Every Day Can Be Resistance
When I examine the portraits of the enslaved
the whole of freedom pauses for respiration
hands sifting soil abject frustration.
Every day can’t be rebellion but will be resistance,
a man convinced that he is not a cow or horse
the way someone wants him to mistake himself.
The hands of enslaved women like mitts, or
an old man’s work hands years past labor,
still refusing balm
until fingers bowls of palms
crack, bleeding red lines like paper cuts in winter.
And so many women praying
unlike children with hands flat and fingers steepled
beneath raised chins, but palms clasped
fingers hugging, too swollen from work, chilblains, and arthritis
to ever lay flat unless broken.
An Extant Slave Receipt
Signed Peter Hairston
Negro wench and child declares the receipt,
Black woman I mentally retaliate.
In Europe, a royal wench was dubbed a lady,
not a metonym for social promiscuity.
Consider the barmaid— much like cook,
except a few beers and coin most certainly could
turn a hardworking one to lusty wench,
only daylight morphing her to maid again.
The price of Two-hundred and one pounds on American
soil turned this Black woman to wench in no time at all,
and what happened between her thighs, resulting in a child,
made it a two for one; some planter’s coy prize.
I want to divine her name and that of her babe,
much more than this receipt entails.
It is not enough to know the sweat of the planter seller
is mixing with the DNA of my fingertips
as his genetic code resides within me.
Still, I wonder at the oft-turned phrase
this family had a habit of not selling off their slaves
A lie contrived once this receipt was neatly tucked away?
Encroachment
Rage from a white woman toward a Black
screams This body just won’t do
the words But I once owned you
history articulating a time
when Africans were a hostile mistress’s wealth
a guaranteed come up
from being property herself
of a husband who had a choice
of whose legs he split in stealth.
There is nothing more despised
than a sister at ease in her own skin
the hard-won swagger before a predator’s desire
to drape it over pale arms gaudy and feral.
I know this to be true because I heard a Karen once exude
You move so comfortable within your skin
as if she wanted to peel me to see what lay within
that comfort that movement,
that othered self.
Of Bison and Bullets
A Preservation Project
Golden Gate Park, San Francisco, CA 2022
for Jayland Walker
Behemoths cleave to the landscape
like they have always been here
amid the care the preservationists exhibit
as they muck, monitor, and water.
Shaggy brown cloaks appear
more mange than majestic,
unlike the embossed portraits
on my father’s horde of buffalo nickels,
tossed carelessly into a dresser dish
alongside mismatched popped buttons
and dulled copper pennies he called rare.
Did he know then that the species itself
was endangered, not so rare victims
of overhunting by European settlers
committed to wanton western migration.
O the irony as I read
of conservation to replenish
the genus bison, common name buffalo
on Indigenous reservations
to restore glory to the family bovine;
the descendants of majestic herds
lured from the precipice of extinction.
I always confuse preserve and reserve
to keep safe, to hide away
for now and tomorrow
on purpose for posterity.
Still, there is a parallel history
as our very communities become
preservation projects
harboring assault rifles
and teens programmed for defeat,
steered by parents who haven’t
learned to parent yet.
I will not reserve judgement
as doctors help viewers digest
what a body looks like
after taking rapid rounds:
the severed heads
and eviscerated torsos abound.
Extinction. Has anyone had enough
of being enslaved by a trigger
aficionados can’t let rest
ah, but I digress, they don’t
want to preserve life
just reserve the right to shatter lives
and apologize in hindsight.
Let’s try to preserve 48 bullets
pumped into the back
of a running Black man,
use the same handcuffs
that worked well to arrest
a 21-year-old white man,
so they both can stand trial,
one for killing seven in Chicago
on the 4th of July
the other for killing absolutely no one.
Bison and bodies coalesce in my mind,
but this is muck work
for which no one seems to have the time.
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Artress Bethany White is a poet, essayist, and literary critic. She is the author of the essay collection Survivor’s Guilt: Essays on Race and American Identity (New Rivers Press, 2020) and My Afmerica: Poems (Trio House Press, 2019).
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Stills from Nineteen Eighty-Four, a 1984 film written and directed by Michael Radford, based upon George Orwell's 1949 novel. The film stars John Hurt, Richard Burton, Suzanna Hamilton, and Cyril Cusack.
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