Contents ( 25)
- Aziza meets Charlie Parker in an unspecified bar on 52nd Street
- in a jar
- consider the hand
- 1997
- hypnophobia
- brown girl alien
- my mouth
- a small act
- imitation of life
- the picnic
- moanin’: ode to Charles Mingus
- a small autobiography
- at a Mississippi crossroads, Robert Johnson’s daughter gets her blues
- the love unlimited orchestra
- Juicy (an erasure)
- Aziza meets the nailgun
- lullaby for my unborn daughter
- Addie Parker speaks to Charlie Parker, a mother’s lost advice
- a small translation
- at what/hits stop
- The Gettysburg Address (an erasure)
- no country
- Sing about Me, I’m Dying of Thirst (an erasure)
- how the world will end/slavery returns to the black man
- 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