POSTS

Kim Shuck

Day 7

Disappeared is not good enough
Will it take a generation of Indigenous art dedicated only to this?
Will it take two?
Life sized sister sculptures
For each woman torn from our communities?
The empty cities of us 
What is not made difficult is made illegal
If not marginalized then poisoned
Pulled apart unfinished weaving
You have not only come for our traditional stories
You have come for our future

 

Day 10

Because baby and mother trade cells
The first gift 
Before crayon drawings and
Paper weaving 
Mother is a kind of mythological creature
Micro chimera
Carrying pieces of our missing daughters
Our bodies a private museum of loss


Murdered Missing is a series of 50 poems I wrote to investigate my own feelings about the crushing numbers of Indigenous women who are taken and murdered every year.

 

Some Other Thing

It was always clear that I was 
The thing not like the others
Those days we’d take the bus 
After school
All the way to the park
Sit up on the hill
Your head on my shoulder
And a plague of squirrels
Near the pond 
I tell you now that it was a good trade
A belonging I didn’t want
In exchange for your time 
Which I did
In the next couple of years
The women from that school who came out to me
As though I had any idea
But I had been chosen for sacrifice
So I guess I had the merit badge
In my boots and leather jacket
I guess I made the teacher uncomfortable too
Carrying Adrienne Rich like an amulet I didn’t understand
To a war I wasn’t paying attention to
With people I couldn’t wait to outgrow
People I can’t wait to outgrow
In retrospect
It was a pretty good love story

 

Kim Shuck is the 7th poet laureate of San Francisco. Shuck is a citizen of the Cherokee Nation of Oklahoma through one side of the family and the other has lived in San Francisco for generations. Kim is sole author of 7 books, the latest being a chapbook, Whose Water?  from Mammoth Publications, and Deer Trails from City Lights Foundation Books.

 

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Rain Prud’homme

Mixedblood Girls II

Mixedblood girls who date
              white boys are traitors to their race
              cuz “girl don’t you know you’re supposed to up your blood quantum?”

Mixedblood Girls who date
              black guys isolate family
              cuz don’t you know grandma & grandpa spent a lifetime
                            pretndin they “really weren’t them Freedmen folk.”
Keepin’us separated from family. There’s more than one kind of rez.

Mixedblood girls who date
              other mixedblood girls
              learn to keep their faces up,
                            wear their tattoos like shawls of tradition,
                                          & teach other mixedblood girls songs of their grandmothers
              full, throaty, and rich with defiance of being mixedblood girls
who didn’t claim to be anything else.

 

Hard

Trace lines, limbs of black 
ink over shoulder, down deltoid, skirting
left of your spine, to root on hip and buttocks—
a journey my tongue has memorized.

Long slightly callused fingers
grip my wrists, pull hands
away from bulk of belly—
refusing my self-shame in this body.

                So I learn

To love having curves, rolls, 
large breasts, hapullo nia, and lip-slicked lips —
the way my fat cis-fem body cradles
your tall, hard, butch body.

Opening dimpled soft thighs
to rough fingers, firm lips, harsh tongue, 
your silicon that is always hard—
brown eyes always soft.

 

D/s

I don’t understand
how you want this body—
its all hanging in a language
of dimples, cellulite, stretchmarks.

Perhaps it is a physical 
manifestation of my compliance—
the truth of my submission.

This is the place of letting go.
Your mouth, hands, sex,
hardness to my softness.

Your words break open
make me burn, leak, cry
in want from eyes to thighs.

There is trust in this.
The truth that outside
these doors I am power.
Never giving up control
but here—

I release, from calloused palm
marking across width of my ass,
shock of rings in breasts pulled
until your mouth assuages pain.

That I am a cradle
holding your body—
and you need me

a partner in the choreography
                of our flaws.

 

Of Settlers and Serial Killers

My womb is a barren killing field. 
Take it like Cavalry soldiers took 
our mothers, our grandmothers, 
our great-grandmothers’ uteruses. 
Let it carry testimonies in its lining 
continuing to shed blood tears 
long after removed from the body. 

Have they taught you how to read the way blood 
dries on skin like you would read tea leaves in a cup?

He says, 
“tell me are you blue?” 
When I sing blues turn 
my red skin purple like 
the bruises, the bruises, the bruises 
purple turn black, then blue, and fade 
like a body left to rot in the muck.

