafayette Theatre (Bob Macbeth, executive director, and Ed Bullins, writer in residence) and Barbara Ann Teer's National Black Theatre led the way in New York, Baraka's Spirit House Movers held forth in Newark and traveled up and down the East Coast. The Organization of Black American Culture (OBAC) and Val Grey Ward's Kuumba Theatre Company were leading forces in Chicago, from where emerged a host of writers, artists, and musicians including the OBAC visual artist collective whose "Wall of Respect" inspired the national community-based public murals movement and led to the formation of Afri-Cobra (the African Commune of Bad, Revolutionary Artists). There was David Rambeau's Concept East and Ron Milner and Woodie King’s Black Arts Midwest, both based in Detroit. Ron Milner became the Black Arts movement's most enduring playwright and Woodie King became its leading theater impresario when he moved to New York City. In Los Angeles there was the Ebony Showcase, Inner City Repertory Company, and the Performing Arts Society of Los Angeles (PALSA) led by Vantile Whitfield. In San Francisco was the aforementioned Black Arts West. BLKARTSOUTH (led by Tom Dent and Kalamu ya Salaam) was an outgrowth of the Free Southern Theatre in New Orleans and was instrumental in encouraging Black theater development across the south from the Theatre of Afro Arts in Miami, Florida, to Sudan Arts Southwest in Houston, Texas, through an organization called the Southern Black Cultural Alliance. In addition to formal Black theater repertory companies in numerous other cities, there were literally hundreds of Black Arts community and campus theater groups.

A major reason for the widespread dissemination and adoption of Black Arts was the development of nationally distributed magazines that printed manifestos and critiques in addition to offering publishing opportunities for a proliferation of young writers. Whether establishment or independent, Black or white, most literary publications rejected Black Arts writers. The movement's first literary expressions in the early 1960s came through two New York-based, nationally distributed magazines, Freedomways and Liberator. Freedomways, "a journal of the Freedom Movement," backed by leftists, was receptive to young Black writers. The more important magazine was Dan Watts's Liberator, which openly aligned itself with both domestic and international revolutionary movements. Many of the early writings of critical Black Arts voices are found in Liberator. Neither of these were primarily literary journals.

The first major Black Arts literary publication was the California-based Black Dialogue (1964), edited by Arthur A. Sheridan, Abdul Karim, Edward Spriggs, Aubrey Labrie, and Marvin Jackmon (Marvin X). Black Dialogue was paralleled by Soulbook (1964), edited by Mamadou Lumumba (Kenn Freeman) and Bobb Hamilton. Oakland-based Soulbook was mainly political but included poetry in a section ironically titled "Reject Notes."

Dingane Joe Goncalves became Black Dialogue's poetry editor and, as more and more poetry poured in, he conceived of starting the Journal of Black Poetry. Founded in San Francisco, the first issue was a small magazine with mimeographed pages and a lithographed cover. Up through the summer of 1975, the Journal published nineteen issues and grew to over one hundred pages. Publishing a broad range of more than five hundred poets, its editorial policy was eclectic. Special issues were given to guest editors who included Ahmed Alhamisi, Don L. Lee (Haki R. Madhubuti), Clarence Major, Larry Neal, Dudley Randall, Ed Spriggs, and Askia Touré. In addition to African Americans, African, Caribbean, Asian, and other international revolutionary poets were presented.

Founded in 1969 by Nathan Hare and Robert Chrisman, the Black Scholar, "the first journal of black studies and research in this country," was theoretically critical. Major African-disasporan and African theorists were represented in its pages. In a 1995 interview Chrisman attributed much of what exists today to the groundwork laid by the Black Arts movement:

If we had not had a Black Arts movement in the sixties we certainly wouldn't have had national Black literary figures like Henry Louis Gates, Jr., Alice Walker, or Toni Morrison because much more so than the Harlem Renaissance, in which Black artists were always on the leash of white patrons and publishing houses, the Black Arts movement did it for itself. What you had was Black people going out nationally, in mass, saving that we are an independent Black people and this is what we produce.

For the publication of Black Arts creative literature, no magazine was more important than the Chicago-based Johnson publication Negro Digest / Black World. Johnson published America's most popular Black magazines, Jet and Ebony. Hoyt Fuller, who became the editor in 1961, was a Black intellectual with near-encyclopedic knowledge of Black literature and seemingly inexhaustible contacts. Because Negro Digest, a monthly, ninety-eight-page journal, was a Johnson publication, it was sold on newsstands nationwide. Originally patterned on Reader’s Digest, Negro Digest changed its name toBlack World in 1970, indicative of Fuller’s view that the magazine ought to be a voice for Black people everywhere. The name change also reflected the widespread rejection of "Negro" and the adoption of "Black" as the designation of choice for people of African descent and to indicate identification with both the diaspora and Africa. The legitimation of "Black" and "African" is another enduring legacy of the Black Arts movement.

 

Negro Digest / Black World published both a high volume and an impressive range of poetry, fiction, criticism, drama, reviews, reportage, and theoretical articles. A consistent highlight was Fuller's perceptive column Perspectives ("Notes on books, writers, artists and the arts") which informed readers of new publications, upcoming cultural events and conferences, and also provided succinct coverage of major literary developments. Fuller produced annual poetry, drama, and fiction issues, sponsored literary contests, and gave out literary awards. Fuller published a variety of viewpoints but always insisted on editorial excellence and thus made Negro Digest / Black World a first-rate literary publication. Johnson decided to cease publication of Black World in April 1976: allegedly in response to a threatened withdrawal of advertisement from all of Johnson's publications because of pro-Palestinian/anti-Zionist articles in Black World.

The two major Black Arts presses were poet Dudley Randall's Broadside Press in Detroit and Haki Madhubuti's Third World Press in Chicago. From a literary standpoint, Broadside Press, which concentrated almost exclusively on poetry, was by far the more important. Founded in 1965, Broadside published more than four hundred poets in more than one hundred books or recordings and was singularly responsible for presenting older Black poets (Gwendolyn Brooks, Sterling A. Brown, and Margaret Walker) to a new audience and introducing emerging poets (Nikki Giovanni, Etheridge Knight, Don L. Lee/Haki Madhubuti, and Sonia Sanchez) who would go on to become major voices for the movement. In 1976, strapped by economic restrictions and with a severely overworked and overwhelmed three-person staff, Broadside Press went into serious decline. Although it functions mainly on its back catalog, Broadside Press is still alive.

While a number of poets (e.g., Amiri Baraka, Nikki Giovanni, Haki Madhubuti, and Sonia Sanchez), playwrights (e.g., Ed Bullins and Ron Milner), and spoken-word artists (e.g., the Last Poets and Gil Scott-Heron, both of whom were extremely popular and influential although often overlooked by literary critics) are indelibly associated with the Black Arts movement, rather than focusing on their individual work, one gets a much stronger and much more accurate impression of the movement by reading seven anthologies focusing on the 1960s and the 1970s.

 

Black Fire (1968), edited by Baraka and Neal, is a massive collection of essays, poetry, fiction, and drama featuring the first wave of Black Arts writers and thinkers. Because of its impressive breadth, Black Fire stands as a definitive movement anthology.

 

For Malcolm X, Poems on the Life and the Death of Malcolm X (1969), edited by Dudley Randall and Margaret Taylor Goss Burroughs, demonstrates the political thrust of the movement and the specific influence of Malcolm X. There is no comparable anthology in American poetry that focuses on a political figure as poetic inspiration.

 

The Black Woman (1970), edited by Toni Cade Bambara, is the first major Black feminist anthology and features work by Jean Bond, Nikki Giovanni, Abbey Lincoln, Audre Lorde, Paule Marshall, Gwen Patton, Pat Robinson, Alice Walker, Shirley Williams, and others.

Edited by Addison Gayle, Jr., The Black Aesthetic (1971) is significant because it both articulates and contextualizes Black Arts theory. The work of writers such as Alain Locke, W. E. B. Du Bois, Langston Hughes, and J. A. Rogers showcases the movement's roots in an earlier era into sections on theory, music, fiction, poetry, and drama, Gayle's seminal anthology features a broad array of writers who are regarded as the chief Black Arts theorists-practitioners.

Stephen Henderson's Understanding the New Black Poetry (1972) is important not only because of the poets included but also because of Henderson's insightful and unparalleled sixty-seven page overview. This is the movement's most thorough exposition of a Black poetic aesthetic. Insights and lines of thought now taken for granted were first articulated in a critical and formal context by Stephen Henderson, who proposed a totally innovative reading of Black poetics.

 

New Black Voices (1972), edited by Abraham Chapman, is significant because its focus is specifically on the emerging voices in addition to new work by established voices who were active in the Black Arts movement. Unlike most anthologies, which overlook the South, New Black Voices is geographically representative and includes lively pro and con articles side by side debating aesthetic and political theory.

The seventh book, Eugene Redmond's Drumvoices, The Mission of Afro-American Poetry: A Critical History (1976), is a surprisingly thorough survey that has been unjustly neglected. Although some of his opinions are controversial (note that in the movement controversy was normal), Redmond's era by era and city by city cataloging of literary collectives as well as individual writers offers an invaluable service in detailing the movement's national scope.

 

The Movement's Breakup. The decline of the Black Arts movement began in 1974 when the Black Power movement was disrupted and co-opted. Black political organizations were hounded, disrupted, and defeated by repressive government measures, such as Cointelpro and IRS probes. Black Studies activist leadership was gutted and replaced by academicians and trained administrators who were unreceptive, if not outright opposed, to the movements political orientation.

Key internal events in the disruption were the split between nationalists and Marxists in the African Liberation Support Committee (May 1974), the Sixth Pan African Congress in Tanzania where race-based struggle was repudiated/denounced by most of the strongest forces in Africa (Aug. 1974), and Baraka’s national organization, the Congress of Afrikan People (CAP), officially changing from a "Pan Afrikan Nationalist" to a "Marxist Leninist" organization (Oct. 1974).

