SHORT STORY: YESTERDAY OR TOMORROW?

photo by Alex Lear

 

 

Yesterday or Tomorrow?

 

The past is the only future we can truly know and, unfortunately, there is so much about our past we will never know.

 

“Do you think one day, I mean like centuries from now, somewhere, some group of intelligent beings are going to sit around and speculate about us, the way we speculate about, say, dinosaurs?”

 

I looked at See-unk like he was crazy. “What you mean ‘we’? You been outside too much. Besides, what makes you think that life has to be intelligent, talking, philosophizing, etc.? You know what I’m saying? I think it’s a human conceit to think that “intelligent” life is the only life that counts. What about trees? Or roaches, for that matter? Or algae? Or amoebas?”

 

“See, that’s the problem with asking you a simple question. Can’t nothing ever be like: ‘yeah’ or straight up, ‘no.’ Or for that matter, not even a simple ass, ‘maybe.’ Noooo, with you, everything got to be complicated, complex, full of conditionals and wrinkles and shit."

 

“Well, who else would be thinking about long-gone dinosaurs except somebody who is complex?”

 

* * *

 

—kalamu ya salaam


POEM: I WONDER WHAT YOU FEEL LIKE NOW

photo by Alex Lear

 

 

I WONDER WHAT YOU FEEL LIKE NOW

  (after a 24nov2010 meeting with Ozge Ersoy & her friend Canay)

 

I talked to Esim yesterday, had not seen her since

March 1965 when I was fleeing back south, Ozge you were

The Esim I seldom recall but can never forget

 

The patience of Esim’s eyes speaking to me full on unafraid

Of my young blackness, like when you slapped my hand

As I moved to caress the magnet that was your breast

 

And shortly after the sting had subsided and I withdrew

My fingers from beneath your blouse I felt your hand atop

Mine leading me to cup your fully clothed breast

 

I was not confused, I knew that we were reaching

For each other across dangerous cultural waters, Esim

Bozoklar from Turkey, Val Ferdinand from New Orleans

 

Most days I think our union never could have held

I had too many changes yet to go through, too much

Growth to accomplish, too much, besides America is always

 

Both inhospitable and dangerous for any shade

Of otherness, any language other, and especially

Any mixture or matching of outsiders, would I

 

Like Baldwin have flown to Turkey, how would our children

Have identified themselves—Esim, though we chose not to

Cross those tough bridges I think our conversation perhaps

 

Assures me there was room for us on the other side, Ozge

You could have been my daughter and Esim’s eyes

Would be the answer to questions we have for each other

 

A Turkish woman is talking to me tenderly even though

A casual ease-dropper might simply think us intellectuals

In a café exchanging ideas and academic theories

 

The onlooker would not, could not feel the river of emotions

Flowing beneath the calm of our conversation, Esim/Ozge

I don’t know what you were thinking about, but I’m certain

 

I know that I was thinking about you; and now I am writing this

A day later on another day like most days except today is the last

Thursday in November when America celebrates a holiday

 

Giving thanks for all they stole, most of us render praises unto

The lord but shouldn’t our hosannas be devil due? Fortunately

I don’t believe in all of that, any of that, I believe

 

In life in all its contradictions, I try to avoid absolutes

And sentimentalities, regrets and maudlin thoughts about

Could have beens, should have beens, and any thing other

 

Than what is—nevertheless I wonder, Esim, are you still alive,

Do you reside anywhere besides inside this cup of memory

Harbored in the flesh of my hand’s long ago touch

 

—kalamu ya salaam 


POEM: SNAPSHOT: DAWN IN DAR ES SALAAM

photo by Alex Lear

 

snapshot: dawn in dar es salaam

 

our intimacy is as subtle as the mottled shade of shell colors

on a warm basket of cayenne scented boiled crabs

or, more likely, the faint hint of spearmint tea

silently seeping while your attention is turned

to spreading the beige soft of cashew butter across

the crisp of one slice of toasted sourdough

which innocently rests near the dark

of seeded unsugared strawberry jam freshly smeared

atop the face of the bread's twin -- quiet contentment

is morning within our colorful kitchen where we are

as gaily nude as the golden gleam of early light

streaming through our window diagonally impressing

a translucent tattoo onto both the half sphere of your breast

& the upraised arm of my hand reaching to caress

 

—kalamu ya salaam

POEM: SO WHY DOES THE WORLD HATE US?

photo by Alex Lear

 

 

so why does the world hate us?