Have they taught you how to translate the way bruises
flower on skin like you would interpret lines of code?

Is this why you took our bones, our flesh, 
our DNA, stuffed it in drawers to silence 
the screaming, to muffle the crying, 
the annals of flesh you keep like 
serial killers keeping trophies.

Have they taught you how to read the way tears
fall on skin like you would read tea leaves in a cup?

You sit in nests we have built carrying 
splintered tibias, fractured phalanges, 
sinew that once held our grandfather’s ankles stable, 
lined with our children’s’ hair shorn, cut, 
and the meconium of grandmothers who 
expelled their children in fields they were shackled.

Have they taught you how to translate the structures
of our survival like you would interpret lines of code?

And so, you sit in our nests like 
hungry birds, lips open waiting 
for us to vomit into your mouths’ 
the essence of us turned acidic in bile 
of holding back our tongues — 
that you might have the last bit of nourishment 
we housed in our bellies keeping it camouflaged 
under our diabetic skin. 

Our act of living remains nothing 
but an exhibition for your entertainment.

 

Rain Prud’homme  is aFATtastically queer IndigeNerd who reads too much and drinks too much black tea. Her books include Smoked Mullet Cornbread Crawdad Memory (MEP 2012, as Rain C. Goméz, First Book Award Poetry, Native Writers’ Circle of the Americas), Miscegenation Roundance: Poèmes Historiques (fall 2020 Mongrel Empire Press), and the co-edited collections Louisiana ​Creole ​Peoplehood: ​Tracing ​Post-Contact ​Afro-Indigeneity ​and ​Community (University of Washington, 2021) and Indians, Oil, & Water: Indigenous Ecologies and Literary Resistance (TPHP 2020). Current projects include: Gumbo Stories: Rhetorics and Quantum Relation-Making in Trans-Indigenous South; Epidermal Journal (poetry); and “I oughta know about lonely girls:” Essays on Body, Love, & Place. She is co-Executive Editor of That Painted Horse Press and a professor at the University of Calgary. 

 

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Billie Kearns

The Breaking

I cannot speak the truth to my mother

I see her hands, they look just like mine
but her voice can break a room in half
can locate and crack each nerve on your heart.

The border between me and my mother
has been growing since I was fourteen.
I came
home one day and her tongue
was both more and less conservative.

I do not know what birthed 
this new tongue but it kept 
enough of its old face to still be
my mother.

If she looked for herself in the mirror
would she see me? Worse, if I look
for myself in the mirror
will I see her?

Over Mother’s Day lunch we hold stares
She says my girl you can be gay you can be Native 
but
you cannot belong to both communities.
Whose side are you on? Pick one. 

 

Billie Kearns (aka Billie the Kid) is a K’ai Taile Dené/Nehiyaw poet and storyteller. Born in Yellowknife, Northwest Territories, she currently resides in Kingston, Ontario, the traditional territory of the Haudenosaunee and Anishnaabe peoples. Billie holds a Bachelor of Applied Science in Electrical Engineering from Queen’s University and has performed at spoken word events across Turtle Island such as CUPSI and the Canadian Festival of Spoken Word. Billie is currently a director of the Voices of Today youth poetry festival. Her poetry breathes life into narratives as she explores relationships with family, friends, food, and the dynamic nature of dreams. 

 

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Michael Wasson

T H Y   G I F T S,  F O R   W H I C H   [ I   A M ]   A B O U T   T O   [ D E V O U R ]

Bless me, dearest Father, for the sin
                                                                      I was

born with—how I forget
                                                your face, once

I see your flesh-
                                                tinted photograph:

I am your ghost, a blessing

for the damned—a way out
                                         of your life as soon as

the earth opens up

its mouth to let you
                                in. & inside, to carve this

haunt with brighter air
                                                       you are still

breathing—to stay
                                        this alive: so faint

against the wall
                                                               I shiver

in the warmest of rooms.

I appear as a single finger-
                                         print on the lips

of a god betrayed, to smear away
                               what shame I entered

into you those years
               gone. Stare at me like a house

burning in lavender, Father.
                                       Give me your voice

please—for it is

the only gospel I ever had. & never once 

heard. 
                                              As if this body-

shot & hungered sky was left starred

with countless eyes.

 

Michael Wasson is the author of Swallowed Light (Copper Canyon Press, 2021). A 2019 Ruth Lilly & Dorothy Sargent Rosenberg Poetry Fellow and a 2018 NACF National Artist Fellow in Literature, he is from the Nez Perce Reservation in Idaho.