As the movement reeled from the combination of external and internal disruption, commercialization and capitalist co-option delivered the coup de grace. President Richard Nixon's strategy of pushing Black capitalism as a response to Black Power epitomized mainstream co-option. As major film, record, book, and magazine publishers identified the most salable artists, the Black Arts movement's already fragile independent economic base was totally undermined.

In an overwhelmingly successful effort to capitalize on the upsurge of interest in the feminist movement, establishment presses focused particular attention on the work of Black women writers. Although issues of sexism had been widely and hotly debated within movement publications and organizations, the initiative passed from Black Arts back to the establishment. Emblematic of the establishment overtaking (some would argue "co-opting") Black Arts activity is Ntozake Shange's for colored girls, which in 1976 ended up on Broadway produced by Joseph Papp even though it had been workshopped at Woodie King's New Federal Theatre of the Henry Street Settlement on the Lower East Side. Black Arts was not able to match the economic and publicity offers tendered by establishment concerns.

Corporate America (both the commercial sector and the academic sector) once again selected and propagated one or two handpicked Black writers. During the height of Black Arts activity, each community had a coterie of writers and there were publishing outlets for hundreds, but once the mainstream regained control, Black artists were tokenized. Although Black Arts activity continued into the early 1980s, by 1976, the year of what Gil Scott-Heron called the "Buy-Centennial," the movement was without any sustainable and effective political or economic bases in an economically strapped Black community. An additional complicating factor was the economic recession, resulting from the oil crisis, which the Black community experienced as a depression. Simultaneously, philanthropic foundations only funded non-threatening, "arts oriented" groups. Neither the Black Arts nor the Black Power movements ever recovered.

 

The Legacy. In addition to advocating political engagement and independent publishing, the Black Arts movement was innovative in its use of language. Speech (particularly, but not exclusively, Black English), music, and performance were major elements of Black Arts literature. Black Arts aesthetics emphasized orality, which includes the ritual use of call and response both within the body of the work itself as well as between artist and audience. This same orientation is apparent in rap music and 1990s "performance poetry" (e.g., Nuyorican Poets and poetry slams).

While right-wing trends attempt to push America's cultural clock back to the 1950s, Black Arts continues to evidence resiliency in the Black community and among other marginalized sectors. When people encounter the Black Arts movement, they are delighted and inspired by the most audacious, prolific, and socially engaged literary movement in America's history.

From The Oxford Companion to African American Literature. New York: Oxford UP, 1997. Copyright © 1997 by Oxford UP.


SHORT STORY: BRAS COUPE

photo by Alex Lear

 

 

 

BRAS COUPE

 

            "Kristin, I love you," I blurted, sounding like I was trying to convince myself more than Kristin, even though I was sincere. I both wanted her and wanted her to know I wanted her. Nevertheless, like rotely instructing a client on how to fill out a 941, at the moment, I felt emotionally disengaged.

            I snuggled closer. "Kristin..."

            "David, you don't have to say that to get me to do it. I know you love me."

            As I pressed close to her, all down my chest I felt her body stiffen. There was no smile on her face as my fingers traced the outline of her lips. She was distancing herself from me like I was the manager of a department where thirty grand was missing. I reached across her head and turned off the lamp on the night table. Almost as soon as the room was dark she spoke, "I'm not staying tonight. I've got an early meeting and I want to be prepared."

            I had been caressing the side of her face, down her neck and moving toward her breast when I stopped. Suddenly, I had the strangest sensation we were being watched. The light was out and we were alone, but it felt like Kristin's conscience was standing by the side of the bed auditing us. I imagined an unemotional spectre with PDA in hand intently and efficiently noting the details of every movement of two overeager people who were gropping in the dark searching for the right words to say to each other, determinedly trying to discover the right touches to unlock passion in each other.

            I wanted to say, Kristin, what's the real reason you're not staying? I wanted to say, Kristin, are you tired of sleeping with me? Maybe you want out of this relationship. Maybe you don't know where this relationship is headed. God knows I don't know.

            She placed my hand over her breast, "Come on, hurry up. I want to leave before ten."

            I didn't want to hurry up. I wanted to take it slow, like they say women prefer in those self-help, sex manuals Kristin furtively reads. I don't know why people even read those books, the procedures never work like they say. Even the ones with pictures don't work. It's a case study of diminishing returns. You try all that stuff and afterwards, all you've managed to accomplish is you've "tried stuff." The profit margin's too thin when you only accrue an extra penny's worth of pleasure for every dollar of time you invest in reaching the ultimate climax.

            She reached down and touched my dick. "You're not hard." She gently tugged at it. "Oh, David..." An exasperated exclamation, and then suddenly she scooted beneath the thin sheet covering us, and I felt her take me in her mouth.

            Please hurry up and get hard, I vainly instructed my dick.

            It didn't.

            After a minute or so, she gave up, pulled the covers back and sat up in bed. So instead of me asking her what's wrong, she was checking on me, "Honey, what's wrong?"

            I could feel my dick limp against my thigh. "Nothing."

            "Nothing," she softly repeated my lie like a proctor giving you a second chance to admit you cheated on a test. Then, with the adroitness of a prosecution lawyer waving a key piece of evidence before the jury, she reached under the covers and fingered my dick. "Yes, there is."

            I felt like I had been caught with a signed, blank company check in my wallet. Kristin had the uncanny ability to make me feel guilty about wanting to enjoy sex with her.

            "Maybe, I'm just trying too hard." Upon hearing my words, she immediately moved her hand.

            "Oh David," she said as she leaned over and kissed me. I didn't respond to her kiss.

            I wasn't looking for pity and besides it wasn't me taking the prufunctory approach. "I'm alright."

            I loved Kristin but I wasn't fully comfortable in bed with her yet. She would do whatever I asked her to but I always had to ask. I could never get a sense of what, if anything, she really wanted. Our relationship was humming along like a chain of hardward stores, efficient, neat, well stocked, well managed and totally without excitement.

            The lamp light blazed on. I turned my head into the pillow. The light physically hurt my eyes. After the metallic click of the lamp there was a long silence.

            "Did you hear about the shooting?"

            So that's what it was that was bothering her. God, somebody was always getting shot.

            "They," she paused briefly to let the weight of the loaded, one syllable sink in, "shot this lady's baby. My god, they shot a baby. None of us are safe."

            "What color was the baby?"

            "What difference does it make?" She misunderstood me. That was precisely my point, color shouldn't make a difference, but I knew that color was what she was really concerned about and not murder. "It was an innocent baby. Somebody has got to do something."

            "What color, Kristin?"

            "They didn't show the baby on television..."

            "What was the child's name?"

            "Etienne."

            I turned my head away and looked at the wall. I knew what was coming next, the same old white/black issue. I didn't feel like arguing about the color of a dead baby and whether color made a difference.

            "David, why did you turn away while I was talking? You make me feel everything I say is so wrong."

            The words I didn't dare let out of my mouth, played loud and clear in my head: Because if I turn around and tell you how racist you're acting, we'll end up arguing with each other and I don't feel like fighting. The truth is you're upset because the baby was white. If the baby had been black you might or might not have said anything but you certainly wouldn't have felt threatened. You...

            "I know you think I don't like blacks but that's not it. David, I'm scared."

            "I know. I'm scared too," I agreed, except my fear wasn't for my personal safety. My fear was that blacks and whites would never get beyond being black and white, separate, unequal, and distrustful of each other.

            "If you're scared, why did you move into this neighborhood? Something like fighting fire with fire?" I didn't answer and Kristin chattered on barely pausing for a response to her rhetorical question. "Soon as the sun goes down the only people walking around outside are..."

            I turned over slowly, lay on my back, and covered my eyes with my forearm. "Are what? Murderers? Muggers? Rapists? Thieves?"

            "You said yourself that some of these people don't even like the idea of you living in their neighborhood."

            "I'm really sorry to hear about that baby." I uncovered my eyes and reached out my hand to touch her knee. She covered my hand with a firm grip.

            "My brother says I should get a gun if I'm going to keep spending time with you."

            "I bet your brother Mike owns every Charles Bronsen video ever made and carries a long barrelled forty-four like he's Dirty Harry, or is it David Duke?" my accusation hung in the air like a fart.

            I could see her wanting to recoil but, like being trapped in one of those small interreogation rooms that IRS agents use for audits, there was no where to run and she had run out of documentation to prove her innocence. "Kristin, you don't have to come here unless you want to."

            "I want to be with you." Our eyes locked and searched each other until I turned my head and flung my forearm back across my face. Kristin started her well rehearsed sales pitch, "Besides, it's senseless for me to come pick you up, take you to my place, then bring you back to your place, and then drive back to my place."

            "That's right."

            "And you refuse to buy a car."

            "That's right. My bike and the buses do me just fine."

            "So obviously if we're going to be together I have to come see..."

            "At least until yall get bus service out their in civilized Metairie."

            "David, I'm not complaining about coming to see you. I was just talking about the safety issue."

            "Has anything ever happened to you around here, or to me? Has anybody even so much as said something out of line?"

            "David, it only has to happen once... and then... then you're ruined for life."

            "You only die once."

            Why did I say that? I have to learn to control my mouth.

            "Why did you say that? Mike says you have a death wish."

            "So your brother Mike has given up the family construction business to become a psycologist, huh?" She flinched at my parry but continued her offensive.

            "I told you about Ann Sheridan didn't I?"

            "Yes."

            "She'll never be right again."

            We were about to get into a bad scene. This was one of those classic delimmas: you're callous if you don't sympathize with the victim and you're a bleeding heart if you criticize the routine stereotyping. I felt like I was trying to talk to a client who was also a good friend and who was trying to get me to help them cheat on their taxes. I guess I could say, let's not go there; it's not healthy. Or I could sympathize, being raped is a terrible, terrible thing.

            "She's seeing a psychiatrist. She stays pumped full of drugs. And she can't even stand to be in a room with a black man." Clearly this was going to be one of those evenings when all of our time in bed would be spent talking about the major issues of the day rather than more productive and more pleasurable pursuits.

            "Hey, you want a beer?" I bounded out of bed. Two hops and I was in the doorway, "Abita Amber." I looked back, Kristin shook her head no.

