everything i do comes down to the fact that i’ve been here before.
in some arrangement of my atoms i was allowed to be free
so don’t ask me when freedom is coming
when a certain eye of mine has seen it,
a cornea in a convoluted future recalls my freedom.
when asked about the absence of freedom, the lack of it
i laugh at the word absence, which always suggests
a presence that has left. but absence is the arena
of death, and we call the dead free (went on to glory), what
is the absence of freedom but an assumption of it?
i have never longed for something
which was not once mine. even fiction is my possession,
and flight is an act of fleeing as much as an act of flying.

Now and then the phone will ring and it will be
someone from my youth. The voice of a favorite cousin
stretched across many miles sounding exactly as she always has:
that trained concentration of one who stutters—
the slight hesitations, the drawn-out syllables,
the occasional lapse into a stammer.

When asked, she says my aunt is well for her age but
she forgets. I remember the last time I saw my aunt—
leaning on her cane, skin smooth as river rock,
mahogany brown, gray hair braided into two plaits
stretched atop her head and held in place
with black bobby pins.

She called to say James Lee has died. And did I know
Aunt Mary, who had four crippled children
and went blind after uncle Benny died, died last year?

I did not.

We wander back awhile, reminding and remembering:

Me under the streetlight outside our front yard
face buried in the crook of my arm held close
to the telephone pole as I closed my eyes and sang the words:
Last night, night before, twenty-four robbers at my door
I got up to let them in... hit ‘em in the head with a rolling pin,
then counted up to ten while they ran and hid.

Visiting the graves of grandparents I never knew.
Placing blush-pink peonies my father grew and cut
for the occasion into mason jars. Saying nothing.
Simply staring at the way our lives come down
to a concrete slab.

Last night I asked my mother to cornrow my hair
A skill I had been practicing since last summer
But always ended with a tumbleweed excuse of a braid

My black has always resided in braids
In tango fingers that work through tangles
Translating geometry from hands to head

For years my hair was cultivated into valleys and hills
That refused to be ironed out with a brush held in my hand
I have depended on my mother to make them plains

I am 18 and still sit between my mother’s knees
I still welcome the cracks of her knuckles in my ears
They whisper to me and tell me the secret of youth

I want to be 30 sitting between my mother’s knees
Her fingers keeping us both young while organizing my hair
I never want to flatten the hills by myself
I want the brush in her hand forever

She said, I wish I prayed, I would pray for you. And,

we all wanted a shape of prayer in our brains, taking over

instead of it chomping on itself. Stupid little elf. God has

never come to me. We surrender in the teeming utterance

of materials soaked with sentences already made in air

and by machines. The country says Freedom, crushed under

its own dream weight. I did not make up this song. Design

Within Reach is having a “Work from home sale.” The coming

apart, the giant laceration across the sky, we all feel it. Look

at the fire, look at it, like all the rage of all the smallest beings.

Here, poem meets prayer.
We are exceedingly comfortable
with posturing and self-defense
that masquerade as apology.
But what’s needed in this moment
is unmixed confession
of our nation’s sin,
deep and indefensible.
“Now I lay me down to sleep”
must make way for
something more muscular:
sack cloth and ashes,
prayer and fasting,
naked prostration.
Daniel understood
radical repentance begins
with this unvarnished profession:
You are righteous,
and we are not.
Please heal our nation.
Cleanse our stubborn hearts.
Show each of us what part to play.
Broken as Judah and Jerusalem,
we cry and come bending our will
toward the good
you dream for us still,
no matter our sin,
no matter what skin
we’re in.

MEET KIRSTEN. Wears milkmaid braids to conserve her swedish past. Relinquished herself to assimilation at 8 after saying bye to her bff Singing Bird, whose tribe was forced off their land. “1854 was a wild year for me, guys. Cancel culture is real, but how could I disown my family for the racist things they say? How could I even point out that the things they say are racist? Like, how could I even say ‘Can you consider the words coming out of your mouth & never say them again?’” 

MEET MOLLY. Buys baguettes on mondays and wears a beret literally everywhere. Obsessed with hollywood films and harsh realities. Surprisingly patriotic despite her love of all things british, especially plaid. An expert on taking up space. When the trainer asks if anyone can define discrimination, she pulls out a legal pad “I can’t even tell you how many times I’ve been discriminated against because I’m a woman. I write literally every instance down as proof. Exactly how many hours do we have?”

MEET SAMANTHA. 25-year-old well-meaning rule lover who enjoys progress and satin. Would like to be a painter or possibly the president of the united states of america. Out of the two AMA questions received before the training, both came from her. One for each black person she’s ever talked to in her life. “1) This is more of a comment than anything, but I don’t understand why I can’t be curious about Addy’s hair 2) Remind me again, what’s the difference between equality and equity?”