 

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Crisosto Apache

41. Cardiac

But he knew the cause of his malady. —R.
Akutagawa, 41. Sickness

—caution in starting a chainsaw

the buzzing vigor generates an onset
and eases the space between my ears,
as the massive jolt from the metallic
melodic rigor rages from the chainsaw

what my supposing father does not know
is, pulling on the trigger can cause a negative
interaction with his pacemaker

the space between my ears bow upward,
plumping my cheeks and creasing crows
feet, almost in a hopeful snicker

a tiny thought in my head voices its concern,
warns my supposing father, leaving me with
this dismal decision to notify, but contrary
to my supposing father’s heart condition
is

—do I dare warn him not to cut wood?
                            —or should he die trying?

 

50. confined

But to believe in a God, — to believe in a God’s love,
that was impossible.
—R. Akutagawa, 50. Captive

many of them went astray, as whispers away from faith
many of them went astray, from faith as a whisper, away

in the exhaust of these whispers, I become the air of arid fall
as it torments my hands of some presence, by some torment
                                                                                                       — God?

here, pacing inside my small square room, in falls’ remains
I persist this empty pace, but the room is small and arid inside

—inside, I am small, and I believe the pace of this arid room
Inside, I astray from the belief of fall whispers and small rooms

belief in them fails in the small space of this whisper
yet, in this whisper they fail and may fall in exhaust
I have paced the floor for so long, I have gotten better at it

but the arid belief in God fails the small spaces of these rooms
but mostly arid whispers pace the presence of small beliefs

—to believe in God, is to believe these small beliefs exists

 

51. Conquest

In this semi-darkness day to day he lived. —R,
Akutagawa, 51. Defeat

—in this determining dark,
inside my condensing state of mind, there is much clarity to consider,
inside my conflicting state of mind, there is much conjecture to clarify

as the sordid lump of flesh drapes over a yellow armchair
I presume the defeat, the control of place, the control of people
I presume the manifest which continues to exist, and I resist
I challenge daily the destiny, which is this darkest hour of being
My state of becoming is this dark American hour

an opinion like all options leave nothing to clarify, even after
a conclusion formed based on incomplete information
by use of force, or by use of this state of mind, this darkness
manifests a destiny left in a gripping palm and blank conjecture

nothing is determined, nothing determines the outcome without
a belief to consider a consideration leaving no belief, and yet
outside the wind blows the dry leaves about
                                                            —the day moves on without me

 

Crisosto Apache, originally from Mescalero, New Mexico (US), on the Mescalero Apache Reservation. He is Mescalero Apache, Chiricahua Apache, and Diné / Navajo. His Diné clans are Salt Clan born for the Towering House Clan. He holds an MFA from the Institute of American Indian Arts in Santa Fe, New Mexico. Crisosto is an Assistant Professor of English at the Rocky Mountain College for Art + Design (RMCAD). He is the Associate Poetry Editor for The Offing Magazine. He also continues his advocacy work for the Native American LGBTQ / ‘two-spirit’ identity.

Crisosto’s debut collection GENESIS (Lost Alphabet) stems from the vestiges of memory and cultural identity of a self-emergence as language, body, and cosmology. Some of the poems in this collection have appeared in Denver Quarterly (Pushcart Nominee), Cream City Review, Plume Anthology, Common Place: The Journal of Early American Life, photographer Christopher Felver’s Tending the Fire. and most recently The Poetry Foundation’s POETRY Magazine June 2018 issue.

 

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Kit Thomas

 

“Make things happen!” says L.A.-based artist Kit Thomas. This Mohawk Two-Spirit/Indigiqueer is Wolf Clan from the St. Regis Mohawk Territory of Akwesasne. Kit (she/her/he/him) is an LGBTQ and Mental Health Advocate. This mixed media artist has been honing her painting skills for the last decade and now has a recognizable splatter paint style infused with Native American symbolism.

Kit’s evolution into digital art allows her to introduce other elements of design with social issues into this union. It extends the range of her talent even further as well as encouraging and inspiring healing within LGBTQ and Indigenous communities.