            When I got back from the kitchen Kristin was laying still with the covers pulled tightly around her. I stood looking down at the trim form shrouded in my ice blue sheet. I had been so smitten by her from the first time I saw her jogging in the 5K corporate run.

            "Hi, my name is David, and I just got to tell you, I think you're beautiful."

            "David, I'm Kristin. Your flattery is appreciated, but you said it so easily, I'm sure I'm not the only girl who's heard that today."

            "Look, I'm not from here. How does one get to talk to a girl like you?"

            "Do you want to talk to a girl like me, or do you want to talk to me?"

            "Touche." We walked in silence for a moment, catching our breath. Then we started talking, and we talked and talked, and talked some more. And now here we are several months later.

            As the immediate past of our getting together jetted through my mind, I concentrated on Kristin's hairline and on the upper half of her face which was the only part of her visible. Her eyes were closed but I knew she was awake.

            "Suppose it happened to me?" she said, picking up the conversation where we had left off when I tried the let's drink a beer evasion. Her voice was partially muffled by the sheet but the import of her question came through unimpeded.

            I put the beer bottle down on top of Ed McMann's smiling face on the Publisher's Clearinghouse envelope announcing that I had won $30 million dollars. At least the worthless envelope made a convenient temporary coaster. Usually that junk went straight from the mailbox into the front room trash can, but Kristin insisted that I ought to reply because "who knows, you can win a lot of money"—as soon as she leaves it's trashville for that scam.

            "Don't think like that," was my reply to her question as I leaned over and pulled the sheet down so that I could see her whole face.

            "I can't help it. I'm a woman. You're a man. You just don't know."

            I sat down facing the foot of the bed, one foot on the floor, my left leg drawn up next to Kristin.

            "Every time I leave here after dark, it's traumatic." Ignoring the strain in her voice, I turned, leaned over, brushed back her auburn hair from the side of her face and lovingly surveyed her facial features. She was ravishing.

            The subtle scent of an Italian perfume intoxicatingly waffed upward from the nape of her neck. The milk white orb of a perfect, polished pearl, stud earring highlighted her porcelin smooth, golden colored facial skin which was cosmetized with a deft finesse that made it almost impossible to tell what was flesh and what was foundation.

            New Orleans women, the mixture of French, Italian, English, Indian, Black and, god knows, what else gave a new meaning to feminine pulchritude. She had a classic Romanesque nose and a pert mouth whose tips ended in a slight upturn which almost made it impossible for her to frown. The attractiveness of Kristin's almond shaped, light brown eyes nearly hypnotized me and made it hard to respond to what was clearly some serious issues that she wanted to talk about.

            "Sometimes, when I get home, I have nightmares thinking about whether somebody has broke in and...

            "And what, shot and robbed me or something?"

            "Yes."

            "Is that why you always call in the morning."

            "Yes."

            "I'll be sure to phone you if something happens to me," I tried to joke.

            "David what are we going to do?"

            "Try to keep on living. Try to love each other. Try to make this city a better place."

            "That all sounds so noble but I keep thinking about that baby and about Ann."

            "Don't think about it."

            "That baby wasn't thinking about it and now he's dead. Before it happened to Ann, she never thought about it. I'm not an ostrich. I can't just stick my head in the sand and forget about it." I had to smile at that and hold my sarcasm in check. I had started to say that's exactly what you're doing by living in Metairie.

            After a short pause, Kristin continued, "Why do they act like that. They have to live here too? Can't they see that..."

            "Kristin, sweetheart, we're all in this together," I whispered while running the back of my fingers up and down her forearm.

            "No, we're not. We're the ones who have everything to l....," her vehemence indicated a real feeling of being wronged.

            It never seems to occur to many of us that black people suffer more from crime than we do. "You know the overwhelming majority of murder victims are black. You know most of the rape victims are blac..."

            "I know about Etienne. I know Ann."

            "I bet Ann was crazy long before that guy raped her," I said under my breath. Before she could ask me to repeat what I never should have uttered aloud in the first place, I tried to change the subject. "Come here," I said as I slid beneath the covers and pulled her toward me. Outside somebody was passing with some bounce music turned up to 15. Bounce was that infectious, New Orleans variation on rap that featured chanted choruses over modern syncopated beats. I felt Kristin stiffen in my arms as the music invaded the atmosphere of my bedroom.

            "I don't know how you stand it," she said into my chest.

            "It's just music," I responded while rubbing my face into her hair.

            "I'm not talking about the music."

            "What are you talking about?" I asked, pulling back slightly so I could read her physical expressions.

            "Not knowing when one of them..."

            "Them. Them! Who is them? You mean a black person," I questioned while disassembling our embrace and stretching my arms upward.

            She propped up on one elbow and spoke down to me. "No, I mean one of those crazy young black guys, the kind who would shoot you for a swatch watch."

            I looked her directly in the eyes, "You mean the kind who listens to that music we just heard?"

            Kristin didn't answer. After a few seconds, I turned away briefly at the same time that Kristin reclined and twisted her head to stare up at the ceiling. I watched her and waited for her reply for about forty-five seconds. Although she didn't say anything, something was clearly going through her mind. Her eyes were darting quickly back and forth like she was checking figures in a set of books against figures on an adding machine tape. I finally broke the silence with a dare, "Penny for your thoughts."

            She responded while still looking up at the ceiling, "Honest injun?" That was our playful code to inaugurate a series of questions and answers with no holds barred.

            Now we were both looking at the plaster ceiling with the swirl design—I wish I could have seen how those plasterers did that. "Shoot your best shot," I said, my eyes still following the interlocking set of circular patterns as I reached out to hold Kristin's hand.

            "Mike says you probably moved to Treme because you've got a black girl on the side," she paused as the gravity of her words tugged at a question I knew was coming sooner or later. Her grip on my hand involuntarily tightened slightly, "Have you ever done it with a black girl?"

            "Yes."

            Her hand went limp and I heard her exhale sharply. I turned to look at her. She frowned, closed her eyes and spoke softly, barely moving her quivering lips. I wouldn't let her hand go even though she was obviously a bit uncomfortable interreogating me and touching me at the same time.

            "When?"

            "Five years ago, in college."

            She turned now and focused intently on my eyes, "That was the last time?"

            "Yes."

            "Do you... do you... I mean Mike says..."

            "I'll answer any questions you have Kristin, but I won't answer Mike's questions. I'm not in love with Mike."

            Silence.

            My turn.

            "You want me to compare doing it with you to doing it with a black girl, don't you?" Her face tensed. She pulled her hand away.

            Silence.

            There, it was out in the open. "If you want to know you have to ask."

            Silence. She rolled onto her side, faced me and used her cherry red, lacquered, finger tips to outline my short, manicured, strawberry blond beard. She started at my ear lobe and when she got to my chin, she hesitated, sighed, lay back squarely on her back, and tried to sound as casual as she could, "Did you ever have trouble getting it up with her?"

            "No," I replied quickly, almost as if I didn't have to think about it, but, of course, I had already thought about it when I discerned the direction her questions were headed.

            A terrifying hurt escaped Kristin's throat, it sounded like she couldn't breath and was fighting to keep from being crushed. "I can't..." Kristin's words peeled off into a grating whine. "David, why..."

            "Why, what? Why did I do it with a black girl? Why did I have trouble getting it up a few minutes ago? Why did somebody shoot Etienne? All of the above? None of the above? What?"

            "I'm going home." She threw the covers back and started to climb cross me to get out of bed. I grabbed her waist and pulled her down on top of me. She tried to resist but she only weighted 112 pounds and was no match for my upper body strength.

            "No, don't run from it. Let's face this. We can do this." I held her in a bear hug. She vainly tried to push away.

            "David, stop. Let me go!" she hissed, struggling to break free as I determinedly tightened my grip. "Let me go."

            Her small fists were pummeling my chest while I forcibly retained her in my embrace. She had been momentarily kneeling over me trying to scamper out of bed when I caught her in midmotion.

            "David, you're hurting me." I used my left hand to grab her right wrist and yanked her right arm. As she lost her balance, I rolled over, pinning her to the mattress. "Stop! Stop!" She started pleading, "please stop. Let me go."

            "Kristin, listen to me."

            "No, let me go. Stop." She was tossing her head back and forth, trying to avoid looking at me.

            "Kristin, that was five years ago. Five damn years. If you didn't want to know, why did you ask me?" We stared at each other. "Five years ago doesn't have anything to do with us to..."

            "It has everything to do with us. That's why you can't get it up with me, because I'm not black."

            I pushed her away, swung my legs over the side of the bed and sat up.

            "Did Mike tell you to say that?" I spat out the accusation over my shoulder.

            After she didn't answer, I pushed my fists into the mattress and started to get up. I heard Kristin crying.

            "Why... how do you think it makes me feel? I come out here to be with you and... oh shit. Shit. Shit. Shit."

            I stopped midway in pushing myself up and allowed my full weight to sink back onto the bed. Now she was really bawling. I looked over at the Abita, grabbed the bottle and drained it. I sat focusing on the beer label and asking myself how did I let a couple of hours in bed degenerate into this mess.

            I had drunk the remaining third of the beer too quickly. A gigantic belch was coming and I couldn't stop it. For some strange reason I just felt it would be disrespectful to belch while Kristin was laying there sobbing, but I couldn't help it.

            The belch came out long and loud. "Excuse me," I apologized. Afterwards, I looked over my shoulder at a heaving mass of flesh and hair—even after our tussel, her long luxurious hair flowed beautifully across her shoulders as though sculpted by an artist.

            Her back was to me as she faced the wall silently crying and sniffling. I didn't know what to do, what to say. "Kristin, it's not..."

            "Give me a cigarette, please," she said without turning around while making a strenuous effort to stiffle the tears.

            I had an unopened pack of cigarettes sitting on the night table. Neither one of us smoked that much anymore except after we made love, we liked to share a cigarette. I ripped the cellophane with my teeth, peeled the thin plastic from the box and nosily crumpled the crinklely protective covering. I started to ask, why do you want a cigarette and we hadn't made love, but realized that would be a silly and insensitive question at this moment. I flipped the boxtop open and took out one cigarette. I pushed it back and forth between my fingers. As I lit the cigarette I felt a sudden urge to urinate but it seemed inappropriate for me to step away now. I didn't want Kristin to think I was running from her, or didn't want to talk, or whatever.

