June 18, 2020 First Person Three Possible Worlds By Natasha Marin In Black Imagination, a complement to the series of exhibitions of the same name, Natasha Marin curates the voices of Black individuals: Black children, Black youth, the Black LGBTQ+ community, unsheltered and incarcerated and neurodivergent and other Black people. The thirty-six voices in the book are resonant on their own and deeply powerful when woven together by Marin. The following excerpt contains three responses to the prompt “Describe/Imagine a world where you are loved, safe, and valued.” Photo: Bureau of Land Management. Public domain, via Wikimedia Commons. close your eyes— make the white gaze disappear * You don’t talk about moving because I bought the house next to yours. You don’t try to touch my hair, without asking, without saying hello or even speaking when I walk past you. You don’t expect me to do all the work that no one else feels like doing. I’m just out in the world, being myself without fear, shimmering through a star-filled sky. —Laura Lucas, Seattle, Washington Read More
June 18, 2020 First Person Dance Time, across the Diaspora By Nadia Owusu My father, at cocktail parties, liked to get children dancing. We’d be in the backyard flinging ourselves at and off things: tire swings, tree branches, each other. He’d wander out, beer or scotch in hand. “What is this?” he’d ask in a loud voice. “The annual Foolishness International board meeting?” I’d fill with a pleasant warmth. My father would toss one or two of us over his shoulders. He’d run. We’d chase him to the patio or the living room—wherever the stereo system was. “Dance time!” he’d say. He’d teach us moves. Sometimes he’d even do a little choreography. We’d show off, get sweaty. Shy children my father would take by the hand. He’d coax and twirl them until they loosened. I was shy, but not when dancing with him. “Eiii,” he’d say about any child who was really feeling the vibe. My father was Ghanaian. Eiii is a sound many Ghanaians make several times a day. Depending on the context and tone, it can mean either that something is very good or very bad. Toward dancing children, my father always meant the sound encouragingly. Children loved my father. He was playful and funny. For his United Nations job, we moved to a new country every few years: Tanzania, England, Uganda, Italy, Ethiopia. There was little in my life, growing up, that was constant. But at our welcome cocktail party (there was always a welcome cocktail party), I could always count on my father to help me make friends. Those friendships often lasted until we moved again. Most of the children of United Nations employees attend international schools together. Everywhere we lived, my father’s circle of colleagues and friends was very diverse—multinational and multiracial. They worked for UN agencies, or at various embassies, NGOs, and global enterprises. To parties at their homes—if the hosts were white—my father sometimes brought his own mixtapes. “You know, I’m African,” he’d joke as he handed them the tape or CD, “I need proper dance music.” Read More
June 17, 2020 Arts & Culture On John Coltrane’s “Alabama” By Ismail Muhammad John Coltrane. Photo: Hugo van Gelderen for Anefo. CC0, via Wikimedia Commons. The first thing you hear is McCoy Tyner’s fingers sounding a tremulous minor chord, hovering at the lower end of the piano’s register. It’s an ominous chord, horror movie shit; hearing it you can’t help but see still water suddenly disturbed by something moving beneath it, threatening to surface. Then the sound of John Coltrane’s saxophone writhes on top: mournful, melismatic, menacing. Serpentine. It winds its way toward a theme but always stops just short, repeatedly approaching something like coherence only to turn away at the last moment. It’s a maddening pattern. Coltrane’s playing assumes the qualities of the human voice, sounding almost like a wail or moan, mourning violence that is looming, that is past, that is atmospheric, that will happen again and again and again. What are we hearing? It has been hard for me to know what to say regarding George Floyd’s murder, or the uprisings that it has sparked. Sometimes I feel as if there is nothing new to say or write, or nothing that I can say or write that I have not already said and written. We watched George Floyd call out for his mother as a police officer suffocated him to death in broad daylight, in full view of citizens, as other officers facilitated the murder by helping to restrain him. On July 16, 2019, Attorney General William Barr declined to bring charges against Daniel Pantaleo, the officer who suffocated Eric Garner in broad daylight, in full view of citizens, as other officers facilitated the murder by helping to restrain him. That murder took place five years, almost to the exact day, before Barr’s decision. I have run out of words for describing the horror of such regularity. I do not even want to describe the horror for you—what will it gain me to describe it again and again and again? What will it teach you to hear me describe it again and again and again? What would you even be hearing? Read More
