tell us who dressed these plantations
/
in skirts of steel and asphalt
where we must pry pearls from life with a crowbar /
trying to balance light between shoulders
in the midst of dung stacked in rectangles /
where the head can become
a cesspool of wrecked slave ships
a zillion tambourines
splashing against
the green wall of silence
we nurse our wounds
in the pure waters of dolphins
cleanse our back
of the sores of the city
creditors with hi-tech daggers
tell us who dressed these plantations
in skirts of steel and asphalt
where we must pry pearls from life with a crowbar
trying to balance light between shoulders
in the midst of dung stacked in rectangles
where the head can become
a cesspool of wrecked slave ships
we have come to sit in the blue chair
fish in pure stream of consciousness
watch the hummingbirds
folding the day with their wings
watch pastel sunsets whisper
as leaping swordfish bull's-eye the open sky
fifty drummers in a circle of flowers
weaving in and out of brown rhythm
helping to remake us
a mind in trance
nodding in revelations of fireflies
fire in the pillow bosom
of Fannie Lou Hamer
we rest our head in a cloud
trying to retain
the iron spear
of Robeson's
baritone
Shortly after we republished The Vulture and The Nigger Factory, Gil started to tell me about The Last Holiday, an account he was writing of a multi-city tour that he ended up doing with Stevie Wonder in late 1980 and early 1981. Originally Bob Marley was meant to be playing the tour that Stevie Wonder had conceived as a way of trying to force legislation to make Martin Luther King's birthday a national holiday. At the time, Marley was dying of cancer, so Gil was asked to do the first six dates. He ended up doing all 41. And Dr King's birthday ended up becoming a national holiday ("The Last Holiday because America can't afford to have another national holiday"), but Gil always felt that Stevie never got the recognition he deserved and that his story needed to be told. The first chapters of this book were given to me in New York when Gil was living in the Chelsea Hotel. Among the pages was a chapter called Deadline that recounts the night they played Oakland, California, 8 December; it was also the night that John Lennon was murdered. Gil uses Lennon's violent end as a brilliant parallel to Dr King's assassination and as a biting commentary on the constraints that sometimes lead to newspapers getting things wrong. —Jamie Byng, Guardian / Gil_reads_"Deadline" (audio)
According to the
author, this society has historically exerted
considerable pressure on black females to fit into one
of a handful of stereotypes, primarily, the Mammy, the
Matriarch or the Jezebel. The selfless
Mammy’s behavior is marked by a slavish devotion to
white folks’ domestic concerns, often at the expense of
those of her own family’s needs. By contrast, the
relatively-hedonistic Jezebel is a sexually-insatiable
temptress. And the Matriarch is generally thought of as
an emasculating figure who denigrates black men, ala the
characters Sapphire and Aunt Esther on the television
shows Amos and Andy and Sanford and Son, respectively.
Professor Perry
points out how the propagation of these harmful myths
have served the mainstream culture well. For instance,
the Mammy suggests that it is almost second nature for
black females to feel a maternal instinct towards
Caucasian babies.
As for the source
of the Jezebel, black women had no control over their
own bodies during slavery given that they were being
auctioned off and bred to maximize profits. Nonetheless,
it was in the interest of plantation owners to propagate
the lie that sisters were sluts inclined to mate
indiscriminately.