            "Here." As I reached the cigarette to her, she sat up and took it without really looking at me and without saying thanks or saying anything. She must have really been pissed because she seldom became so nonplussed that she forgot her equiette training.

            I picked up the empty beer bottle and, at a loss for what to do next, I began reading the fine print on the beer label.

            I felt movement in the bed. When I turned to see what she was doing, Kristin stepped to the floor, cigarette smoke trailing from the cigarette she held in her left hand behind her.

            I felt like I was sitting for the CPA exam. Neither of us was saying anything, but I knew I had better come up with the right answers or this deal was off. I looked up as she stepped into the bathroom and partially closed the door behind her.

            I saw the light go on in the bathroom. I heard her lower the toilet seat and then the loud splash in the bowl as she relieved herself. After she stopped urinating, I heard the flush of the toilet and then nothing. Maybe she was sitting there still crying.

            I sat on the bed with an empty beer bottle in my hand. Damn, five years was a long time ago. Linda. I don't think either one of us was really in love. We thought we were. I rubbed the cool beer bottle across my forehead as I remembered those crazy days in Boston. I think what was the most surprising was how unremarkable the sex was. I mean it was good but it just was. It was no big thing. No ceiling falling on us, the earth didn't move. And there was no scene about it. We did it and enjoyed it and that was it. Not like... I didn't want to go there. I looked at the vertical shaft of light paralleling the edge of the partially open bathroom door.

            I think Linda caught more grief than I did. A lot of her friends stopped speaking to her. All my friends wanted to know was what it was like. Sex really doesn't have to be all this. I remember how nervous I was the first time and how she just said, "look, I don't know what you expect and I don't care what you've heard. We're just people. I'm not into anything kinky. You will use a condom and if I ever hear you talking any jungle fever shit, you'll be swinging through the jungle all by your damn self."

            The thing I most remember is that she said thankyou the first time I ate her out and she reached a climax. "I don't know what's wrong with me but this seems like the only way I can get a climax."

            I had tried to cautiously ask her what she meant without being crude or rude.

            "Head. Straight sex is ok but I can only reach a climax when I get some head."

            "Is that why you're with me."

            "David, don't believe that shit about brothers got dick and only white boys give head. And, for sure, don't believe that you're the only one willing to lick this pot."

            "No, I didn't mean...ah, I didn't mean to im..."

            "Shut up! You talk too muc..."

            "David, I'm sorry. I kinda stressed out because..." As I snapped back to the present, Kristin was standing over me. I hadn't heard her return from the bathroom. I realized I had been sitting with my eyes closed, rolling the beer bottle over my face, thinking about Linda. "...well because I was afraid of losing you. I know you love me. And I think you know how much I love you."

            Yeah, enough to come over to the black side of town at night, is what I thought but, of course, I didn't say anything.

            "You don't feel like talking do you?"

            "No, I feel like it. I want to talk. Let's talk," I answered quickly. I opened my eyes and focused on her petite, immaculately pedicured feet. Her toenails were polished the same brilliant red as her fingernails. Her feet were close together and her toes were twitching nervously in the shag of my persian blue carpet. Kristin was standing so close to me that when I looked up, I was looking right at her muff.

            I quickly placed the empty beer bottle on the night stand. I pulled her close to me, embraced her waist and kissed her navel. I felt her slender hands caressing my head. Where was the cigarette?

            "I know I'm not very sexy..."

            "Kri..." I tried to turn my head upward but she hugged my head hard to her stomach.

            "No. Just listen. I've got to say this. I know sex is important to you and I'm willing to try whatever you want to make you happy. Anything. OK? Anything."

            "Hey babe, we're going to be alright. You'll see. We're going to make it just fine."

            "Be careful who you love because love is mad," was all my father ever told me about love. Nothing about sex. Nothing about understanding women. Just love is mad. We were sitting in the front room listening to his Ellington records. He played that Ivie Anderson song where she sings about love being like a cigarette. And he played a couple of other songs. And a concert recording of Ellington, employing his trademark suavity, telling the audience, "We love you madly." I don't know how many other Ellington fans there were in Normal, Illinois, but early in my life my father recruited me simply by playing records for hours as he sat in the twilight on those evenings when he wasn't running up and down the road selling farm equipment.

            I guess I just wanted to be around him. He was so seldom there for any length of time, when he was there I did what he did. I listened to jazz. Mostly Ellington, Basie, and Charlie Barnet playing "Cherokee." I remember once Dad played Charlie Parker's "KoKo." Dad said Koko was based on Cherokee but I couldn't hear any Cherokee anywhere. He laughed. "Yes, sometimes life can be complicated." And then it was back to Ellington and all those gorgeous melodies. I still have the record Ellington signed for us backstage at the Elks dance many years ago. Well, not really signed because his signature wasn't on there. Just a scrawled "love you madly."

            "I believe you when you say that," Kristin intoned without missing a beat.

            "That's because I love you madly and mean it with all my heart." It had become easier and easier to reveal that truth to Kristin.

 

 

***

 

            "David, I just heard on the news that the casino is closing. What are we going to do?"

            "Well, you're going to hold on to your job with the tourist commission and I'm going to draw unemployment."

            "I guess now would be a good time for us to live together. I could move in with you—I mean if you want me to—and we could split the rent."

            "A couple of months ago you were scared to spend the night, now you're talking about moving in with me."

            "Only if you want me to." I detected a note of anxiety in her voice. Both of us were probably recalling that angry exchange we had when we first discussed living arrangements over dinner at Semolina's: "David, all I pay is utilities and a yearly maintenance contract, it would be a lot cheaper for you to move in with me even if you took a cab to work everyday."

            That's when I had unloaded, "I didn't move down here to live in a white suburb twenty miles away from the center of town. I know your family finds it a lot more pratical, i.e. safer, to enjoy New Orleans from a distance, but if I'm going to live in New Orleans, I want to live in New Orleans. Besides, that's one of the main reasons the city's so crazy now."

            And then Kristin had exploded with a preprepared litany of rationalizations: "There's nothing wrong with wanting to be safe. I love New Orleans. I didn't move to the suburbs to run away. I live in Metairie because it's family property and..."

            "Because you can't live uptown anymore because your family sold their lovely, hundred year-old, historic Victorian house," I had replied drily.

            "David Squire, you're just a starry-eyed idealist. You have no idea of how neat New Orleans used to be and how messed up it is now..."

            "Now that Blacks run and overrun the city. Right? Now that they have messed it up and made it impossible for us nice white folks to have a really neat time?"

            Kristen drew up sharply as if the bright faced college student who was our waiteress had put a plate of warm shit in front of Kristin instead of the shrimp fettuccini, which she hardly touched.

            "David, let's just change the subject, please," Kristin had said in the icey tone she used when her mind was made up and, right or wrong, she was going to stick to her guns.

            "Well just think about it, David. I'm not trying to push you or anything, it's just that my half would help with the rent." Hearing Kristin's languid voice flow warmly through the receiver made me realize that I hadn't responded to her question and that there had been several long seconds of dead air while she waited for my tardy reply.

            "OK, I'll think about it, Kristin. You know this whole job thing has happened so suddenly, I'm not sure what I want to do. So I'm going to just cool it for awhile and see how the chips fall."

            "God, David, you sound so cool to say you just lost your job."

            "Yeah, well, getting excited isn't going to change anything. Besides, I can get another job. Good accountants are always in demand."

            "David, I've got to go, but I just wanted to call as soon as I heard on the news..."

            "Kristin?"

            "What?"

            "I love ya."

            "And I love you." The worry vanished instantly when I reassured her that our relationship was not in jeopardy. Her tone brightened. "I'm on my way to the gym. I could swing by when I finish."

            "No, I'm alright," I heard the disappointed silence like she was holding her breath and biting her bottom lip. Why was I being so difficult when all she was trying to do was reach out and touch? Besides I had come to really enjoy her perky company. "But, on second thought, babe, it would be great to be with you. Call me when you get back in."

            "I can come now. Skipping one day of gym won't be the end of the world."

            "No, no, no, no, noooo. Go to the gym. Call me when you get back home."

            "I'll call you from the gym."

            "S'cool." I said slurring my signature sign off of "it's cool."

            "It'll be around 8:30."

            "S'cool. I think I'm going to walk down to Port Of Call and get a beer or something. Later gator."

            It was a near perfect November evening in New Orleans, what little breeze there was caressed your face with the fleeting sensation of a mischievous lover enticingly blowing cool breaths into your ear. It would have been a waste of seductive twilight to stay indoors. I grabbed my lightweight, green nylon windbreaker and ventured forth as though this evening had been created solely for my enjoyment. I didn't have to go to work tomorrow. I would hook up with Kristin a little later. My rent was paid. I had twenty dollars in my pocket and a healthy stash in my savings account. I didn't have a care in the world.

            As I neared Rampart Street, just before crossing into the French Quarter, indistinct sounds of music mingled from many sources: car radios, bars, homes. No night in the old parts of New Orleans was complete without music.

            This is where jazz began. My father the jazz fan had never been to New Orleans. Satchmo and Jellyroll walked these very streets. I looked up at the the thin slice of moon that hung in the sky, "Dad, I'm here."

            I knew he'd understand what I meant. He had been a farm boy who never really cared much about the land. What he liked was meeting different people. All kinds of people, but mostly people who weren't living where we lived. Dad would have loved New Orleans and the plethora of street denizens of amazing variety who seemed to thrive in the moral hothouse of liscentious and sensual living which was the trademark of Big Easy existence.

            Before I reached  the corner a police car slow cruising down the street passed me. I looked over at the cops, one blond the other dark skinned, and waved. Their visibility was reassuring.

 

***

 

            When I got back from Port Of Call it was fully dark. I should have taken my bike. Cycling was safer than walking. Moreover, walking through the quarter was more dangerous than walking through Treme which was flooded with police once the casino had opened in Armstrong Park.. Hummppp, I wondered if they would keep up the policing now that the casino was closed.