 

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Jenny L. Davis

White sans serif text reads: "Ootfalama / (to go and return) / by Jenny L. Davis // I. Hopaaki (ancient time) / II. Otaiya (past) / III. Himmaka’ma (present) / IV. Himmaka’pila (future)". The background is an image of stars in a night sky.
White sans-serif text reads “Our stories— / were not lost”. In the foreground is deerwoman, a matriarch with long white hair in a braid and antlers. In the background are two does in a forest.
White sans-serif text reads “adapted to new places.”
 Deerwoman is a young woman with antlers wearing jeans and a black jacket. She is in an urban setting, and is walking away from a wall where a leaping doe has been painted in bright graffiti. Deer hoofprints lead from a dark puddle on the ground to where she is.
White sans-serif text reads “transcend / binaries”.
Deerwoman is in a forest of rectangles with circuits on them in the shape of trees, on the side of one is the binary sequence for issi (deer) “01101001 0110011 0110011 01101001”. She wears a fitted suit covered in zeroes and ones.
White sans-serif text reads “will be told / among the stars”. Deerwoman is a Black Native woman with white antlers, she wears a space uniform with a deer hoofprint on the right chest. Behind her is an asteroid and a constellation in the shape of a jumping deer.

 

Jenny L. Davis (Chickasaw) is an Indigiqueer/Two-Spirit writer and artist from Oklahoma and an assistant professor at the University of Illinois, Urbana-Champaign. Her work has most recently been published and TransmotionSanta Ana River ReviewBroadsidedYellow Medicine ReviewAs/UsRaven Chronicles; and Resist Much/Obey Little: Inaugural Poems to the Resistance and exhibited at the Ziibiwing Center of Anishinabe Culture & Lifeways and Minnesota Center for Book Arts.

 

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Julian Talamantez Brolaski

 

Julian Talamantez Brolaski the author of Of Mongrelitude (Wave Books 2017), Advice for Lovers (City Lights 2012), and gowanus atropolis (Ugly Duckling Presse 2011).  Julian’s poetry has been included in New Poets of Native Nations (Graywolf 2019), Native Voices: Indigenous American Poetry, Craft and Conversations (Tupelo 2019), Tending the Fire: Native Voices and Portraits (University of New Mexico Press 2017), and Troubling the Line: Trans and Genderqueer Poetry and Poetics (Nightboat 2012).  Julian is the recipient of the 2020 Cy Twombly Award for Poetry. They are the lead singer and rhythm guitarist of Juan & the Pines, which recently released its first EP, Glittering Forest (True West 2019).  Julian lives in Goleta, California.

 

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Rapheal Begay

A Vernacular Response is an ongoing series of images representing everyday moments, yet diverse aspects of the Navajo Nation. In support of the Dine’ way of life, the documentation of environment celebrates and interrogates site/sight-specific perspective. As a form of contemporary Navajo storytelling, the series also acts as a (re)collection of intimate moments tied to my own understanding and ever-developing relationship to my surroundings. Thus, the visuals expand the possibilities of Dine’ cultural stewardship and an ongoing mission to explore the past, create the present, and curate the future.”

#WeAreSacred

A desert field just off the roadside covered in snow and fog.
1. Field (Monument Valley, UT) 2019
Side of a rock with visible watermarks located at the base of the canyon.
2. Flow (Canyon de Chelly, AZ) 2019
Wheatfields Lake reflecting the color of the sky on a cloudy day.
3. Vanishing Point (Wheatfields, AZ) 2019
Wet red dirt with snow, ice, and water on the northside of the sheep corral.
4. Side Corral (Hunter’s Point, AZ) 2019
Evening view of orange red dirt and lit vegetation on the side of a rural road.
5. Roadside Attraction (Cowsprings, AZ) 2019
Blue sky with brown water running over the edge of a stream.
6. Tip (Hunter’s Point, AZ) 2019
Covered in snow and fog, Monument Valley just visible by the outline of its base.
7. Missing (Monument Valley, UT) 2019

 

Rapheal Begay is a photographer and curator from the Navajo Nation. Currently based in Window Rock, AZ, he serves as the Public Information Officer for the Navajo Nation Division of Human Resources.  In 2017, he obtained his BFA in Art Studio with a minor in Arts Management and Certification in Museum Studies from the University of New Mexico. He has exhibited, curated, and collaborated in creative initiatives highlighting Queer and Indigenous art throughout the Southwest.

 

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M. Carmen Lane

Black Lives Don’t Matter, Black Bodies Do.