MEET FELICITY. Wears wide brim hats for horse races and can stitch the shit out of anything. Makes a mean southern sweet tea just like her mommy used to in the old virginia colony. When the diversity trainer asks if anyone can recall a time in their lives when they’ve been racist, she has a hard time pinning down just one time. “Sure I could, but I’d rather focus on rescuing horses from alopecia than spend a few hours at this dumb-ass training. Honestly, who has the time for any of this?”

MEET ADDY. Just look at all these dolls crying, complaining and getting paid for it all. Meanwhile hot girl summer came and left and I’m still stuck here performing history. Imma just slap the next bitch who tries to buy me. The scholars who brought me to life built the best american story but forgot two key facts. 1) I’m tired of being sold  2) less than half the people who buy me actually listen. But if I raised my hand right now & asked “Do I really need to be here?” you think my boss would just let me leave? 

Black Mamas stay on their knees praying. Cursing
the lies folks tell ‘bout how the world don’t need you—

“The world don’t need you” is a lie folks tell themselves
when they step over blood gelled black and slick.

Folks step over black blood gelled and slick to get
on with things—don’t bring bones to the cemetery.

Bones in the cemetery, hear the prophecy:
—together, bone to bone—tendons and flesh—skin—

bone to bone—tendons and flesh—skin—together,
four winds breathe into these slain, that they may live—

—breathe, four winds, into these slain. That they may live—
Calling forth prophecy is no light work, No—

but, for Joshua, the sun stood still—the moon stopped.
Black Mamas stay on your knees praying—praying—

The summer I was ten a teenager
named Kim butterflied my hair. Cornrows
curling into braids 
behind each ear.

Everybody’s wearing this style now, Kim said.

Who could try to tell me
I wasn’t beautiful. The magic
in something as once ordinary
as hair that for too long 
had not been good enough
now winged and amazing 
now connected 

to a long line of crowns.

Now connected
to a long line of girls
moving through Brooklyn with our heads
held so high, our necks ached. You must 
know this too – that feeling 

of being so much more than
you once believed yourself to be

so much more than your
too-skinny arms
and too-big feet and
too-long fingers and
too-thick and stubborn hair

All of us now
suddenly seen
the trick mirror that had us believe
we weren’t truly beautiful
suddenly shifts

and there we are

and there we are

and there we are again

and Oh! How could we not have seen
ourselves before? So much more

We are so much more.

I find an upscale bistro with a big screen at the bar.
The Williams Sisters will step out on to this Center Court,
for the very first time as a team. I celebrate the event
with my very first Cosmopolitan. I feel like a kid

watching TV in the Before Times: miraculously, Nat King Cole or
Pearl Bailey would appear on the Dinah Shore Show or Ed Sullivan.
Amazed, we’d run to the phone, call up the aunts and cousins.
Quick! Turn on Channel 10!... Three minutes of pride...

Smiling at no one in particular, I settle in to enjoy the match.
What is the commentator saying? He thinks it’s important
to describe their opponents to us: one is “dark,”
the other “blonde.” He just can’t bring himself to say:

Venus & Serena. Look at these two Classy Sisters:
Serious. Strategic. Black. Pounding History.

My brother was a dark-skinned boy
with a sweet tooth, a smart mouth,
and a wicked thirst. At seventeen,
when I left him for America, his voice
was staticked with approaching adulthood,
he ate everything in the house, grew
what felt like an inch a day, and wore
his favorite shirt until mom disappeared it.
Tonight I’m grateful he slaked his thirst
in another country, far from this place
where a black boy’s being calls like crosshairs
to conscienceless men with guns and conviction.

I remember my brother’s ashy knees
and legs, how many errands he ran on them
up and down roads belonging to no one
and every one. And I’m grateful
he was a boy in a country of black boys,
in the time of walks to the store
on Aunty Marge’s corner to buy contraband
sweeties and sweetdrinks with change
snuck from mom’s handbag or dad’s wallet—
how that was a black boy’s biggest transgression,
and so far from fatal it feels an un-American dream.

Tonight, I think of my brother
as a black boy’s lifeless body spins me
into something like prayer—a keening
for the boy who went down the road, then
went down fighting, then went down dead.
My brother was a boy in the time of fistfights
he couldn’t win and that couldn’t stop
him slinging his weapon tongue anyway,
was a boy who went down fighting,
and got back up wearing his black eye
like a trophy. My brother who got up,
who grew up, who got to keep growing.

Tonight I am mourning the black boys
who are not my brother and who are
my brothers. I am mourning the boys
who walk the wrong roads, which is any road
in America. Tonight I am mourning
the death warrant hate has made of their skin—
black and bursting with such ordinary
hungers and thirsts, such abundant frailty,
such constellations of possibility, our boys
who might become men if this world spared them,
if it could see them whole—boys, men, brothers—human.