            It was about twenty minutes to eight. I had casually checked my watch as I turned off Esplanade after crossing Rampart. When I got close to my place, I saw somebody had left a 40 oz. beer bottle on my stoop. I picked it up and routinely checked all around me to make sure nobody was trying to slip up on me as I unlocked my front door. The alarm beeped until I punched in the disarming code—that was my one concession to Kristin. No, I wasn't going to buy a car, but yes I would get a security alarm system put in.

            I locked the deadbolt and flipped on the front room lamp. I felt like some Dr. John. I put the empty bottle down, twirled my cd rack, pulled out Dr. John's Gumbo, slid it in the cd player, turned the volume up to six and sang "Iko Iko" along with the good Dr. as I danced to the kitchen after turning off the floor lamp. I was using the empty forty oz. as a microphone and moving with a pigeon-toed shuffle step. I ended with a pirouette and a slam dunk of the forty into the thirty gallon kitchen trash can.

            While pulling off my windbreaker and hanging it in the closet, I heard a faint knocking but I thought it was one of the neighborhood kids beating out a rhythm on the side of the house. The knocking persisted, only louder. Who could that be, nobody besides Kristin ever visits me. I jogged into the front room.

            "Yeah, who is it?" I shouted out as I detoured to turn the music down.

            "I'm Brother Cooper, man."

            "Who?" I shouted through the locked door.

            "Bras Coupe," came back the indistinct reply.

            "I don't want none."

            "I ain't selling nothing. I just wanna ask you something."

            "What?"

            "Open the door, please, mister?" There was an urgency in his voice which I couldn't deceipher. I peered out the window next to the door but the streetlights were to his back and most of his face was in shadows. I turned on my front flood light. I still didn't recognize him. His left hand was empty, I couldn't see his right hand.

            "I ain't goin' do you nothing, man. I just want to ask you something."

            "I can hear you," I shouted back through the solid wood, dead-lock-bolted door. I continued watching him through the window.

            "Look, I'm just as scared as you, standing out here, knocking on a stranger's door, enough for to get shot. I know you don't know me, but I used to live here twenty-two years ago. I left town and I'm just passing through. My people done all gone and I just wanted to see the house I grew up in."

            This sounded like a first class line to me. He stepped back so that he was fully illuminated by the flood light. "Look, I couldn't do you nothing even if I wanted to—I'm cripple." He twirled around to show me the empty dangling right sleeve of his sweatshirt. He was probably too poor to procure prosthesis. "If you got a gun why don't you get it and hold it on me, I just want to see the house."

            I was in a quandry. Suppose the gun thing was a trick to find out if I had a gun. Suppose he was planning to come back later and rob me. He didn't look like anybody I had seen in the neighborhood before. And there was this tone in his voice—it wasn't fear, it was something else. He pleaded with me, "I wouldn't blame you for not letting me in, but it sure would mean a lot to me to see the house."

            "The house has been completely remolded, you wouldn't recognize it now."

            "If you don't want to let me in, just tell me to get lost. That's your right. It's your property now..." Renters don't have property rights I thought as I weighed his appeal. "But, you ain't got to handle me like I'm stupid. I know the house don't look nothing like when I lived in it."

            I said nothing else. He backed down the steps and stood on the sidewalk. A car passed and he flinched like he thought the car was coming up on the sidewalk or like he feared somebody was after him.

            "You white, ain't you? And you afraid to let a one armed, black man in your house after dark. I understand your feelings. Can you understand mine?"

            It pained me to realize I didn't and, worse yet, possibly couldn't understand his feelings. I had all kinds of black acquaintances that I knew and spoke to on a daily basis, but not one whom I was really close to. I had been here over a year and still didn't have one real friend who was black and not middle class.

            My mind ping ponged from point to point searching for an answer to his softly stated albeit deadly question. Could someone like me—someone white and economically secure—ever really understand the feelings of a poor, black man? Especially since I wanted honesty and refused to settle for the facade of sharing cultural positions simply because I exercised my option to live in the same physical space with those who had little choice in the matter.

            My pride would not let me fake at being poor, walk around with artifically ripped jeans and headrags pretending I was down. Besides when you get really close to poverty you understand that poverty sucks big time. You see how being poor wears people out physically, emotionally and mentally.

            These neighborhoods are like a prison without bars and a lot of these people are doing nothing but serving time until they can figure a way to get out, which most of them seldom do. Especially, the men. They just become more hardened, callous and emotionally distant. My stay was temporary. I was not sentenced by birth, but visiting, one step removed from sightseeing. Regardless of what I like to tell myself about commitment and sincerity, it was my choice to come here and I always have a choice to leave—a real choice backed up by marketable skills that would be accepted anywhere I may go. I know that most of the people in this neigborhood have no such choice.

            As if to distract myself from the meaning of this moment of conflict, I looked at the disheveled man on my sidewalk and wondered had his father ever played him music and told him that "love was mad"? Obviously his father had not sent him to college. Could not have. But the conundrum for me had nothing to do with poverty in the abstract, or even with letting this man into the apartment. For me the deep issue was stark and cold: was I mad for trying to love the people who created jazz? If this man had appeared at my father's door, would dad have let him in?

            I overcame my fear and my better judgement, pulled out my key and unlocked the deadbolt. I started to throw the door open, but realized that there were no lights on in the front room and the hall door was wide open exposing the rest of the house. "Wait a minute," I said firmly through the door.

            I turned around, flicked on my black lacquered, floor lamp, turned the cd player off in the middle of Dr. John singing "Somebody Changed The Lock" and then closed the hall door. I quickly surveyed the room to make sure there was nothing lying round that... wait a minute, why was I worried about the possibility of a one armed man being a thief?

            I returned to the door, peeked out the window—he was still standing there—and then released the lock on the doorknob. I cautiously opened the door. "I guess you can come in for a minute." I felt my pulse pounding and struggled to remain calm.

            He started up the steps slowly. His hair was the first thing I noticed as he stepped into the doorway. It was untrimmed, it wasn't long, but it was uncombed. As I surveyed him, I instinctively stepped back from him and then I reached out my hand to shake, "My name is David Squire"—suddenly I was assaulted by a distinct but unidentifiable pungent odor that I had never smelled before. He reached out his left hand and covered my hand. I realized immediately that it was a faux pas to offer my right hand to a man without a right arm. He seemed to sense my embarassment.

            "I'm Bras Coupe. Lots of people call me Brother Cooper." His hand was rough and calloused. His skin felt leathery and unyielding. I looked down at his hand. His claw like fingernails were discolored and jagged. When I withdrew my hand and looked up at his face, he was examining the room. He said nothing more and just stood there looking around.

            Finally, I stepped around him to close the door. The scent that I had caught a wiff of in the doorway, engulfed me now and wrestled with the oxygen in my nose. I had to open my mouth to breath. I was certain I had made a mistake letting him in, now the question was how to get him out.

            "You want to sit down," I asked in a weak voice?

            He slowly sank to one knee right where he was. After swivleling around so that he was facing me, he locked into what was obviously for him a comfortable posture. He leaned his weight on his left arm which was braced against his upraised left leg. It was almost as if he was ready to jump up and run at a moment's notice.

            "You do not use the fireplace." He raised his head slightly and audibly sniffed twice, his nostrils flaring with each intake of air. "No windows open." He sniffed again. "You don't cook." He rose in a surprisingly swift motion. And then for the first time he stood up to his full height. He was huge.

            I backed up.

            He laughed.

            "I'm not going to hurt you. If I wanted to, I could have killed you by now."

            As I measured him from head to foot, I couldn't hide my shock when I saw that he was barefoot.

            "You wear your fear like a flag." He nonchalantly watched me inspect him and laughed again when my eyes riveted on his bare feet. "Show me the rest of my house, David Squire."

            I was glued where I stood. I couldn't move. I had never felt so helpless before. "Do you understand what you feel? You should see yourself. Tell me about yourself," he commanded.

            I stammered, "What wha... wha-what do you want to-to know?"

            "I already know everything I want to know. It's what you need to know about yourself that matters. Why are you here? What do you think is so cool about all of this mess?"

            I couldn't answer. Somehow to say "I came to New Orleans because I wanted to get to know the people who created jazz" seemed totally the wrong thing to do. He turned his back to me and looked at my stereo system. "Do you have any of my music?"

            "Wha-what?"

            He stomped on the floor three times in rapid succession with his right foot, shouting "Dansez Badoum, Dansez Badoum, Dansez Dansez." Then he spun in slow circles on his left foot while using his one hand to beat a complicated cross-rhythm on his chest and on his upraised left leg. Somehow, simultaneously with turning clockwise in a circle, he carved a counterclockwise circle in the air with his head. His agility was breathtaking. He dipped suddenly in a squat, slapped the floor and froze with his piercing eyes popped out in a transfixing stare. I felt a physical pressure push me backward.

            "I thought you liked my music." He looked away briefly and then returned his full and terrible attention to me. I was quaking in my Rockport walking boots. Neither of us said anything and a terrible silence followed.

            "Talk to me, David Squire."

            "It's, it's about life." I stammered quietly.

            "Eh? What say you?"

            "Black music. Your music. It's about life. The beauty of life regardless of all the ugliness that surrounds... usss...." Instantly I wished I hadn't said that. It was true but it sounded so much like a liberal line. Just like when Dad had introduced me to Mr. Ellington, I couldn't think of anything right to say. So, I said the only truth on the tip of my tongue, "I love your music."

            "Am I supposed to feel good because you love my music? Why don't you love your own music? Why don't you make your own music?"

            I had never thought about that. It didn't seem right. There was no white man I could think of who could come close. Even Dr. John was at his best when he sounded like he was black. When I looked up, Brother Cooper had his eyes steeled onto me like an auditor who has found the place where the books had been doctored. My mouth hung open but I had no intentions of trying to answer that question.

            "After you take our music, what's left in this city?"

            "I'm not from here." Words came out of my mouth without thinking.

            "You're from the north."

            "I'm from Normal, Illinois."