(and who is this “us” they hate?)

 

so what do you do now sweet poet, grin bullet teeth? hold out for pious

hugs based on the necessity of samaritan love? how can we denounce

the blindness of flag waving at terrorists we can’t see? the plans

of militarists to bring them afghans back dead or alive? the immobilizing

fear that the populace eats instead of airline cuisine? and the saintly

diatribes of ministers salivating at the chance to bless our bombs?

 

can a poem really promote peace without the grease of middle east

petroleum to oil the sophisticated wheels of our daily life? you want

me to say something profound, to propose a safe path through the

minefield of international intrigue where cowboys are hated

worse than rattlesnakes—well, partner it’s simple, either we rein in our government

or else we mossy along with the rest of the herd, stumbling in the dark

of our dearly beloved democratic ignorance, oblivious to our sins and

perpetually surprised that so much of the world hates our comfortable asses.

 

—kalamu ya salaam 

SHORT STORY: ANYONE WHO HAS A HEART

photo by Alex Lear

 

Anyone Who Has A Heart

 

On the ninth day Akim woke up before the sun. Today he was going home and his family would be there to greet him and to thank him. Akim was a hero.

 

Akim greatly enjoyed basking in the new day sunlight. He sat on a rough, stone bench and remembered when the bus had pulled away to bring him to this cold place that made him shiver—for the first time in his life he had slept under a blanket.

 

Unconsciously, Akim flashed a warm smile as he recalled the way Kuji had waved to him, her slender arm twisting like palm trees sashaying to and fro in the sea breeze. His sister and their mother had been standing side by side, each with one arm wrapped around the other’s waist. Mother hailing him with her right hand high above her head and Kuji rocking her small left hand back and forth at the height of her shoulder.

 

Mother had been sporting her best red skirt that was short enough that it would even be short if Kuji had been wearing it, even though, at fifteen, Kuji was half a head shorter than her mother and did not have long legs like her mother. Their mother also had on those black shoes with the pointy toes that she only wore when she went out at night. She did not have on much of a top, it was something black-colored, thin, and tight that stretched over her bulging breasts. But she did have on a red wrap artfully arrayed on her head covering her short hair. Akim was glad mother had not worn her wig, like she usually did in public. The wig made her look so different, made her look like a lot of other women. With that wig on, it was sometimes hard to tell she was their mother.

 

Kuji had on her plain red-and-white striped dress and rubber sandals, her hair tightly corn-rowed. Regardless of what she wore, Akim would always recognize Kuji’s circular face, round as the bread loaves the women sell in the market.

 

Early this morning when the nurse had handed him his small bundle and told him to get dressed, Akim put on the same clothes he had worn when he came to this place: a dingy but freshly-washed Nike t-shirt and long shorts that had once been some one’s jeans but had been cut off just below the knees so the leg bottoms could be used for patches.

 

Akim wondered if that man who brought him here would take him back home. That man, who had given his mother a brown envelope, had had on clean clothes and new shoes. Akim could tell the shoes were new when he saw the bottoms. At first Akim thought he was the bus driver, but when that man had walked up to them to talk to his mother, Akim realized his mistake. This man did not labor. He smelled like some kind of soap Akim had never smelled before. He had a sweet smell, too sweet for any man who worked hard and nothing like the sweat, or smoke, or liquor, that most men smelled like. But then, this man also spoke clean words. He talked with a clipped, flat sound obviously proud of how distinctly he could pronounce each part of every word he uttered. This man even made the short words sound long when he assured his mother, “Is going to be A-OK. You will see. A-OK.”