When I was thirteen years old, I wore a white blouse and black skirt to school for the junior high band concert. I went to my home room teacher to ask what time I needed to be in the gym. I wanted to make sure I was checked in to class before I left early. I didn’t want to get into trouble. The teacher, a blonde mid-forties white male watched as I walked toward him. When I went to open my mouth he stopped me and said, “Don’t come any closer. If you were eighteen, look out.” I laughed uncomfortably and kept walking towards him. He said it again with the additional, “I’m serious.” My body stiffened.

Walking to the bus stop in high school I see a car driving down the street. It is a car load of white youth, male, yelling out their window. It took a moment to realize they were yelling at me — the distortion through the wind, “N-I-G-G-E-R-R-R-R!” My body stiffened. My stomach dropped.

I’m at a gay bar in Detroit with a white lover. She’s trying to impress me by taking me to all the hot spots in town. She asks a white gay male where the after-hours spot is. He retorts in the snarky stereotypical accent of his ilk, “There’s a place on the other side of town if you don’t mind too many black people.” He turns and notices that I am with her and simply says, “Oh.” An old rage bubbled up in my body.

Last week I am standing in line at Whole Foods. I am waiting while two transactions are occurring. The white man behind me says, “Are you going to move up?” I turn around and say, “No.” I tell him I am waiting for the two people ahead of me to finish. It’s my turn to purchase my items and the white man follows behind me. He moves my cart to put his items on the counter. I grab my cart and tell him loudly to be patient and wait until I am complete with my transaction. He moves back and tells the woman behind him, “You should move back. It’s safer there.” The new old rage returns and I am reminded of my function — to know my place; to move when a white man tells me to. If I resist, I am the problem. The young white man aiding me with my purchase is stunned. He doesn’t know what to do — he remains silent.

Black lives don’t matter. Black bodies do.

This is a concern informed by our current understanding of intersectionality — the impact of the black body. Skin color, body size and shape, hair texture, how white and straight our teeth are, the color of our eyes, our genders, sexual orientation, gender identity and expression, the sound of our voices and class perception within our black bodies impacts the multiplicity of responses we receive living while black. Where we are, who we are with, what we are doing (or not doing) with our black bodies, what words are coming out of our black mouths all have meaning and consequence within settler colonialism.

We do not have lives. We have functions.

The function of my teenage body is to prepare itself for the pleasure of a white male. My young female black body was practice for young white men to learn and occupy their superior place in white culture. My queer black body should not take up too much space; there is a limit to how many black queer bodies can be in one place — lest there will be consequence. My middle-aged black body needed to move in alignment with the speed a white male desired.

Under settler colonialism, under occupation, “mattering” is of no significance. It does not resonate within empire. How I feel, who I love, what I am dreaming of does not matter. What’s important is how I control my black feelings; my black thoughts and my dangerous black desire in relationship to the function assigned me by white culture.

The issue of the sovereignty of black bodies is paramount. Currently we have the right to exist under particular circumstances. The “right” to be in your body. The “right” to breathe. The “right” to have a heart that beats. This does not exist. Black bodies pretend to “be.” In the wisdom of our hip hop elders, “Ain’t no future in your frontin’.”

The right to experiment, to play, to create for oneself and one’s own curiosity has become a right — not what it means to be a human being. We do not have the right to matter.

What we do have are the responsibilities to unravel the old yet very young system that has created these inhuman dynamics. We must understand the stories we tell with our bodies. We must acquire clarity regarding the gaps between who we know ourselves to be and what society sees. We must close this gap by being the foremost authority of our being. Self-mastery. This call is both in service of our sense of self and our membership to our communities (ancestors, family of origin, families of choice, our family across the Diaspora, our extended relations who also face similarly bound perceptions of who they are). Our capacity to be in solidarity is in direct alignment with our willingness to do our own work to be embodied in our truth. That is, the old adage that, “I must change myself before I can change the world” has no meaning if my capacity to know myself has been limited by racism, sexism, homophobia, classism, transphobia, ableism, my undocumented status, my history of violence, etc. It is not enough to understand structural oppression if we do not know the parts we play to perpetuate it.

ANCESTOR 1699. Margaret Copes was presented by the churchwardens of Hungers Parish, Northampton County, Virginia, on 29 December 1699 for having a “Maletto Barstard child”

Only a white male can choose to make a mulatto bastard child. The above is one of the oldest ancestors I can trace. I only found her due to the control of her body which was documented by a court of law.

