They came with defeat’d flags,
Broken spirits and tatter’d rags.
Hats of red and hearts treaded in black–
Cryin’ as though they had just been laid upon the rack.
What a difference a day makes,
A summer’s assembly was cited as a riot,
But home-grown ʇerrorism was unmasked on a wintry day .
T’was too PC to take a knee, n’
T’was too much to stand for water with le grande nation sioux;
But lest we forget, in Liberty’s Garden, seeds of change are in always in abundance.
Plant seeds of #Hope.
Plant seeds of #Compassion.
Plant seeds of #Love.
Plant seeds of #Inclusivity.
What a difference a night makes,
The flames of intolerance have quietly subsided.
Bathed in moonlight and star shine,
Luna’s scent calms the tears of pepper’d stain lashes.
They left on deflat’d winds,
Rudely awaken’d from a television dream;
Shoes stain’d by a Benedictian tree (Inimicus Fraxinus Americana) sap,
And faces worn by the stretch of fear for a day that didn’t come.
It bears repeating that the first Pride was a #riot.
Continue reading “Liberté’s Blood”
Editor’s Note: “Colorful Genderless Light” was first published in The Women’s Resoure Center’s The Matrix, and released 27 November, 2012. Humboldt State University. | Revamped 2019.
Continue reading “Colorful Genderless Light”
Editor’s Note: Diaspora de L’angélique was first published in The Women’s Resoure Center’s The Matrix, Spring 2013. Humboldt State University.
Continue reading “Diaspora de L’angélique”
Editor’s Note: More Black Diaspora Literature of the 20th Century can be found here: [ https://KaleidoscopeSoup.com/Black-Diaspora-Literature ]
Within Jackie Kay’s collection of poetry The Adoption Papers she presents a text that utilizes three different fonts to represent the three dominant voices; each voice is represented by a font, each font assuming the voice of one of the three females (in addition to a few other social voices, including an adoption agent and a desk clerk). The predominant voices within the text are a “birth mother,” an “adoptive mother” and an “adopted daughter.” The voices are “distinguished” through variations in typography; for the daughter, Kay adopts a Palatino typeface; for the adoptive mother she issues a Gill typeface, and for the birth mother Kay distinguishes her by using a Bodoni typeface (Kay 8). The fonts that the poet uses separate the voices in a way that Chris Dobbish describes as “egalitarian” in nature, suggesting that while the fonts are visibly different, one font is not greater than the other fonts. (It is not my intention to enter into a discussion about the multifaceted and intersecting histories of fonts at this point in time). The visual similarities that exist between the adoptive mother’s typeface and the Birth mother’s typeface are, at some points within Kay’s text, indistinguishable from one another.
Continue reading “The Many Silenced Faces of Britshness: A close reading of Jackie Kay’s The Adoption Papers”