 

Akim had followed directions and found a seat next to a window near the rear of the bus. His mother had given him a small bag of peanuts and some smoked fish wrapped in a piece of paper. Once the bus had left the familiar neighborhood and lumbered away from the coast, Akim clutched the cloth pouch that secured his dinner, and anxiously pressed his face against the window while looking at all the sights he had never seen before.

 

Now it was time to return home and Akim tried to imagine what his family would look like when he got there. Akim could clearly envision Kuji waiting, tall, standing with her feet close together, looking like that pole in front the old barbershop while wearing her dress-up dress with the torn sleeve.

 

Akim flashed back to when they had decided one of them would do it. They had agreed to toss a beer cap for the honors. She got to choose, he got to flip the cap high into the air. He was so fearful of the outcome, he couldn’t bear to look. When Kuji stomped her bare foot on the hard-packed dirt floor and exclaimed, “haa,” then sucked her teeth before pouting, “you always win,” that’s when Akim opened his eyes and let out a long sigh—his prayers had been answered.

 

“The next time, it will be your turn to go.”

 

Kuji had not been listening to him, instead she had plopped down on her little stool, sulking, her face turned to stone as she stared at the paper-covered wall. “No fair. You would not even know if I had not told you.”

 

Akim had hesitated. Kuji was right. She had been the one to find out about the offer. She had been the one to tell him about her plan to help their mother. But he had been the one bold enough to go into the big building and ask questions. Kuji was brave but she was shy. Akim had almost said he would swap turns with her, but, no, a deal was a deal. He was to go first.

 

Who else would be there to welcome Akim home? Who else was there? No one really. There was no other real family that he knew of. He had never met his mother’s people. They lived so far away. In the north. They never came to the city.

 

Do pictures have family? Akim had always wondered, ever since his mother silently showed him the fading photograph that revealed One-Eye with a grim grin that made the man look hard, at least Akim thought the face was hard, maybe it was because you could not see his teeth, or maybe it was the way he was clutching Akim’s mother. One-Eye had a big python grip almost crushing her into his side, and she was not smiling, just looking straight at the camera. What kind of family would a huge arm have? Who would claim a man whose smile showed no teeth?

 

Akim recalled how once, when his mother was away, he had snuck into the basket to examine the little photo in detail—the stiff paper hadn’t even covered his tiny ten-year-old palm. When he put his finger atop the man’s face, the face disappeared.

 

The picture was not too clear, so you could not really make out One-Eye’s features. He had big ears—Akim had touched his own ears, they were not big like the man’s ears. And Kuji’s ears were the same size as his own ears, which was natural since they were twins and were alike in almost every way, except she stuck out at the top—her breast poked out like little ant hills, and he stuck out at the bottom, sometimes, almost big as the small orange bananas that he liked to eat.

 

Kuji had caught Akim just as he had lifted his finger off their father’s face. Akim had tried to wrap the picture up quickly, so she wouldn’t know what he was doing, but she saw. When he shoved the basket back into the corner, she darted over and grabbed the cloth and carefully re-wrapped the photograph. “You have to do it just like mother or else she will know you were trying to find out her secrets.”

 

Another time, when they were older, Kuji had asked, “do you think our father knows he is our father? I mean, do you think he knows we were born?” They were squatting together and Kuji was holding the picture with her thumb atop the man’s chest when she spoke so softly, almost like she was talking to herself, but since their heads were close together and it was so quiet that he could hear her breathing—they even breathed the same—he heard every word, every short pause between words, everything. “Do you think One-Eye has a picture of us and looks at it the way we look at him?”

 

“No, don’t you remember that day mother was crying. Remember she said, ‘Nobody cares about us. Nobody even knows we are alive’?”

 

“That was the day she was sick,” Kuji had made an excuse for their mother. And the saying stuck. Whenever their mother came home and they could see someone had beaten her, they would say she was “sick.” Akim wondered had their father ever made their mother sick. He looked like he might have.