            "Where did you go to school?"

            "In Boston."

            "Where in Boston."

            "Harvard."

            "Sit down David Squire." Still in a squatting position, he motioned toward my reading chair with his hand. "You look a bit peaked."

            I sat.

            In a swift crablike motion, he scurried quickly over to me without rising. He touched my knee. There was nothing soft in his touch. It was like I had bumped into a tree. "Harvard eh, your people must have a little money."

            "Most people think going to Harvard means you're smart." I blurted out without thinking. Putting my mouth in motion before engaging my brain was a bad habit I needed to loose.

            "Smart doesn't run this country. Does it?" He looked away.

            I began sweating.

            "Go relieve yourself," Cooper said without looking at me.

            As soon as he said that, I felt my bladder throbbing. I almost ran to the bathroom, locking the door behind me. I turned on the light, the heat lamp, the vent. I unzipped my pants, started to urinate and felt my bowels stir with an urgency that threatened to soil my drawers. I dropped my pants, hurriedly pulled down the toilet seat, plopped down and unloaded.

            I wiped myself quickly. I washed my hands, quickly. I threw water on my face, quickly. And then I looked into the mirror. My face was pale with terror.

            "David Squire, come, I must tell you something before I go." At the sound of Cooper's voice, my legs gave way momentarily and I fell against the wash basin. My hands were shaking uncontrollably. I couldn't go back out there and I couldn't not go.

            "David Squire," the powerful voice boomed again. "Open the door."

            My hand trembled as I flicked the latch and turned the knob. I pulled the door open and there he stood directly in front of the door. "Every future has it's past. What starts in madness, will end in the same again. My name is Bras Coupe. Find out who I am and understand what made me be what I became. Know the beginning well and the end will not trouble you." He looked through me as if I were a window pane. I couldn't bear his stare, I closed my eyes.

            "Look at me."

            When I opened my eyes I was in total darkness. I shivered. I felt cold and broke out sweating profusely again when I realized I was laying on my back on my bed. Now I was past scared. I was sure I was dead.

            Then that voice sounded again, "You fainted."

            His words wrapped around me like a snake. I felt the mattress sag as if, as if he was climbing into my bed. All I could think of was that he was going to fuck me. All the muscles in my ass tightened as taut as the strings on my tennis racket. From somewhere I remembered the pain and humiliation of a rectal exam when I was young.

            My mother was sitting on the other side of the room and the doctor made me lay on my stomach. The last thing I saw him do was put on rubber gloves. They squeeked when he put his hands in them. And they snapped loudly as he pulled them snugly on his wrist, tugged at the tops and let the upper ends pop with an omnious clack on his wrist. "This might hurt a little but it will be over in a minute." And then he stuck his finger up my rectum.

            It felt like his whole hand was going up in there. I looked over at my mother. She didn't say anything, she just had this incredibly pained look on her plain face which always honestly reflected her emotions. "It will be alright, David. Yah, it will be alright," she said, sounding the "y" of yes as though it were a soft "j"—her second generation Swedish background was generally all but gone from her speech except for the stubborn nub that stuck to her tongue when ever she was under duress.

            What had I done? What did I have? The pain shot up from my anus and exited my mouth as a low pitched moan. I was watching my mother watch me. I resolved that I was going to be strong and I was going to withstand whatever this man was going to do to me.

            The man with his whole hand up my butt wasn't saying anything. He just kept pushing, and pushing, and pushing. I don't remember him stopping. I don't remember anything else except that despite my best efforts, I cried.

            And now, here I lay in the dark awaiting another thrust up my ass. The anticipation was excruciating. My resolve to remain stoic completely crumbled and I started crying—but not loudly or anything. In fact there was no sound except the impercible splash of my huge tears flowing slowly down the sides of my face and falling shamlessly onto my purple comforter.

            Suddenly the bright light from the table lamp illuminated my perdicament. He was standing next to the bed. I recoiled, rolling back from the sight of him. "Are you Ok?" he questioned me. "You look..." he stopped abruptly and cocked his head as if he heard something. After a few brief seconds he returned his attention to me. "They're coming." Without saying anything else, he turned and walked away toward the kitchen. A moment later, I too could hear a police siren.

            And then it seemed like nothing happened. Just hours and hours of nothing. No sound from the kitchen. Nothing at all. My heart was pounding.

            I tried to make myself sit up. It was like a dream. I couldn't move. I told myself to get up. But I couldn't move. I wanted to move. I wanted to run. But I couldn't move.

            Eventually I made myself stop crying. It took so much effort, I was almost exhausted. Suddenly there was a loud knocking at my front door. The rapping startled me. I involuntarily let out a brief whelp of fear, "Ah."

            Cooper appeared soundlessly at the foot of the bed. "Go."

            I jumped up.

            I was in shock.

            The knock was louder. I don't know how I got to the front door, but when I got there, I didn't say a word as the insistent tapping started again. It sounded like somebody beating on my door with a club. Suppose this was one of Cooper's friends come to do me in.

            I glanced over my shoulder at the back of the house. Cooper had turned the bedroom lamp off.

            I glanced out the front window. Two policemen were outside. One on the stoop, one on the sidewalk. I hadn't done anything wrong. Why were they knocking on my door?

            "Yes," I said meekly without opening the door.

            "It's the police, sir."

            I cracked the door—I had forgotten to lock it when I let Cooper in—"Is anything wrong, officer?"

            "Yeah, I hate to tell you this, but there was a double homocide a couple blocks away and we have reason to believe the murderer is still in the neighborhood." The officer spoke of two people murdered with the casualness only a New Oreans policeman could evidence when discussing the carnage that had now become some common. "Have you seen or heard anything?"

            I could have stood there for ten hours and not been able to honestly answer that question. I didn't really know what I had seen or not seen. At that moment I doubted my own sanity. Just then my phone rang.

            "One minute, officer, that's my phone." The phone stopped in the middle of the second ring before I could answer the extension in the front room. It was too soon for the answering machine to pick up. No, couldn't be—I instantly rejected the notion that Cooper had answered the phone.

            I had left the door open and the policeman stuck his head in and made a quick annoucement. "Sir, we're just advising everyone in the area to be careful and please call us immediately if you see or hear anything."

            I dashed back to the door as the officer was talking. He was a young, black guy, medium build, clean cut, and he spoke with an air of authority. I was about to say something to him when I heard Cooper call out to me from the bedroom, "that was Kristin, I told her you would call her right back."

            "Ok." I said, responding to both Cooper and the policeman. Before I could say anything else the policeman was backing away from my door. I turned quickly looking for Cooper but it was completely dark in the back and I couldn't see anything. When I turned back to the front door, the police cruiser was pulling off from the curb. I closed the door, pulled out my key and made sure that I locked the deadbolt this time.

            As I started toward the bedroom, I realized that I had locked myself in the house with Cooper. I froze in the hallway next to the bathroom.

            I turned the hall light on. I started feeling afraid again. The bathroom door was partially open. I stood away from the bathroom door and pushed it fully open. Nothing.

            I turned on the bathroom light. Nothing.

            The front room light was on. The hall light was on. The bathroom light was on. There were only two more rooms: my bedroom and the kitchen just beyond it.

            The bedroom was completely dark, as was the kitchen. "Cooper," I called out in a subdued and shaky voice. Nothing.

            I repeated the call a little louder, "Cooper." Nothing.

            I put my back to the wall and inched into the bedroom. Just inside the door way, I stood perfectly still, opened my mouth to balance the pressure in my ears and listened as keenly as I could. Nothing.

            The table lamp was only about three feet away but everytime I went to reach for it, something kept me pinned to the wall. Was he in the dark waiting to waylay me?

            "Cooper."

            Nothing.

            I took a deep breath, pushed away from the wall, and jumped on the bed. I was safe. I hit the lamp switch. Light filled the room. Nothing.

            All that was left was the kitchen.

            Now that most of the lights were on it was less frightening. I stepped into the hallway and reached my hand around the doorway to turn on the light in the little combination kitchen-dining room. This apartment was shaped funny because it was really a large double carved up into three apartments.

            There was nothing in the kitchen. I ran to the kitchen door which opened to the side alley. It was still locked with the deadbolt and I had the key in my trouser pocket.

            Every room was lit. There was nobody in here.

            I walked through every room growing bolder by the minute. I searched through each room three times. Nothing.

            Opened closet doors. Nothing.

            Pulled the shower curtain back and looked in the stall. Nothing.

            Looked under the bed. Nothing.

            I must have been hallucinating.

            I turned off the kitchen light and haltingly inched my way back into the front room.

            I turned off the front room lamp.

            I turned off the hall light.

            I turned off the bathroom light.

            I sat down on the bed and turned off the lamp.

            As soon as I felt the darkness envelop me, I flicked the switch back on. What was I doing? Where was Cooper? Was Cooper ever here? What the hell was going on?

            Then I remembered Kristin.

            I picked up the phone and dailed her. Her phone rang, and rang, and rang until the recorder came on. "Hi, I'm out at the moment, but I'll be right back. Please leave your name and number at the tone and I'll get right back to you. Thanks. Ciao."

            "David, get a hold of yourself. This is crazy," I mumbled to myself as I sat on the side of the bed staring into space.

            I got up again, went from room to room turning on all the lights. Tested the kitchen door. It was locked. Walked to the front of the house. Tested the front door. It was locked. Started at the front room and searched each  room in the house again. Nothing.

            I turned the lights off in every room except the bedroom. I sat down on the bed.

            I got up and walked around.

            I turned off the table lamp.

            As soon as it was off, I switched the lamp back on.

            I called Kristin again. No answer.

            I went to the bathroom, splashed water on my face. Dried my face on the green towel hanging from the towel ring, turned off the bathroom light and went back in the bedroom.

            I kicked off my shoes. Lay down on the bed. Turned off the light. Heard something in the room. Turned the light back on. Nothing.

            I couldn't go on like this. Afraid of my own apartment.

            I called Kristin again. "I clearly remember Cooper saying that Kristin called," I said out loud to myself. She still wasn't home.

            I turned the radio on. I turned the radio off.