DISTANT RELATIVE 2016. Jasmine “Abdullah” Richards, a Pasadena Black Lives Matter leader, was sentenced to ninety days in jail and three years probation for “attempted lynching.”

Jasmine interrupted a woman being arrested by the police. Jasmine perceived harm being done to this woman. Jasmine is a queer black woman with masculinity; some call this “masculine of center.” At the center are white heterosexual men (presumably Christian). Located on the margins of white culture, Jasmine’s black body should be used for a different purpose. Jasmine used their body to obstruct and interrupt oppression. By expressing who she actually is and following her conscience, Jasmine was punished and taunted with the charge of “attempted lynching.” The event of lynching which historically and overwhelmingly has been imposed on her kin.

Black bodies have a function under US settler colonialism — the use and abuse of our bodies. We can be worked to death, trafficked, bred, used for sport, mutilated, taunted, tokenized, marginalized, heckled, locked away and murdered. Sonia Sotomayor wrote a powerful dissent in 2016 of a Supreme Court decision that now allows evidence collected from an unlawful stop by police to be used lawfully. Her words speak to the past, present and potential future for the sovereignty of Indigenous, Black and brown bodies if we continue to choose not to engage in a particular kind of liberatory work. “Your body is subject to invasion while courts excuse the violation of your rights. It implies that you are not a citizen of a democracy but the subject of a carceral state, just waiting to be catalogued.” Your black body has been invaded down to its marrow; across space and time. We must birth ourselves — again.

BLOOD COUSINS June 12, 2016 2:02AM. 49 people are murdered in a gay bar on its Latin Night. All queer Latinx and Black.

These brown queer bodies were celebrating, acknowledging, seeing, loving each other; embracing who they are in the face of uncertain outcomes under occupation. They were doing what they were not supposed to be doing — engaging in acts of body sovereignty.

They were punished by Omar Mateen. In this culture, he is a man of color labeled “white” as a person with Middle Eastern ancestry. Like George Zimmerman, a Latino, functioning as proxy for the white heterosexist and racist patriarchy.

Enslavement controlled how we were able to use our black bodies and for whom. Jim Crow controlled where black bodies could eat, drink, live, learn and shop. These words are gone; the dynamics within slavery and Jim Crow still exist (e.g. homophobia, transphobia, police brutality, imprisonment, sexual violence, fat shaming, human trafficking, sports trading). The control of the agency of the black body still exists, is crucial to keeping this project of America turning. Miscegenation laws controlled who black bodies could make love to — some of these laws still exist on the books across various states.

Muhammad Ali’s body paid the price for rejecting the systems perception and attempt to control his black body. There is a cost.

Body sovereignty is the absence of so-called respectability politics — if I control my body in certain ways, I will be accepted. Body sovereignty is the absence of ingesting the system’s archetypal responses to our black bodies — a rejection of the need to matter. I AM. WE ARE.

The desire to matter versus a claiming of our sovereignty is a form of collusion; an asking of the system to acknowledge our function(s) here — this is not liberation. Body sovereignty is the new black. It is blackness without the historical on-going entanglement with white supremacy as a means to understand the self.

If we are constantly engaged in resisting how our black bodies are tampered with, the ability to discover the need to assert anything about ourselves becomes a difficult task. Asserting the sovereignty of our bodies is a gift for ourselves and the worlds we traverse. It is an investment in the future possibilities for our kin to live in the world free of a need to matter and embodying the understanding that their work while alive is to become.

The time is now to claim our body sovereignty; to listen to the knowledge within our bodies. The answers to our dilemmas live there. Oppression deliberately distracts us from accessing this critical information.

The space(s) we occupy daily are stolen. They do not belong to us; sovereign only to the Indigenous people of these lands. Our bodies are our only place of ownership, the work of decolonization — here and now.

— M. Carmen Lane
Revised 6/2/2020

M. Carmen Lane (Tuscarora, Mohawk, African-American) is a two:spirit artist and writer living in Cleveland, Ohio. Their poetry has been published in the Yellow Medicine Review, River Blood & Corn and Red Ink Magazine. Carmen contributed to the Lambda Literary nominated anthology Sovereign Erotics: A Collection of Two-Spirit Literatures. Their first collection of poetry is Calling Out After Slaughter (2015). www.mcarmenlane.com IG: @m_crmnlne.