 

In the picture, the man had his hat pulled so low and at such an angle that you could only see one of his eyes. That’s why Kuji called their father, One-Eye.

 

All their mother had ever told them was, “He is gone. His name was David.” Akim had wanted to ask where father-David had gone? But the sad way his mother said “was David,” Akim knew “was David” was not coming back. And when he had looked up from the photograph he was startled, frightened really, to see tears glistening on his mother’s cheek. Later he would learn, that’s always the way she cried: silently. The tears made no sound as they rolled over the cliff of their mother’s high cheek-bones, streaking her gaunt face like chalk marks scrawled on a blackboard by children who did not know how to write.

 

When Kuji told their mother how much money they could get, at first, their mother did not believe Kuji. “No more getting sick, mother. And we can get a house with everything inside—the water, the latrine…”

 

“They call it bathroom.”

 

Akim spoke up for the first time, “Why do they call it bathroom if the latrine is there?”

 

“Because, the room has a shower and a toilet…”

 

“What is to-let?” Akim innocently asked his mother.

 

“Akim, you are in school now. You must say it proper. ‘toy-let’.”

 

“Tar-let,” dutifully repeated Akim. “What is tar-let?”

 

“It’s a latrine that’s shaped like a stool.”

 

“Well, yes. We can get a room with one of those in it,” Kuji insisted.

 

“Kuji, I will have to find out more about this. I do not believe it is easy so to get plenty much money.”

 

“And they even pay you in dollars. Five hundred dollars,” Akim announced.

 

Ama had heard about this before. She had even gone to that man who knew about these things. He told her there was another man she had to go see. And she had gone. He stuck her arm and took some of her blood and told her he would let her know in a handful of days. When she had gone back to him, he said they did not want her. Her blood was wrong family or something like that. Other people she knew had tried, but the man did not want most of them either because either they were sick or they had the wrong family blood.

 

Ama was certain that if her blood was the wrong family, then most likely they would not want her children because they surely had the same family she had. When she went back to find out the twins’ test results, Ama saw the man smile for the first time. He said the twins had the right family blood and both of them were healthy. So, yes, they would buy a kidney—whatever that was. He had said everybody had two but you only needed one to live.

 

When the bus dropped off Akim back at the marketplace where all the busses came, only Kuji was waiting for him.

 

“Why is mother not here? Is she sick?”

 

“Yes.” Kuji’s eyes were puffy like she was getting over some man making her sick.

 

Akim looked away before he asked the question, “Kuji, have you been sick?”

 

“No. But we must do something. Mother is very sick.”

 

“Well, we have money now. So we can…”

 

Kuji cut off Akim before he could continue, “Someone took our money.”

 

“What???”

 

“I came home from school one day while you were gone and mother was on the ground and she was very sick. Everything was broken and tossed about.”

 

They walked in silence for a while. Finally, Kuji resumed recounting what happened. “Akim, mother is hurt very, very bad and the money is gone. Mother had paid for my school and for your school too, but they took the rest.” Kuji took a deep breath, “Now, it is my turn to go and get us money.”

 

Akim’s side was beginning to hurt a little. “Kuji, please, I can not walk so fast right now.”

 

“Akim, I forgot, you are sick too.” Kuji slowed down and touched Akim lightly on the shoulder, “You must tell me what I need to do to prepare to make the money. Does it hurt when they cut you open?”

 

“I don’t know how it feels. I was not awake when they did it. They made me sleep through everything. Afterwards it feels like a goat hit you hard in the side. That’s why I can not walk so fast.”

 

They were not even half way home yet, but Akim had to stop to rest. He could tell Kuji was thinking something. “Kuji, what are you thinking? I will be alright. I’m just a little tired. Don’t worry about me. And I’m sure that mother…”

 

“I tried on mother’s red dress.” Akim looked at his sister and was afraid to ask her what she was thinking, but Kuji knew Akim wanted to know, and Kuji began talking before Akim could say anything. “I am too skinny. And too…” Kuji paused and then suddenly changed the subject. “Can I see where they cut you?”