            I slipped back into my shoes and walked from the bedroom to the front room, turning on lights as I went.

            I walked from the front room to the bedroom, turning off lights as I went.

            When I got back in the bedroom I reached out to switch the lamp off, but I couldn't. So I stood there and looked at my hand on the switch. Finally, my hand moved to the phone and I called Kristin one more time. No answer.

            I lay down. I got up.

            I got tired of standing.

            I sat on the bed.

            I stood up.

            Then I thought I heard a knocking on the side of the house—Cooper was coming back. I walked through the house and turned all the other lights back on.

            I was exhausted. I didn't have the strength to leave the front room.

            I looked out the front window reconnoitering the area in front my house. I couldn't see anything.

            I left the window and stood in the middle of the front room.

            For the first time since I had come back from the Port Of Call, I thought to check the time. I looked at my watch. It was 9:05.

            I started to walk to the back of the house, instead I turned around. I had to go outside. I pulled out my key, unlocked the deadbolt, and threw the door wide open. I didn't think about setting the alarm, getting a jacket, or anything. I just stood in my open doorway and felt relatively safe now that I was halfway out the house. After a few minutes of deep breathing, I stepped completely out of the doorway and closed the door behind me.

            I looked up and down the street. A young guy was walking down the street with his hands in his pocket. Miss Sukky was pacing back and forth, plying her wares at her usual spot down the corner at Esplanade Avenue. A dog came sauntering toward me sniffing at the ground between the street and the sidewalk. The street mutt paused when he saw me, snorted gruffly, backed up briefly, turned and trotted away. A couple of blocks down, a police car's blue lights were flashing. It looked like every other night.

            Pow. Pow. I heard two shots in the distance and I jumped as each one went off. This was just like any other night. I had gotten used to the gunfire. Or so I thought. Pow. A third shot.

            I slumped down on the top step and before I knew better, I felt uncontrollable waves welling up inside me.

            For the first time since I arrived over a year ago, I began to question whether living here was worth playing Russian roulette, betting your life that the next murder wouldn't be your own.

            The economy, such as it was, was disasterously close to imploding. The gaming industry was a bust. Crime was spiralling out of control. Everywhere you looked the neighborhoods were disenigrating. Abandoned buildings, vacant property and housing for sale dominated the landscape—even on exclusive, posh St. Charles Avenue. The whole city was up for grabs.

            New Orleans wasn't fun like I had expected it to be, like I had wanted it to be. I couldn't go on pretending everything was cool. It wasn't.

            Madness again. That's what Cooper had said: Madness. Again. What did he mean by again? Was it ever this mad? Was New Orleans ever like this before?

            Kristin was always saying she admired my integrity. What would she think if she could see me now? I almost started crying again. I had to keep screwing up my face and rapidly blinking my eyes to fight back the tears—a crying man sitting on a stoop wouldn't last long in this neighborhood—but I wasn't totally successful and, everytime I wiped one away, another small tear droplet would form and sit at the edge of each of my eyes.

            Why was I crying? I wasn't hurt.

            But I was in pain.

            I wasn't robbed.

            But an essential part of my sanity was gone.

            "Kristin, I'm sorry." I had been so condescending toward her. I threw my head back and bumped it repeatedly against the front door. Harvard educated. Bump. Physically fit. Bump. And emotionally traumatized. Bump-bump. I head-knocked the door a couple of more times, partially dried my face with my shirt sleeve, reached into my pocket, pulled out my handkercheif and, in an almost pro forma attempt to clear my nasal passages, blew gobs of mucus into the white cotton. I sniffed once more, gave the tip of my nose another cursory brush and then dabbed hard at my moustache and down the sides of my mouth and over my beard. I folded the handkerchief and stuffed it back in my pocket. As I did so, my fingers touched my keys and I recoiled with a reflex action. I couldn't go back in there. Not now. Not tonight.

            I resigned myself to sitting on my steps all night. Or maybe I would walk over to the Exxon on Rampart and Esplanade and call for Kristin, and ask her... ask her what? To come get me. Ask her... somebody was standing in front of me.

            I was almost afraid to look the youngster in the eye, he might interpret my gaze as a challenge or a putdown. I had seen him around a couple of times. He unblinkingly looked at me like he was trying to decide what to do with me. I just looked at him.

            I could have gotten up and gone inside. I could have spoken to him. He could have spoken to me. But I just sat there and looked at him. He just stood there and looked at me. Neither one of us said anything.

            Finally, he nonchalantly turned, walked to the corner and stood there with his back to me. He pulled out a cigarette, lit up, blew smoke up in the air, turned around and started walking away. When he reached the far corner, he turned and disappeared. I finally exhaled.

            Leaning forward, my forearms resting heavily on my knees, I clasped my hands and dropped my head. "I don't want to die. Please, God. I want to live. I'm trying God. I'm trying my best." I couldn't remember the last time I had prayed to God. Whenever it was, for sure I had never uttered a more sincere prayer in my life.

            My hands were shaking. Literally shaking. I tried to keep them still. I could feel them shaking uncontrollably. I pushed them under my thighs momentarily, trying to sit on my hands to keep them still. It didn't help.

            I passed my hands through my hair, interlaced them behind my head and leaned back against the door. It didn't help.

            I leaned forward again, clenching and unclenching my fists. My hands were still shaking. I entwined my fingers and tightly clasped my hands. I had my eyes closed. I was afraid to look at my hands. Afraid to look at myself.

            I took a deep breath.

            "It's not worth it. It's not worth it," I heard myself muttering a bottom line assessment I never thought I would be thinking, not to mention saying it out loud.

            "David, what's wrong? Why are you sitting out here?"

            I looked up and there was Kristin, dashing out of her car and racing breathlessly toward me. I hadn't even heard her drive up. Her trembling voice was full of anxiety as she sprinted across the sidewalk.

            "Are you OK? I got here as fast as I could. Who was that on the phone?" her words gushed out in a torrent of concern and consternation.

            At that moment all I could do was drop my head and tender my resignation. This business was a bust, it was time to move on while I still could, "Kristin, I'm scared. Please, take me to your place."

 

—kalamu ya salaam

ESSAY: THAT OLD BLACK MAGIC

photo by Alex Lear

 

 

 

 

THAT OLD BLACK MAGIC

 

Black writers write White. This is inevitable for those of us of the African Diaspora who unavoidably use the language of our historic captivity as though it were our mother tongue when in actually English (Spanish, French, Portuguese or whatever European language) is our father tongue, the language of the alien patriarch who negated our mothers' tongues and mandated we use an other tongue; a white tongue in black mouths.

 

I believe our music is our mother tongue when it comes to representing the full and most honest spectrum of our thoughts and feelings, our responses and aspirations, our dreams and nightmares concerning who we are and the conditions with which we struggle. At the same time, the father tongue/imposed language is the lingua franca of our daily existence. This mother tongue/father tongue dichotomy represents the articulation of our classic double consciousness. When we make our music, we are our own authorities and our own creators and innovators. When we write the English language, the social authority of the language is vested in the dominant culture.

 

The language of our dominating step-father is a language that has not only historically degraded us but is also a language which demands conformity to alien values. Moreover, the words of the “King's English” are often incapable of expressing the complexities of our values and realities, especially those values of positive “otherness.” For example, what English words are there that give a positive description for spiritual beliefs outside of the “great religions of the world” (all of which, incidentally, are male-centered, if not outright patriarchal—think of bhudda, krisna, allah and his prophet muhammad, etc. not to mention jehovah and god the father, son and holy ghost)? All of the other terms for spiritual authorities, e.g. animism, ancestor worship, voo-doo, traditional beliefs, all of them have a negative or “less than” connotation.

 

When we consider the specifics of our history in the Western hemisphere, the negativity is increased in terms of words to describe our reality. There are literally no English words for important segments of our lives. But beyond the negative of our resistance to exploitation and oppression, significant aspects of our existence are “undefined” in standard English either because similar concepts do not exist or because our concepts are oppositional. In this regard, the Black tendency to coin new words is not just slang; creating words is a necessity if we are to reflect not simply our reality, but also project our worldview and our aspirations.

 

At the same time, Black culture is by nature adoptive and adaptive. We can take anything and make use of it in our own unique way. Thus, the fact that English is a foreign language does not stop us from shaping and literally re-structuring how we use the language to make it work for us. This adaptation of a language we have been forced to adopt is however for the most part an oral activity. When it comes to writing, there is less latitude in the restructuring process. If we wrote the way we talk, few people would be able to read it, sometimes not even the authors, partially because the standards for writing are much more rigidly enforced than the standards for talking, but also because although we can make sounds and use gestures when we talk to give specificity to our utterances, this specificity is lost in the translation to text.

 

Just as there is no way to accurately notate Black music using standard western notation, there is no way to accurately translate all aspects of Black life into text because, in the words of musician Charles Lloyd, "words don't go there." For technical and/or social reasons, writing the way we speak is then: either impractical, impermissible or just plain impossible.

 

Yet, this impossible dream—writing Black in a White language—is precisely the task of the Black writer. The limitations of language are merely that: limitations to be overcome. Indeed, although undeniable in their negativity, the limitations of language are actually the least of our problems with writing.

 

 

 

The more we learn about writing, the dumber we get about ourselves. Unless accompanied by a critical consciousness, the formal act of learning to write at the college and graduate level alienates us from the majority of our people. An overwhelming percentage of the examples we are given of great writing inevitably come not only from outside of our cultural realities, many of those examples are often literally apologia for racism, sexism and capitalism (or colonialism). The very process of learning to write well is a process of not simply studying others but indeed a process of adopting the methodologies and values of an alien culture, a culture that has generally been antagonistic to Black existence. As a result, almost by definition, anyone the mainstream considers a good Black writer is either culturally schizophrenic or at the very least ambivalent about the values exhibited by the majority of Black people not only in the United States, but indeed in the whole world.

 

If any of us spends six or more years intensely studying how to write in an alien language, then, to one degree or another, we can not help but be alienated from our origins if our origins are outside of the culture that we have been taught to master as a writer. One sure indicator of this bi-polar state is the references we use in our work. In general three groupings will stand out: 1. Greek mythology, 2. western canonical writers (Shakespeare to Raymond Carver), and 3. western philosophy (with a notable emphasis on modernity in terms of Freudian psychology, existentialism, and post-modern individualism).

