Back me Aunt Jemima and the nailgun. Save as PDF
Contents ( 25)
  1. Aziza meets Charlie Parker in an unspecified bar on 52nd Street
  2. in a jar
  3. consider the hand
  4. 1997
  5. hypnophobia
  6. brown girl alien
  7. my mouth
  8. a small act
  9. imitation of life
  10. the picnic
  11. moanin’: ode to Charles Mingus
  12. a small autobiography
  13. at a Mississippi crossroads, Robert Johnson’s daughter gets her blues
  14. the love unlimited orchestra
  15. Juicy (an erasure)
  16. Aziza meets the nailgun
  17. lullaby for my unborn daughter
  18. Addie Parker speaks to Charlie Parker, a mother’s lost advice
  19. a small translation
  20. at what/hits stop
  21. The Gettysburg Address (an erasure)
  22. no country
  23. Sing about Me, I’m Dying of Thirst (an erasure)
  24. how the world will end/slavery returns to the black man
  25. Notes

I’ve seen men die before

at a Mississippi crossroads, Robert Johnson’s daughter gets her blues

Mama taught me there are rules to a man. One: don’t ever knock the bottle outta him, and two: if you meet one who smiles easy beware of the teeth. Remember a mouth is a glorified hand and he’ll want to root through yours like you ain’t got fingerprints. Like you ain’t woman enuf to leave a stain behind. You won’t see him swig down water. He ain’t made of it. She told me all a man got in him is poison, crawling. You smell his kind a delta away, try and keep him that far too. His final hour? S’underneath his tongue. Like a switchblade in a dress shoe. “Don’t’ dance with a man made of strychnine! All he got for you is music!” My daddy, Robert Johnson, he had music. And when he left, he was more than just the stain a woman leaves. My mama took down her house nail by nail after he left, after his suits got all itchy standing still in her closet like a headline in a sweaty fist. He left with our house. All we got left to live under is his name. Now I’m here, tryna make my own deal cuz I wanna be more than just a unwanted curl in a hairbrush. I wanna knock a bottle into me. Dare anyone to push me. Dare anyone to think my land is just a compliment to his boots. Knock me out and I’ll call my hell hounds. I’ll have someone to call alright. Someone with teeth.

the love unlimited orchestra

I am the only one who ever lived that remembers Barry White or murder.

I am the only one who ever lived that remembers sex.

I am the only one left.

The last of us is me and all I am good for is remembering.

A dusty record licks a needle with a long tongue.

I lick dust and remember Barry White.

Barry White and murder.

They are not the same but they are all I have left.

A crux of bodies, churning into sound.

Sex is this also, and that is all I can hold in my head.

How impossible an activity.

The small creak and push of a flimsy eyelash on a saucer.

How can Barry White come out of this?

It was before I knew about a touch, voiceless.

The end of love, a chord set to crack.

No fire, no sound.

Only the faint hope of body.

All I was to invent in this life is there in the case files.

My impossible: No dead man can sing.

Lick the dust.

Remember. The impossible: that two bodies

can be so close, they forget,

as long as forgetting allows.

My impossible: Barry White is dead.

No one will have sex again

because Barry White is dead.

Juicy (an erasure)

[Intro:]

All

grip.

Yeah.

All me.

Nothin’ lived above.

Buildings called on me.

Feed my all