 

“It is covered. When I change the bandage tonight, I will show you. Come on, I can walk now.”

 

It took them a long time to get home.

 

* * *

 

When Akim and Kuji got home their mother was dead.

 

* * *

 

“We nah need more kidney. Them need heart. You sell heart?”

 

Akim was surprised when Kuji spoke up, “How much heart be?”

 

The man thought about how much money he could skim off these kids and decided half, “Heart be plenty-oh. Two thousand dollars. American. You sell heart. Let me know.”

 

Akim swiftly grabbed Kuji’s hand and tenderly tugged her away from this man he did not trust. Outside as they walked slowly Akim struggled to figure out what he would do to save Kuji from wearing wigs too big for her head and dresses too short for her legs. Plus, school would be out soon and then they would not have any more food.  Their plan for Kuji to sell her kidney did not work and now, there was… well, there really was nothing else since Akim knew he did not have two hearts.

 

—kalamu ya salaam

 

ESSAY: PAIN

photo by Alex Lear

 

 

PAIN

 

My body is scarred.

 

A thirty-eight bullet blotch on my left knee. A twenty-five-cent, quarter-sized, raised, keloid on the back of my left shoulder from falling out of a tree when I was a pre-teen and a piece of cut branch pierced deep into my flesh. An eight-inch-long appendectomy line diagonally crosses my lower abdomen. Plus, there are other scarifications I’ve picked up along the sixty-three-year life-way I’ve traveled.

 

And, of course, a series of stories accompanies each mark. I could narrate my autobiography just by relating the tales of how each wound came to be.

 

For example, there is a cut on my left hand. I was fighting with my brother when we were both young. If I remember correctly we were in junior high school. The two of us were tussling over one knife. He grabbed the handle, I ended up with the blade. You can guess what happened. You know the skin between your thumb and your pointing finger, that elastic part? That’s where I was sliced. I remember I could see the flesh inside my hand. Although it hurt, I was really fascinated by examining the inner workings.

 

That altercation happened over fifty-some years ago. Although the physical scar is still there, the slicing did not produce any psychological scars. I am not afraid of knives or fights. I don’t hate my brother, nor did I hold a grudge against him.

 

Although my body reveals the violence I have encountered, my deepest scars are not visible. Indeed, one of those invisible markings runs the length of my mental and will never disappear. I will never forget how seriously I stabbed myself, severing my budding self-esteem.

 

I was standing in the Manhattan street holding down a parking spot. A car came up. The horn blew. I ignored the sound. The driver blew again. I remained steadfast. The driver lowered his window and shouted for me to move. I didn’t respond nor did I move.

 

This was in the seventies, four or five of us were headed to The Beacon Theatre to experience a double-bill of Herbie Hancock’s Mwandishi group and Pharaoh Sanders. As we drove around looking for parking spots, the brother who was driving spotted one on the other side of the street. He told me to get out and go stand in the spot until he could turn the corner and double back. I did as I was requested but I didn’t feel good about doing so.

 

I had tried to assuage my guilt by rationalizing: maybe that was the way they did things up in New York. I hoped no one would come along before my friend got back. The night was warm. New York City. Anything could happen. How would I handle it if the police came along? Suppose someone jumped out and wanted to fight—not that I was afraid—but as I stood guard the myriad of possible scenarios playing on the screen of my consciousness was interrupted when that young black man drove up.

 

After I ignored him, he pulled up next to where I was standing and talked to me through his window. It wasn’t a long speech, nor was he cursing at me or even shouting. He was calm and accurate with his words, “Alright, brother, but you know you wrong.”

 

Those words scalped deeply. He was right. I was wrong; so wrong that I could barely enjoy the music because I continually questioned myself: why had I done something I knew was wrong?