 

While I do not argue that any of these three groupings are irrelevant to our daily lives—after all we are partially a social product of western culture even as we are marginalized or otherwise shunned by the American mainstream, nevertheless, I do argue that to elevate these cultural references to the major tropes, images and structural devices of our writing implicitly alienates us from those aspects of our own existence that are based on other (and especially oppositional) cultural values and realities.

 

Indeed, at one level, to engage in intellectual argument via writing reductively requires us to drag into our text words of Latin origin. We can not even restrict our word choice to simple Anglo-origin words, but are forced instead to use multi-syllabic words whose origin is twice removed from our reality. (A quick perusal of the vocabulary used in this essay will illustrate that point.) In any case, the upshot of all of this is that the more we master literacy, the more non-Black our expression becomes because the formal mastery of literacy is synonymous with covert indoctrination in western views and values. This is the dilemma of academic study that all writers of color face.

 

So profound is this dilemma that many of us who have mastered writing become so alienated from our "native" selves that we are unable to move an audience of working class Black people whether the audience members are reading our books or listening to us recite. How odd then, for example, to be a Black poet with an MFA in creative writing and be unable to rock a Black audience. But then one of the purposes of our education was to teach us to act like and fit in with people who historically achieved their success by excluding and/or oppressing and exploiting us.

 

Please do not construe this as an argument against MFA writing programs or against studying writing in college. I strongly believe in the value of study both formal and informal. The question is do we go to school to learn how to do what we want to do, ever mindful of the institutional objective, which is to make us like them, or do we go to school to prepare ourselves simply to fit in, to get a good job, to be recognized by the mainstream as a good writer? Or, to put it in other terms (community to student): "we sent you there to bring back some fire, not to become mesmerized by the light show!”

 

This brings us face to face with a profound fact of the Black literary tradition—almost without exception, those Black writers who have made the greatest contribution to our national literature were either self-taught or were consciously oppositional to the mainstream in both their content as well as in their use of language. Think of a Dunbar despondent that he was never accepted for writing in straight English; other than dialect poems his most lasting contribution are poems such as The Caged Bird Sings and We Wear The Mask, poems which focus on the dilemma of alienation. Think of highly educated W. E. B. DuBois whose great body of work is a veritable arsenal of charges against the west and is a celebration of Black life and resistance to oppression. Think of Langston Hughes, Richard Wight, James Baldwin, Amiri Baraka—all of them self taught. Think of Francis Ellen Harper, an activist author; Ida B. Wells, an activist author; Toni Cade Bambara, an activist author; all of them autodidacts.  Or if we want to consider those who were specifically educated as writers think of Nobel Laureate Toni Morrison, Pultizer prize winner Gwendolyn Brooks, or Dr. Margaret Walker Alexander; all of whom focused their magnificent and often iconoclastic work on the lives and struggles of working class Black people. These and many others are the great writers of our literary tradition.

 

Just as not one great musical innovator within the realms of blues, jazz, gospel and Black popular music has become a great creator primarily as a result of formal musical education, in a similar vein not one major Black writer who has been college educated has made a profound impact on our literature (or in American literature as a whole for that matter) unless that writer has consciously taken an oppositional stance. This is no accident. Indeed, throughout our history thus far in America, opposition to the mainstream has been a prerequisite of Black greatness in any social/cultural endeavor. Whether this will continue to be the case remains to be seen.

 

It is too soon to tell whether what is sometimes referred to as the "New Black Renaissance" in Black literature will produce major contributions to the historic continuum of Black literature. While it is true that popular production is at an all time high, as the case of romance writer Frank Yerby demonstrates, there is a big difference between popularity and profundity, between best sellers and classic contributions to the tradition. Frank Yerby dominated the bestseller lists for romance in the fifties, yet his work is hardly read and seldom referred to today. Will many of today's bestsellers be subject to the same popularity vs. profundity syndrome?

 

Capitalism materially rewards commercial success and, in the process, emphasizes the entertainment values and minimalizes the political values of the work. Art becomes a spectacle and/or product for distribution and sale, rather than a process and/or ritual for community upliftment. Indeed, there are those who argue that that an emphasis on political relevance is an artistic straight jacket. My response is forthright: the diminution, if not total negation, of relevance is a hallmark of commercialism, a philosophy that is best summed up in the adage: everything is for sale. I am not arguing against entertainment. I am arguing for relevance and for the elevation of people before profits, community before commercialism. Or to borrow a phrase from Jamaica's Michael Manley: "We are not for sale."

 

When the Bible asserts, What profits it a man to win the world and lose his soul?, a fundamental truth is raise. Do we understand that soul is a social concept, that our existence as individuals is directly dependent on social interactions? The writer who is alienated from self, invariably argues for the supremacy of the individual, the right to write and do whatever he or she wants to do without reference to one person's effect on or relationship with others. Whether pushed as good old American, rugged individualism or post-modern self-referentialism, the outcome remains the same: alienation from community and schizophrenia of the personal self.

 

Unless we consciously deal with the question of alienation, we as writers will find ourselves unconsciously and subconsciously at odds not only within our individual psyches but with our native (i.e. childhood) and ethnic community howsoever that community may be defined. This fundamental fact is not a problem peculiar or exclusive to Black writers, it is a problem for all writers in America. 

 

 

 

Whom we are writing for determines what and how we write. Writing presupposes audience, assumes that the reader can understand or figure out the message or meaning of the text. Some writers write for the approval of other writers, others seek to impress critics, many attempt to capture a popular audience of book buyers. Those are but a few of the many audience segments that influence, if not outright determine, the nature of writing. In ways often transparent to or not consciously acknowledged by the writer, the tastes and interests of the presumed audience actually shape the writing. Choices of subject matter and vocabulary, style and genre are all interconnected to the interpretative abilities and desires of the presumed audience.

 

The authority of the audience as auditor is particularly important for writers who are peripheral to or marginalized from whatever is the mainstream of the language that the writer uses.

 

All writing also brings with it a tradition. Over time standards of literacy develop. The writer then may seem to be a Janus-figure: glancing in one direction at the audience and trying to shape the writing to appeal to or at least be understood by the assumed audience, and glancing in the opposite direction trying to match or exceed the prevailing literary standards. For writers of color in the United States the very act of writing alienates us from our native audience most of whom are not readers grounded in the literary traditions of the text's language.

 

I would argue that the truth is that every writer goes down to the crossroads—and not once or twice in a career, but each and every time we write, whether consciously by choice or de facto as a result of the particular spin we put on the style and content of what we do. We choose between speaking to the truths of our individual and collective existence or serving mammon by scripting products for the commercial mill. We choose whether to pander to our audiences by concentrating on pleasure and thereby winning applause and popularity, or to prod and push our audiences to recognize the reality of our existence and to struggle to improve and beautify the world within which we live. In this regard, a more important metaphor for the Black writer is Elegba, the trickster Orisha of the crossroads.

 

In the final analysis, writing is a conversation, and even if we can not tell the pilgrim which way to go, certainly we should tell the pilgrim from whence we have come, what brought us here and what is the nature of the "here" where we now find ourselves. Moreover, the point is not simply the content. The point is also the conversation. Not just what we are saying, but also with whom we are speaking, to whom we are writing.

 

One of the sad truths of Black writing is that most of us are employed to be guides (some would say pimps) of Blackness. In order to succeed in mainstream terms, serving as a translator of Black life, explaining the exotica (inevitably with an erotic twist) to the non-Black mainstream is almost unavoidable. But who will explain Black life to Black people? Who will break down the whys and wherefores of our daily existence in a language that our mothers and fathers can understand and appreciate, that our children can embrace and learn from?

 

The question of audience is seldom raised directly in school but is implicitly dictated by the writings suggested as models. When was the last time our people were validated as the authority for our work, not simplistically as the consumers to buy our books or CDs, and not duplicitously as the voters to determine a popularity contest, but sincerely as the validators who determine the ultimate relevance and value of our literary work?

 

I believe the question of audience is a dynamic rather than static question. I believe in audience development. I believe that we must both reach out to our people and we must teach our people, we must embrace our people and we must challenge our people, we must elevate our people and we must critique our people, and ditto for ourselves and our peers. I believe in cycles rather than linear development. I believe in constantly doing one's best rather than achieving perfection by creating a masterpiece or two. There will always be contradictions, but the motion of our work need not be in a negative direction.

 

Writing is often defined as a lonely profession. I do not believe it has to be that way. Part and parcel of developing audience is developing community—as writers we need to create networks and organizations of support for one another. We need to model audience development and not simply leave it to retailers and investors to market us while pitting one writer against another. In order to know what to write about in terms of defining, defending and developing our communities, we must actively be engaged in defining, defending and developing community. If we can not develop community among our colleagues, how then will we be in a position to realistically inspire and/or instruct our audiences?

 

The question of audience is the ultimate question in our quest to contribute to the development of a Black literary tradition. I do not believe in racial essentialism nor in racial proscriptions. Just because one is a Black who writes, that does not mean that one's work has to be part and parcel of the Black literary tradition. I believe that Blackness is color, culture and consciousness, and that color is the least important component. Cultural awareness and practice is important, but consciousness—choosing to identify with and work on behalf of Blackness—is the ultimate sine qua non.

 

Each of us can choose to reject an allegiance to Blackness howsoever “Blackness”  might be defined. We have the right to identify with any one or even with a multiple of human social orders. Indeed, one of the hallmarks of Blackness among African Americans is the rejection of Blackness as a defining marker of self-definition! Moreover, I do not denigrate those who choose social options that I reject—everybody has a right to define themselves. However, for those of us who are writers and choose Blackness, I suggest that we have chosen a difficult but exhilarating path. We have chosen to pass on the torch of that old Black magic, a firelight that started the saga of human history, a mighty burning whose bright Blackness continues to stress the sacredness of love, community and sharing.

 

—kalamu ya salaam