June 17, 2020 First Person The Sound of Music So Far Away By Wayétu Moore Photo: Fred P. M. van der Kraaij. Via Wikimedia Commons. In the months after Mam left Liberia for New York, we talked to her every Sunday. She sounded the same to me then, though once or twice her voice disappeared while she spoke. I inhaled the heavy silence, hoping that some of her would seep through the phone so that I could lay my head against it. “I will soon be back, yeh?” she would say. After moving into the house with palm trees, I found that her smell had moved with us, followed me as I, on so many Saturday afternoons, had trailed her around the apartment in her red high heels that dragged underneath my feet. In her closet, in her room, in the kitchen, even Korkor smelled like her—the calming blend of seasoned greens and rose water. Every day our driver, a short, chubby man with a blunt line of gray hair an inch above each ear, picked us up from school. Torma met him at the end of the road to walk us home. From the main road we could see our house dancing in the heated rays of the sun, a drawing that grew bigger and more real with each step. We stumbled out of the car in uniform plaid skirts and small pink backpacks. Torma waved at our driver as his tires blew a whirl of dust into the air when he drove away. “Come,” Torma said, turning around to us. “Surprise for you all inside.” Read More
June 16, 2020 Redux Redux: In the Latter Days By The Paris Review Every week, the editors of The Paris Review lift the paywall on a selection of interviews, stories, poems, and more from the magazine’s archive. You can have these unlocked pieces delivered straight to your inbox every Sunday by signing up for the Redux newsletter. Allen Ginsberg, ca. 1979. Photo: Michiel Hendryckx. This week at The Paris Review, we’re highlighting three archive pieces written by contributors to our new issue. Read on for Allen Ginsberg’s Art of Poetry interview, José Saramago’s “The Tale of the Unknown Island” (as translated by Margaret Jull Costa, subject of the Summer issue’s The Art of Translation No. 7), and Lucille Clifton’s poem “shadows.” If you enjoy these free interviews, stories, and poems, why not subscribe to The Paris Review and read the entire archive? You’ll also get four new issues of the quarterly delivered straight to your door. And for as long as we’re flattening the curve, The Paris Review will be sending out a new weekly newsletter, The Art of Distance, featuring unlocked archival selections, dispatches from the Daily, and efforts from our peer organizations. Read the latest edition here, and then sign up for more. Allen Ginsberg, The Art of Poetry No. 8 Issue no. 37 (Spring 1966) INTERVIEWER Has there been a time when fear of censorship or similar trouble has made your own expression difficult? GINSBERG This is so complicated a matter. The beginning of the fear with me was, you know, what would my father say to something that I would write. At the time, writing “Howl”—for instance like I assumed when writing it that it was something that could not be published because I wouldn’t want my daddy to see what was in there. About my sex life, being fucked in the ass, imagine your father reading a thing like that, was what I thought. Though that disappeared as soon as the thing was real, or as soon as I manifested my … you know, it didn’t make that much importance finally. That was sort of a help for writing, because I assumed that it wouldn’t be published, therefore I could say anything that I wanted. So literally just for myself or anybody that I knew personally well, writers who would be willing to appreciate it with a breadth of tolerance—in a piece of work like Howl. Who wouldn’t be judging from a moralistic viewpoint but looking for evidences of humanity or secret thought or just actual truthfulness. Read More
June 16, 2020 Arts & Culture Machado’s Catalogue of Failures By Margaret Jull Costa and Robin Patterson Joaquim Maria Machado de Assis. Public domain, via Wikimedia Commons. Joaquim Maria Machado de Assis had already published four novels when he wrote The Posthumous Memoirs of Brás Cubas, which was serialized in 1880 and appeared in book form in 1881. It received mixed reviews, some readers feeling that it lacked plot, that the characters were uninteresting, that it was more a philosophical treatise than a novel. This is a criticism already foreseen by Brás Cubas, who apologizes to those readers who “love direct, sustained narrative, a regular, fluid style.” … whereas this book and my style are like a pair of drunkards: they stagger left and right, start and stop, mumble, yell, roar with laughter, shake their fists at the heavens, then stumble and fall … The first English translation, by William L. Grossman, did not appear until 1953, which was not surprising in view of the fact that Machado was virtually unknown in Europe and North America until after World War II. And it was only some years later, primarily in the sixties and seventies, that critics inside and outside Brazil began to recognize the novel as a work of extraordinary originality. Read More