 

That happened close to forty years ago but it indelibly mottled my memory, resulting in a sort of psychic scar. Ever since, whenever I’m asked to do something I know is wrong I don’t just go along with the situation just because it’s a good friend making a seemingly innocuous request, nor do I swallow my moral sense and do a jig because the outcome would be of some immediate benefit to me.

 

With me, the outcome really doesn’t matter as much as does the process. What am I doing? Why am I doing it? Especially, why am I committing an action I know is wrong?

 

Sure, we enjoy pleasure. We like getting things, consuming things. Let me be specific: we men like sex, crave power, being in charge, in control, but I constantly ask myself: at what price? Can I—my sense of being a man, an honorable human being—can I afford to be the boss if the cost of attaining power is knowingly doing wrong?

 

Physical pain rarely deters me but the psychic pain of doing wrong terrifies me. That is the pain I learn from; not just on a Manhattan street blocking a parking space but every day of my life, I do my best to avoid the pain of doing wrong.

 

So, although I have a high tolerance for pain, I have a low threshold when it comes to my personal behavior. Regardless of what anyone else may think of what I do or don’t do, what I think of myself is my compass. What’s ok for them, may be anathema for me.

 

The scars on my body, hey, that’s life. Life is a knife. Or a gun. An accident, a fall. Hot grease burning the skin in a cooking accident. The unanticipated pain of a hand slammed in a car door. The tooth chipped by a baseball unintentionally thrown in your face. The residue of  childhood chickenpox or an allergy to a food you didn’t know would cause severe rashes. Life, in all its complexities. Life, the myriad of petite disasters that challenge our personal morality and leave behind indelible indications of each encounter.

 

While we cannot avoid the inevitable markings of life, we don’t need to tattoo our souls with self-inflicted graffiti. My body may be scarred, but I try to keep my soul unblemished.

 

Regardless of the scars you may or may not see when you look at me, what you don’t and can’t see: my internal moral wall—that is where is posted the most important lessons of my life. Inside of me is all that I have learned. And I guess you can say that I’ve studied myself deeply and tried my best to take note of and respond to both the pleasures and pains of my life.

 

That New Yorker taught me a key lesson when he told me, brother, you know you wrong. Even after over 350,000 hours of living, that wound remains tender.

 

Knowingly doing wrong is one pain I just can’t stand.

 

—kalamu ya salaam

POEM: HE GETS OFF AT 4:30 / IT'S 6:09 NOW

photo by Alex Lear

 

 

 

he gets off at 4:30 / it's 6:09 now

 

 

here...    

 

an unencumbered softness

my naked breast / taste me

 

the luminous curve of crimson

lips eager to flutter 

across bearded dark fullness / kiss me

 

the form fitting expectancy

of tense anxious arms / embrace me

 

a moist tangled crescent

immodestly blanketing

my fertility / enter me

 

none of me is mine

all of me is yours

 

here am i / where are you?

 

—kalamu ya salaam

POEM: TOUCH

photo by Alex Lear

 

 

TOUCH

(for Asinjae Monae Jackson)

 

we can live together / and still some crazy way

there be a certain wall of silence surrounding personal matters / usually

only a few intimacies and renegade thoughts, embarrassing ideas

too risque or too taboo / to share with others, even blood

close others, or friends who’ve known us since before we could read, not

to mention also with intimate others with whom we share physical

nakedness

 

there is an us that we decline to let others see

 

except when we honestly write

 

& even then we try to keep most of our deep interiors / under

the wraps of acceptable thoughts

 

but

 

still sometimes

 

we peek out / something serious escapes

 

and like a jolt of electricity, say from a toaster when we've stuck a butter

knife inside trying to retrieve a small crust of bread / or even the static

on a winter day when our woolen slippers on the carpet causes a little

spark and we flinch, like that

 

we touch others and they are surprised / by the force of who we are /

and we in turn are surreptitiously delighted

 

when they say to us: i never knew

you felt like that

 

we should consider all of our writing is a kiss, a caress, or even a fist, but

in any case, all cases, if we are true to

 

our selves our writing is us touching another

 

—kalamu ya salaam